Music.TastyOther
Music.Having been working for my parent's publishing company for over a decade,
I've started working seriously on recording and music production to break the
stressful hell that is advertising sales. Having put some early tracks on
mp3.com a few years ago, with my initial studio setup and a DAT recorder, I
allowed people to convince me that I have some sort of talent. Influences are
many and varied, leaning heavily towards 1970s psychedelia and experimental
music and 1980s electronica such as Human League, Wang Chung, Gary Numan and
Marillion.
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My Current Want List - please email if you have or see these items for sale!:
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| Item: | Reason: | Target price: |
| Korg X911 Guitar Processor | Electric Cello Synthesis. | £125 |
| Korg Trinity expansion cards | PBS-TRI with SRAM, HDR-TRI | $99 or so. |
| Acorn/Hybrid Music 3000 | Expander for Hybrid Music system | £?? - whatever. Would swap for my 500 module. |
| Note: Due to a lack of productivity, I may consider selling the studio. At new list prices there is over £50,000 worth of equipment, average used prices make it about £12,500 including the G5 with the software, more if I work out the value of smaller things individually (there is about £500 in looms, racks and stands, and another £500 in microphones, amps, speakers and patch cards & so forth). This doesn't mean the want list is redundant, just that if anyone wants to make a sensible offer I would consider it. |
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| Previous Hardware:
Roland S50, S550, MC202, TR505, EG-101, MC-303, JP8000, D110, GR300, G-505, GR700, G-707 |
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My studio has evolved (see late 2002 pic right), and been variably incomplete or inaccessibly complex. Starting at home in Ednam with a small studio in my dining room, consisting of a Roland D-50 and JV-50 with various other synths, the gradual attempts to do more, with more, resulted in less finished work getting done. I pushed a little more and have built up a complex, but now very useable studio, which is based largely around Behringer gear because it's cheap, and generally good. I've repaired my MX8000A's PSU once, and the spare PSU from the former owner which had a similar problem (but they've gone completely digital now, with ProTools and G4s, so I don't think they're very bothered about getting it back! I do occasionally check though). The current studio status is pretty much "complete" - up to date pictures can usually be found at http://web.mac.com/r.t.kilpatrick/ as I alter things, until GoLive stops crashing (or simply failing to work) when I try to do proper synchronisation.
Having tried to use this many synths with smaller mixers (from a Mackie 1202VLZ, to a Spirit M8, then almost an Allen & Heath GS1), I bought this MX8000A locally from a real musician - oddly enough, one whose music I am very familiar with. Having all the synths/modules plugged in at once makes life a lot easier, since I still can't get my head around multi-track recording. For convenience I broke the habit of a lifetime and spent money on patchbays and leads, instead of trying to get by with what I had and using money for more instruments - and what a revelation that has been. Patching in any instrument or effect is a matter of seconds, and I don't have many problems with noise. Getting some nice speakers helped.
In case you're wondering, the desk is an IKEA Jerker with 4 'fax' tables bolted to it. It's a lot cheaper than specialised kit and very solid.
For recording, I initially dug my heels in and tried to work with anything suited to my favourite era of music technology - the 80s. Having tried to work with an Atari ST, then Falcon, I ended up moving to an iMac. The iMac put me off soft synths, and had poor audio in, so was used mostly for MIDI work, but the purchase of ADATs and the proper desk make me decide I needed a better Mac, or at least, proper Audio inputs. The upgrade to an Apple G4 was quite an eye opener, soft synths are fast and reliable, and it's a delight to work with compared to the old iMac. However, I still didn't have audio in, because my Korg 1212 audio card isn't Mac OS X compatible. Doh!
This was easily sorted. Of course. Throw money at a problem and it goes away, like my G4 - I now have a G5 Dual 2.0GHz, spec below. Because the LCD panel is so large, and pleasant to use, I actually bought a proper workstation stand from QuickLok. The Trinity Pro X makes an excellent desk!
Roland/Boss:
Roland are very close to my heart (well, in terms of kit) - my JV50 being the most reliable and productive keyboard I have used. Roland UK have always been easy to deal with, though Roland Japan is not great with spares support especially for the older kit. I like Roland kit for the bright strings, clear filters and A Certain Something which means I have rather a lot of it!
JD-800 - once belonged to Paul Inglis of The Time Frequency. But don't worry - it's better now. Provides fantastic synthesis capability in a very accessible package, is primarily used for sharp piano, strings and effects. Has all the Roland card sets with it and manuals now.
D-50 - I found this in Sound Control with a dead display, after a full refurbishment. Opening the case revealed that the LCD connector wasn't pushed home. I've since had to repair the keyboard. Provides 80s cheese mainly, sometimes good basses and clearly synthesized sounds. After six years, it finally has the Roland PG-1000 programmer thanks to Brian Cass of The Overclock Orchestra.
JX-10 SuperJX - 2 x JX8P in a huge 76-key keyboard, plus sequencer. Sophisticared 80s sounds, formerly owned by Tal Stoneheart, who is much missed. Has 2x M64-C and 2 x M16-C carts.
Juno 6 - Not a permanent resident, but undergoing restoration. Has suffered from a fall and needs new switches and bender.
JV-50 - one of my first synthesizers, I've recently re-acquired it. JV strings are something quite unique, not astoundingly good, or accurate, but there's an intangible quality to the JV's fast attacks and a certain sound.
SH-101 - bought with some other stuff. I like it. Has a mod grip, and is the common grey one. Provides squelchy analogue basslines and scratchpad sequencing for ideas, is usually hooked up to a Kenton Pro-Solo for control via Logic.
GR77b, G-77 - bass version of the G-707 system, with far superior
tracking - one CPU per string, JX8p synthesizer engine. The G77 is absolutely
beautiful, like new, but required some setting up (well, like new again!) to
work with the base unit. The GR77b had to be imported from the US due to the
rarity of the systems in the UK, and tracks tolerably well though the attacks of
many of the sounds are slow enough to make it hard to play accurately.
DR-55 "Dr. Rhythm" - a crude, simple drum machine which mostly exists here because the Sisters of Mercy used to use one - it was the first Dr. Avalanche. However, you don't hear it on any albums as far as I'm aware, making my intent to recreate their early sparse beats somewhat foiled. Dr. Avalanche was apparently a rather more expensive Oberheim DMX or Roland TR by that stage. Thankfully, that's what samplers are for.
Plus a DEP-5 effects unit, which has to be left on otherwise it takes 1/2 hour to
warm up.
Currently undergoing restoration is the curiously-named D70 which actually has very little to do with the D-series of LA synths, but is in fact a predecessor to the JV range. It's a very impressive synth, I can recommend them (or the little brother, the U-20; assuming the sounds are as similar as the architecture suggests) to anyone looking for JV-esque (but slightly thicker) sounds.
Korgs:
It could be said that Korg are amongst the most well known 'specialist brands', having always produced serious kit without massively targeting the consumer marketplace. My first Korg experiences were with an MS10 and Poly 61, though the strongest memory I have of Korg is encountering a Wavestation in a music shop and wanting it, very much. Korg UK are particularly impressive in terms of support for their older kit, and reasonable parts prices. I like my Korgs for their warm, deep sounds, reliability, and generally consistent performance, though some things are oddly featured.
Trinity Pro X V3 - accidental purchase! I was looking for a replacement for the Prophecy as the ribbon controller has now stopped working entirely, and wanted a Z1 - was considering a Trinity V3, but saw this ending cheap on eBay. Didn't really have the budget for it, but I bid, and incredibly I won the auction - turned out that it belonged to "Space" keyboard player Franny Griffiths. The MOSS board sounds brilliant, and all the Trinity stuff is good - touch screen, piano-action keyboard and expandability. Another synth to benefit from Korg UK's excellent support staff, with a keyboard overhaul and general replacement of common worn parts costing under £20 in parts with information on how to perform the repairs offered freely and competently. That the Pro X is around 10 to 8 years old and had been extensively gigged (it's been on Top of the Pops apparently!) and only needs one gritty slider replacing and a clean of the keyboard sensor (again, minor faults - just variable response for aftertouch on some keys, most people wouldn't notice) is testament to the quality of the professional Korg keyboard, and the way it had been looked after.
Wavestation A/D - seriously wonderful machine. Everyone should have one. Provides pads and sweeping atmosphere turd-polishing stuff.
Polysix - currently undergoing restoration. Suspected failure of the programmer board (KLM-367) combined with poor overall condition.
PME 40X - not a synth, but a modular effects unit which can have 4 stomp-box type effects plugged in, powered and routed. Rather nice, mine has 2 Octave Vs (one in need of slider replacement in a couple of places but still very evil), Analog Delay, Flanger and Chorus and Compressor modules.
A4 Bass - effects pedal.
Yamahas:
I often dismissed Yamaha, because of the consumer lever kit and the cut-down DX models we had to use at school. 4Op FM synthesis is not good at impressing the novice kid who learned how to make noises on a Jen SX2000, especially when buried in complex menu systems. Obviously Yamaha's extensive range of professional kit demonstrates that as a kid, I knew bugger all about these things, but I still find it hard to move beyond DX7 era FM stuff for that particular sound. I should try a mid 90s AN1X or similar.
DG-1000 guitar pre-amp. An early modelling pre-amp, from 1997. 2U high rackmount with motorised knobs for patch recall and 8 'amps', rather a nice little box and very simple to use and get excellent results from.
MEP4 MIDI Event Processor for the TX816
MR10 - I forgot I'd bought this incredibly basic drum machine. It's very crude and basic. Amusing.
SHS10 - toy keytar keyboard, mostly because I was given one as a present when I was about 13. Limited sounds but it does do the MIDI thing - it's usually paired with the Apple IIgs system.
CX5M - Music computer with SFG-05 music module and YK-20 keyboard.
Other stuff - Keyboards:
Jen SX1000 - Screaming leads, abusive filtering. Appears to have a faulty ADSR generator or control somewhere, but as it's all on one custom chip, it's probably not repairable. Still makes noises. Currently being cannibalised to restore a second SX1000.
Jen SX2000 - The first synthesizer I ever played. I think this one is broken, it looks awful and makes sounds to match. Simple analogue thing with not much to recommend it besides the price. I'd like one that hasn't been painted with emulsion.
Other stuff - Computer Music:
My early BBC Hybrid system with SX1000 in front. The new setup is tidier.
Acorn/Hybrid Music 500/4000/5000 - I have one each of these. My previous system, I sold due to the bulk of the setup, but I've since aquired more due to liking the flexibility. I need to get new software though. At the moment I'm current working on setting this up again, but have the problems of locked software/EPROM which I know I managed to work around previously. I also want to find out if the Music 3000 Expander has any differences from the Music 500/0 unit, as it is essentially just another one. They don't have onboard EPROM/ROM. I've just secured a second system with software and ROMs, and Music 2000 MIDI interface.
AlphaSyntauri (Mountain Computer) - 1980 Digital Synthesizer based around two synthesis cards from Mountain Computer (the Mountain Music System) and software, with a 61-key velocity sensitive controller keyboard, hosted in an Apple II (in my case, an unenhanced IIe). Has basic wavetable synthesis, with a lightpen to select options in the Mountain Computer Music System.
Yamaha CX5M - 32K MSX with sound module, marketed by Yamaha as a music sequencer (of limited ability) sound source and librarian/general studio tool. Equipped with YK-20 keyboard, SFG-05 (much better) sound module with full MIDI, and YRM-502 FM Voicing II cartridge. DX7 editor wanted, along with disk drive kit and other carts.
Other Stuff - Sound Modules, Drum Machines & noisy stuff:
Waldorf Pulse Plus - Watch yer bass bins, I'm tellin' ya. This thing is incredible. CV/Gate control of analogue kit, plus sounds which really make you wonder what's inside it - I thought it was analogue modelling, but it feels like true analogue.
Casio VZ-10M - Curious "professional" rackmount version of the VZ-1 evolution of the CZ PD synths. Still figuring it out. Has a RAM card somewhere.
Akai CS3000XL - classic Akai sampler with built-in CD-ROM drive.
Allen & Heath Brenell Inpulse One - "A what?" you say? Incredibly rare drum machine featuring 8 velocity sensitive pads, playable with hands or sticks, plus an insanely easy to use drum sequencer, crude MIDI, SMPTE and Timebase implementation to die for, and 256K of sample RAM. Sadly only 140 or less were made before production ended, and finding parts, extra sounds or information is next to impossible. I am making a page dedicated to the Inpulse One, but you can read the original brochure here - though their serial numbers are incorrect - they actually started at 1000-1089 with a further batch of "around 20" made following MIDI improvements, which were retrofitted to many of the older units. Since acquiring this some time ago, I've had contact with perhaps 3, maybe 4, owners and the designer - not one of the other owners I have spoken to has a working machine, though recently I've had contact with one of the original team responsible for it who has one, and has some sample tapes for it. A retrozone article written by yours truly appeared in the August 2004 Sound On Sound.
Sequential Circuits Drumtraks currently on loan from Roy Ashby, I hope to buy this as it offers different sounds to the Inpulse One, despite the typically obscure front panel!
TI Speak & Spell and Speak & Read - for sampling.
Stylophones - black, brown "New Sound" and white examples of the scary 70s 'toy' endorsed by Rolf Harris.
Other stuff - Guitars & Strings:
1981 Kramer Voyager Special - serial number A8459, black with Schaller "Hot Stuff" blade humbuckers, flicker trem, strat headstock. A wonderful £50 car boot sale find.
1988ish Kramer F-6000 (Focus - Japanese) - serial number B26976, cherry-red metallic, Floyd Rose locking trem, H-S-S pickups with coil tap. Very nice playing guitar.
Yamaha Pacifica 112 - natural wood finish. Second-hand beater bought after finding a new one played very nicely indeed - this was destined to be fitted with a Fernadez sustainer or similar, but the Kramer BIS above seemed to be better value overall.
Encore Bass my girlfriend bought for me to thrash.
Stagg Fretless Bass dirt cheap foray into Fretless, but allegedly solid body and plays quite well.
Squier HM V Bass - really Siani's, not sure what model it is, but it's Korean and sounds quite good. She claims to have paid next to nothing for it!
Hora Electric Cello - practically unique, one of the least expensive electric cellos ever produced and discontinued before many were sold, shaped like the F-hole but large. Undergoing upgrades to the electronics. Sounds like nothing else on earth when fed through the PME40X.
Hora Electic Violin - conventional violin with pickup and black paintwork. Nicely weighted/balanced instrument but perhaps hard to convey the moderate improvement in quality over the very cheap electric violins flooding eBay. Fitted with Wittner tailpiece and Infeld Red strings.
Other stuff - Outboard:
Antares AVP - vocal producer - Microphone Modelling, Pitch correction and stuff - basically ATR1a-lite plus some other bits.
ART Multiverb effects unit, bought very cheaply with a sliced-off power cable and dented front panel. Repaired and restored, works perfectly and is pure 80s.
Behringer Tube Composer Pro - Compressor/Expander/Limiter with real valves - like everything else they make, excellent value. I even vaguely understand how it works and how to use it.
Behringer Ultramizer Pro borrowed from my dad
Behringer DI-100 bought in a weird fit of common sense.
Digitech Studio S100 effects unit. I was very dismissive of it, it came with the same deal as the ART and I had little enthusiasm for it despite the 24-bit processing. It's actually a very clean sounding, capable multi FX unit and replaced the...
Zoom RFX-1000 which had been a faithful, albeit noisy, little box. When I get more cables it'll be wired back in, I have 4 send/returns after all!
Other stuff - Microphones:
Rode NT3 microphone
AKG C2000 B microphone - made in Germany, remarkably, yet cheaper than the Behringer B2 Pro
Laney K-35 (or something like that) - big ol' Combo amp
Recording and Production:
Behringer MX8000A - Mackie rip-off 24/48 channel desk. Very nice to use and total and utter overkill for my capability and needs.
Blackface ADATs - 2 of them, both rather beaten up - instant recording, though, with a companion BRC and AI2.
Behringer PX2000 patchbays - self explanatory really.
P&R patchbay - one of my early acquisitions, with a stack of MIDI cables for MIDI patching.
Apple Macintosh G5 - dual 2.0GHz Rev. A model, 2.5Gb RAM, 320Gb HD, ATi X800 256Mb graphics, Apple 20" Aluminium LCD and Apple 15" LCD - dual monitors are very useful when working with...
Emagic Logic Pro - excellent value, this package includes EXS24 and Space Designer. It also allows the use of SoundDiver OS X Beta - if you like this program tell Apple so they don't just let it die off.
SoundDiver 3.0 with Mac OS Classic and OMS still works on the G5, but slow.
RME Hammerfall DSP + Multiface - host card, and 8 channel analogue, 8 channel ADAT interface.
Emagic Unitor8 Mk II - very capable 8x8 MIDI interface, sadly out of production now. Offers all manner of synchronisation options and other advanced stuff I'll never make use of.
