Future Music - October 2022

FM | WELCOME

Editor-In-Chief
Si Truss, [email protected]
Reviews Editor, Music Technology
Simon Arblaster, [email protected]
Features Editor, Music Technology
Matt Mullen, [email protected]
Art Editor
Phil Cheesbrough, [email protected]
Managing Editor
Kate Puttick, [email protected]
Production Editor

Catherine Hood

CONTRIBUTORS SCAN TO GET
Andy Jones, Danny Turner, Roy Spencer, Rob Redman, James Russell, Bruce Aisher, ONEUWR SWLEEETKTLEYR
Martin Delaney, Oli Bell, Adam Lee, Olly Curtis, Simon Fellows, Robbie Stamp
30 years of FM!
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For Ad enquiries please contact: It’s a full three decades since Future Music launched in
Kyle Phillips, [email protected] 1992. While it would be disingenuous of me to try and
reminisce about those early days, seeing as I was still in
Direct Marketing Executive: Will Hardy primary school at the time, I’ve had the pleasure of editing
FM for over a quarter of its lifetime. Somehow these two
PRODUCTION & DISTRIBUTION facts make me feel simultaneously young and old...
Production Controller: Fran Twentyman
Production Manager: Mark Constance I’ve spent much of the past few weeks knee deep in a
Printed in the UK by: William Gibbons & Sons Ltd on behalf of Future pile of old issues in order to put together this anniversary
Distributed in the UK by: Marketforce (UK), 2nd Floor, 5 Churchill Place, special. I’ve also had the pleasure of being joined by two-
Canary Wharf, London, E14 5HU Tel: +44 (0) 203 787 9001 time former FM editor (and current ed of our sister mag
Computer Music) Andy Jones in collating this issue’s cover
CIRCULATION feature. Our aim has been not so much to just celebrate
Head of Newstrade: Tim Mathers FM – even if we’ve allowed ourselves the occasional pat
on the back – but to celebrate the music that has been
SUBSCRIPTIONS made during our lifetime, and the tech that’s helped to
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5

FM | CONTENTSContents|ThisIssue

IN THE STUDIO WITH…

Mura Masa

The Grammy-winning producer – aka
Alex Crossan – invites FM into his South
London studio shed

6

This Issue | Contents

ISSUE HIGHLIGHTS

80 68

REVIEWED Interview Panda Bear &
Sonic Boom
Roland Juno-X
15
The much beloved Juno-106 gets a 21st
century upgrade Filter
Moog Model 10

74 12 54 97

Interview Filter In the studio with… Music technology
Nils Frahm Korg Drumlogue Skudge The future of production

REVIEWS ARTISTS REGULARS SOCIAL

80 Roland JUNO-X M4IN T2HAESSMTAUUDIORA 12 Filter: Korg Drumlogue Find us online at
54 SKUDGE futuremusic.co.uk
84 Focusrite Vocaster 14 Filter: Aphex Twin Watch our videos
Two Studio 6PS8AOINNNTEDIRCAVIBEBWOEOARM& Samplebrain youtube.com/
N74IILNTSERFVRIEWAHM futuremusicmagazine
87 Sebsongs Euclidean 15 Filter: Moog Model 10 Follow us on Twitter
16 Filter: Apogee Boom Interface @futuremusicmag
88 Joué Play Pro Option 20 SAVE MONEY on a print or digital Join us on Facebook
subscription to Future Music facebook.com/
90 Sounds and Samples 97 Guide: Where is music technology futuremusicmagazine
92 Testbench: Full Bucket Frequency going next?
Shifter 2
94 Longterm test: Akai MPC One

7

SARY E D I TION

ANNIVER

FM | DIGITAL 22

FEATURE

30 years of production

We’ve seen the best and worst of music
tech over 30 years of publishing – but
which items made our definitive list?

ACCESSING YOUR BONUS
DIGITAL CONTENT

musicradar.
com/how-to/
future-music-
389-downloads

Head to the link above to
grab the latest samples
and downloads!

8

This Issue | Contents

IN THE ARCHIVE – UPDATED! TECHNIQUE & FEATURES

FM’s Sample Archive gives you 60
over 18GB of royalty-free sounds. 30 classic records…
Here’s what’s inside...
We explore a tiny selection of the
ARCHIVE > Minimal Hip-Hop (540 samples) past three decades’ finest
CLASSICS electronic music – via interviews
HOUSE & TECHNO with the artists behind them
AMBIENT SOUNDS PT.1 EXCLUSIVE SAMPLE PACKS
> Chicago House (537 samples)
> ’90s Ambient (562 samples) > House & Techno Stabs (213 samples) Electro Pop Drums
> Ambient Dawn (490 samples) > Jacking House (518 samples)
> Warehouse Techno (575 samples) CYCLICK SAMPLES PRESENT…

AMBIENT SOUNDS PT.2 PERCUSSION Capture the glossy, hard-hitting
sound of iconic 1980s pop acts
> Majestic Bells & Mallets (444 samples) > Modular Percussion (510 samples) with this bundle of classic drum
> Spring Reverb & Tape Delay (533 samples) > Shakers, Tambs & Toplines (503 samples) machine beats
> Sticks, Knocks & Rims (502 samples)
ATMOSPHERES & Kick Meets Bass
BACKGROUNDS MORE BEATS
GROOVE CRIMINALS PRESENT…
> Atmospheric Beds (369 samples) > ’80s Pop Drums (197 samples)
> Noise, Crackle & Hiss (512 samples) > Dub Percussion 2 (537 samples) Craft the perfect club banger with
> Sounds of the City (371 samples) > Jazz Drums (499 samples) this pack of punchy, low-end beats
> Total Snares (501 samples) that span the divide between kick
BASS BUNDLE drums and basslines
TRANCE & RAVE
> Amped-Up Bass (234 samples)
> Sub-Frequency Grooves (256 samples) > Classic Breakbeats (371 samples)
> Rave Synths (524 samples)
ESSENTIAL DRUMS > Trance Tools (537 samples)

> 808 and 909 (39 samples) NEW PACKS
> Ultimate Cymbals (503 samples)
> Ultimate Kick Bundle (505 samples) ’70S SYNTHS
> Ultimate Snares & Claps (676 samples)
> Vintage Drum Machine Hits > ’70s Synths Pt 1 (102 samples)
(548 samples) > ’70s Synths Pt 2 (192 samples)

FOUND FAVOURITES ’80S SYNTHS

> Mechanical Sounds (390 samples) > ’80s Synths Pt 1 (265 samples)
> Out There FX (500 samples) > ’80s Synths Pt 2 (279 samples)
> Studio Noise (234 samples)
> The Edge Of Noise (512 samples) ’90S SYNTHS
> The Sound Of Water (375 samples)
> ’90s Synths Pt 1 (414 samples)
FUTURE DRUMS > ’90s Synths Pt 2 (411 samples)

> Beyond Breakbeats (186 samples) ’00S SYNTHS
> Digital Percussion (502 samples)
> Electro FX (321 samples) > ’00s Synths Pt 1 (308 samples)
> Granular Drums (499 samples) > ’00s Synths Pt 2 (188 samples)

FX & TRANSITIONS PT.1 DRUM HITS

> Filter Fun (496 samples) > Analogue Drums (311 samples)
> Gates ‘N’ Sidechains (287 samples) > Rims ‘n’ Things (549 samples)
> Total Transitions (260 samples) > Resonator Percussion (502 samples)
> Hats, Cymbals & Gongs (280 samples)

FX & TRANSITIONS PT.2 LO-FI TOOLS

> Destroyed synths (519 samples) > Clips, Skips and Glitches (497 samples)
> Sci-Fi FX (501 samples) > Tape World (499 samples)
> Lo-fi Acoustic (277 samples)
HIP-HOP, FUNK & SOUL
ETHEREAL FX
> Cosmic Soul (386 samples)
> Funk Keys (279 samples) > Digital Nature (255 samples)
> Hip-Hop Drum Machines (387 samples) > Clouds & Air (496 samples)

9

Contents | This Issue

BONUS SAMPLES DOWNLOAD AT MUSICRADAR.COM/HOW-TO/FUTURE-MUSIC-389-DOWNLOADS
01 02

03 04

05 loopmasters.com

01 LP24 Footwork – Upbeat House Movements
02 Singomakers Neurofunk DNA Modification
03 Sample Diggers Chill Hop Sunset Breeze
04 UNDRGRND SOUNDS Peak Techno
05 Mask Movement Samples _Rare Breakbeat & Bass
06 Loopmasters pres. Organic & Downtempo House

06

10



FM | FILTERFilter|TheFutureOfMusic

12

The Future Of Music | Filter

Korg finally variations, and it’s said to be easy to
unveil Drumlogue record motion and accents. A
randomisation feature is on hand for
Analogue and digital drum sounds cross paths with instant experimentation.
an expanded ’logue Multi-Engine
> It’s been a minute – more Effects are here, too, split into
than 18 months, in fact – that lets you generate complex three categories – delay, reverb and
but Korg have finally patterns and polyrhythms. Features master – that can be used
launched Drumlogue, their include per-step probability, per-step simultaneously. The send amounts
alternate trigger patterns, per-step for the delay and reverb effects are
set independently, with multiple
“first hybrid drum machine”. micro offsets, per-track groove return points also available.

Offering both analogue and digital patterns and more. You navigate and Although the master effects apply
to your whole groove, they can be
sounds, this also includes an edit sequences on the OLED display. bypassed on a per-part basis, so
they’re only processing the parts of
expanded version of the Multi-Engine There’s also Chain mode, which your choice. The master effects
section has a sidechain bus, too.
found in other ’logue products, enables you to create longer, more There’s also an audio input, so that
other instruments can be processed
which lets you customise your interesting patterns. You can also through Drumlogue’s effects.

Drumlogue with new synth sounds. use Loop mode to switch between Speaking of I/O, Drumlogue has
plenty, including a USB-A port for
Drumlogue contains new connection to class-compliant MIDI
devices, standard MIDI I/O, sync I/O
analogue circuitry from Korg and USB MIDI. On the audio front,
there are four individual outs, and
engineer Junichi Ikeuchi, whose headphone and main L/R outputs.
Any part can be assigned to any
previous projects include the output; plenty of routing flexibility.

ARP2600 M, MS-20 Mini and Last but not least, we should
make mention of Drumlogue’s
ARPOdyssey. This is used to design, which promises to make it
easy to use. The key parameters for
generate kick, snare and low/high the main drum parts have dedicated
front-panel knobs for real-time
tom sounds, to give tracks “harmonic adjustment, while dedicated volume
pots for each part are designed to
richness and a thick low end”. speed up the mixing process. The
OLED screen, meanwhile, is said to
You can augment these analogue have a simple UI that can be
navigated using four dedicated
sounds with seven digital parts, six encoder knobs. You’ll also note the
angle of Drumlogue’s main panel,
of which are sample-based and one slanted towards the user for better
ergonomics and visibility.
of which uses the aforementioned
The Drumlogue is likely to be
Multi-Engine. The sample-based available towards the end of 2022,
priced at £529.
parts can play both the built-in PCM

tones and your own samples, which

can simply be dragged and dropped

from a computer over USB.

The expanded Multi-Engine now

features Variable Phase Modulation

(VPM) and noise generator engines,

plus a new user slot that can host

fully-fledged synth voices, complete

with filters, LFOs, MIDI-controlled

polyphony and other parameters.

For a taste of what this tech is

capable of, Korg is including Nano, a

new Drumlogue plugin from

Sinevibes, which has previously

developed a number of highly-

regarded plugins for other ’logue

instruments. This is described as a

fully-fledged synth with dual

oscillators, optional ring modulation,

a 4-pole state-variable filter with soft

clipping distortion, built-in EG and

built-in multi-waveform LFO.

Of course, Drumlogue also boasts

a sequencer – a 64-step powerhouse

13

Filter | The Future Of Music

Aphex Twin releases similarity. This then processes a
Samplebrain, a free and target sample, chopping it up into
open-source “custom sample blocks in the same way, and
mashing app” attempts to match each block with
> Having previously worked on one in its brain for real-time playing.
a synth with Novation and a Richard James) has now released a chopping samples up into a ‘brain’
microtuning plugin with free “custom sample mashing app” of small, interconnected sections The idea is that you’re
Oddsound, Aphex Twin (aka known as Samplebrain. This called blocks, which are grouped interpreting one sound with another.
open-source software works by into a network based on their There are plenty of tweakable
parameters – some with intriguing
names such as ‘novelty’, ‘boredom’
and ‘stickyness’ – and, pleasingly,
the software is said to be “slightly
out of control”.

If that all sounds a bit techy and
difficult, allow us to reassure you
that the workflow is actually pretty
straightforward. You simply need to
load some samples into the brain,
click the (re)generate brain button,
load a loop sample into the target,
click the (re)generate blocks button,
press play and then tweak the brain
parameters to taste.

Discussing the origins of the
software (it’s actually been in
development since 2015) and what
it’s capable of, Aphex Twin says,
“What if you could reconstruct
source audio from a selection of
other MP3s/audio on your
computer? What if you could build a
303 riff from only a cappellas or
bubbling mud sounds? What if you
could sing a silly tune and rebuild it
from classical music files? You can
do this with Samplebrain.”

While Aphex Twin worked on the
design of Samplebrain, it was
brought to life by Dave Griffiths of
non-profit organisation Then Try
This. Nik Gaffney helped out with
the Apple builds.

Samplebrain runs on PC and
Mac (Intel and silicon). You can
download it now at gitlab.com/
then-try-this/samplebrain

UAD Spark comes to PC
> Universal Audio have made
good on their promise to bring USB audio interfaces receive an
the UAD Spark native plugin extended 30-day trial, and if you
subscription service to already have a perpetual licence for
any of the Spark plugins, you’ll

Windows, so PC users can now access receive the native version for free.

some of the company’s best-loved Spark contains virtual versions of

instruments and effects in their DAW some of the greatest pieces of

without any additional UA hardware. hardware in music technology history,

Launched in March 2022, Spark was including the Minimoog synth, the

previously exclusive to macOS. API 2500, UA 1176 and Teletronix

The caveat is that you’ll need to LA-2A compressors, the Neve 1073

pay $20 a month for the privilege (or preamp and EQ channel strip, and

$150 a year), though there is a the Lexicon 224 digital reverb.

14-day trial option so you can try Spark now runs on PC and Mac in

before you buy. Owners of UA’s Volt VST3/AU/AAX formats.

14

The Future Of Music | Filter

Moog’s Model 10 modular
synth is back again

> Following a limited-time production run in 2019, Moog have now formally brought the Model
10 modular synth back into production.
First introduced in 1971, this compact, fully analogue instrument features 11 discrete
modules, including the 907 Fixed Filter Bank and three 900 Series oscillators. It’s a simpler
beast than the Model 15, its successor, and focuses on “purity of sound, speed, and simplicity”.

The new Model 10s are set to be built to order using the original engineering and manufacturing
techniques and traditional wiring methods. Each module will be tested, finished with an aluminium
panel and then placed in the custom wood, Tolex-wrapped cabinet.

There are several enhancements for the reissue, too, including an updated power supply that
supports a wider range of selectable voltages (so users outside the US can power the synth without
the need for an external step up/down transformer) and a redesigned rear panel with an updated
main power switch, power lamp, power inlet, grounding lug, and voltage selector switch.

You can also expect improved calibration and tuning reliability and, reassuringly, the Model 10 is
“internationally recognised as emission, radiation, and safety compliant,” which is a relief.

Bear in mind that, if you want to buy one, you’ll have to shell out $11,999. Maybe we’ll wait for
the iOS app version, then…

15

Filter | The Future Of Music

The Jellyfish is a new plugin that
dives into granular synthesis

> Best known for their expressive with the Jellyfish graphic that can be
controller gloves, Mimu have moved around the waveform to trigger
now released Jellyfish, a different parts of the sound.
“granular dream weaver”
plugin. Essentially, you’re getting a If you want to play The Jellyfish
granular synthesis engine that can from your MIDI keyboard, use the
accept real-time audio input and MIDI Markers feature, which enables
generate all-new sounds – drones, you to assign parts of your sound to
pulses, soundscapes and more. the keys. You can either pitch a single
sound across the keyboard, or assign
The Jellyfish comes with a library different parts of it to different keys
of its own samples or you can import so you can switch between them. You
your own or use the live audio option. get plenty of control over the granular
There are two modes – Drone keeps engine, and it’s possible to adjust the
looping the audio so you’ll always playback mode and speed.
hear a sound (useful for pulsing
effects) while in Event you’ll only hear Jellyfish runs on PC and Mac in
a sound when you start interacting VST/AU/AAX and standalone formats
and costs £99.

Intech Studio launch Knot, a
standalone USB MIDI host
> A USB MIDI controller is
the perfect foil for your other. There are also three LEDs Apogee release entry-level
computer-based DAW setup that provide visual feedback. Boom interface
– just plug it in and you reckon that it’s gone the extra mile
should be good to go – but what if Knot can be powered either by > Apogee have become the here, including a “studio-grade”
you want to use it with your a DC adapter or USB-C, and sends/ latest pro-level audio company headphone amp and zero-ohm
hardware synths and it doesn’t have receives MIDI data via its two to release a more affordable output, making it suitable for
any standard MIDI ports? 3.5mm TRS jacks. You can switch audio interface, following the
these between the A standard used trend set by SSL and Universal Audio. powering everything from in-ear
The usual workaround is to use by the likes of Korg, Make Noise,
the 5-pin ports on your computer’s IK Multimedia and Line 6, and the It’s called Boom, and is a 2-in/2-out monitors to high-impedance cans.
audio/MIDI interface, but this B standard used by Arturia,
involves your PC or Mac, which you Novation, 1010music and Polyend. device that connects via USB-C. There’s also a streaming-friendly
may not want to use. In this case,
Intech Studio’s new Knot could be Knot will be updated with new There’s a little more to Boom than Loopback mode. Configured via the
the solution. Described as a firmware (it’s an open hardware
‘standalone USB MIDI host’, this project) which can be installed by that, though, because it also has Apogee Control mixer software, this
dinky box enables you to plug in pressing the mode button while the
your MIDI controller on one side device is connected to a computer. some onboard DSP. This enables you enables you to blend and balance
and transmit/receive MIDI to/from
your hardware instruments on the Knot is currently available for to record through the Symphony ECS your analogue inputs with audio from
the early bird pre-order price of
$89. A single USB-C to USB-A Channel Strip; tuned by legendary any apps you’re running, all ready to
cable comes included.

mixer engineer Bob Clearmountain, send to Twitch, YouTube or Instagram.

this gives you analogue-style 3-band Boom is compatible with PC, Mac

EQ, compression and drive. and USB-C-equipped iOS devices,

Boom offers one 1/4-inch and can also connect to the Lightning

instrument input and one combi mic/ connector using an adapter. As well

line/instrument input. Apogee are keen as the Apogee Control software, it

to talk up the quality of the onboard ships with Ableton Live Lite and the

preamp, which offers 62dB of gain. Apogee Soft Limit plugin. You can

At the other end of the signal also get 50% off any Apogee plugin

chain, there are two 1/4-inch or plugin bundle by registering your

balanced outputs and a 1/4-inch Boom on the Apogee website. Boom

headphone output. Again, Apogee is available now priced at £329.

16



Get creative with | Ableton Live

Generate new musical
ideas in Ableton Live

Create ever-changing snare fills (or any other drum parts)

O ften when writing drums and fills we end up We’re using the Live 11 chance function on the ABOUT THE AUTHOR
repeating the same patterns, or unconsciously MIDI clip, combined with velocity range and a Sample
imitating what we are used to hearing. A way & Hold LFO to change the pitch of the sample. This Cristiano Nicolini is a
of finding inspiration is to let our software way we will create potentially infinite variations of curious and passionate
create patterns for us, and we can then decide what snare fills. lover of heartfelt
we like and what we don’t. music, quality sounds
To take it further and give it a more human feel, we and inspiring tech.
For the sake of simplicity, in the following example will add tightness and timing randomness using grooves. He’s constantly researching non
we will write snare fills over a simple dance groove. But conventional ideas and loves helping
don’t limit your imagination to simple things, this Randomness is liberating, but we still need to apply others be adventurous with their music.
technique can be applied to different drum elements, aesthetic judgment to the final result. Resampling the crinico.com
or even melodic lines. results using both audio and MIDI will give us the
ability to pick and choose what we like.

01 03

In a main drum loop project, in a new MIDI track, load To avoid a perfect quantisation feel, we
a snare sample into an empty Drum Rack slot and extract the groove from the drums and apply it
create a one-bar MIDI clip. Write a note for every 16th to the MIDI of the fill. This way any swing the
(experiment later with different subdivisions). Give a original drums had will be applied to the fill
35% chance to every note and a velocity range of -50, too. We then apply a bit of randomness to the
so not every note plays the same. groove so that every hit will not be perfectly
quantised each time.
02
04
In the Controls tab of the Simpler where your
snare is loaded, activate the LFO, choose a Create a new Audio and a new MIDI track. Choose the
Sample & Hold waveform, select 16th notes input on both as the snare track. Enable recording on
and dial in some modulation percentage of both of them and make the clip do a few passes. Now
the pitch. This way the snare sound will be a you’re free to choose what sounds better, both using the
different pitch every time. Use your taste to take lanes and moving the fills where best suited. You
find the right percentage. still have the MIDI too if you want a different sample.

18



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ANNIVERFeature | 30 Years

SARY E D I TION

22

30 Years | Feature

ISSUE 1 OF FUTURE MUSIC HIT
NEWS-STANDS 30 YEARS AGO
THIS MONTH. A lot has changed
in the world of music production
since then – software has become
exponentially more powerful,
instruments have become smaller,
and synths went digital… and then
analogue again. This issue we chart
three decades of electronic music
making through 30 essential or
influential production tools.
U nsurprisingly, making
electronic music in Some things haven’t changed so
1992 was a much though. Early issues of Future
considerably Music saw us debating whether
different process to digital synths could capture the feel
of their analogue counterparts, while

what it is now. When issue 6 had us lauding the legacy of

the first issue of Future Music arrived Roland’s TR-909 (remember that?)

in October of that year, digital music while bemoaning its spiralling

making technology was still in a state second-hand prices. Interestingly,

of relative infancy. that same issue saw us testing several

In that first issue, we showed you pieces of ‘auto-composition software’

how to add feel to a drum groove in and asking if computer technology

Cubase – a feature that might not feel could now write worthwhile music for

out of place in FM today, although the you – a debate that mirrors the one

software itself is absolutely around modern tools like Mixed in

unrecognisable. Running on Atari ST, Key’s Captain plugins or Plugin

Macintosh or Windows, beat-making Boutique’s Scaler.

in the ‘92 iteration of Steinberg’s Aside from looking at the actual

DAW involved dragging crude markers music – which we’ll come to on page

around a black-and-white grid that 60 – the best way to trace the ebbs

looked more like an incredibly basic and flows of electronic music is

spreadsheet application than an through the tech we’ve used to make

inspiring creative tool. it. To celebrate our 30th birthday, this

Elsewhere, we debated the merits issue we’re charting our 30 favourite

of the top 10 sample CDs – a cutting gear releases of FM’s lifetime, from

edge format at the time, where a classic synths to cutting edge

mere £50 (the equivalent of around software and beyond.

£110 today) would buy you just shy HAVE YOUR SAY!
of 1000 loops and samples. It makes
the 230 sounds we offered in our No Dave Smith synths!? No
debut sample disc (with issue 4) look Serum!? No Logic Pro!? Tell
like an absolute bargain – no wonder us what’s missing from our
it ended up providing the foundation list and nominate your
for numerous classic tracks, such as favourite instrument of the
Origin Unknown’s Valley of the past 30 years. PLUS, help
Shadows. Issue 1 also saw us us crown the greatest
previewing the cutting-edge Atari albums of FM’s lifetime.
Falcon, which boasted eight channels HEAD TO: musicradar.com/
of 16-bit digital sound. news/future-music-vote

23

Feature | 30 Years

NOVATION BASS STATION
WHAT IS IT?: MONO (AND 303-A-LIKE) SYNTH | LAUNCH YEAR: 1993 | LAUNCH PRICE: £349
I n 1993, dance music was at a
peak, with the tools used to keyboard. He relished the opportunity and, of course, the sound. The synth You’d think the story would end
create it having been produced and the results were amazing: a featured digitally controlled analogue there as the Bass Station was very
by Roland a decade before. digitally controlled machine with an oscillators and an analogue filter that much a machine of the ’90s. But in
One of these, the now iconic analogue character that more than gave it exactly what people wanted: 2013 Novation released the souped-
emulated a 303. In fact it was 303 grit that didn’t cost four figures. up and brilliant Bass Station 2, which
also shifted the numbers, and even
TB-303 Bass Line, had capable of a wide variety of sounds, So successful was the original model the company’s latest Peak polysynth
can claim some Bass Station lineage.
become a pillar of the dance but its name and the welcoming price – apparently selling well into six
As for famous users of the
community because of its ability to tag helped make the original Bass figures – that Novation quickly original, Orbital and Massive Attack
represent two ’90s strands while Josh
produce tearing and squealing Station a hit and the start of a couple followed it up with a rack version ‘Higher State Of Consciousness’ Wink
is also a fan. And as one of the most
basslines and leads that (literally) of decades of bass for its makers. (pictured) in 1994 with more presets famous 303 users ever, if it’s good
enough for him…
resonated with dance fans. But with What we said at the time (60) plus a useful LED screen.
only 10,000 of the original machines 1997’s Super Bass Station upped the IN A NUTSHELL

made, prices were starting to rise. “A MIDI compatible monosynth presets to 150, with a sub-oscillator Bass Station delivered the
goods in the 1990s when
Roland, however, were not interested capable of creating all those classic that gave it a lot more sonic clout. the needs of many dance
producers were being
in recreating something they’d done analogue sounds, and a bit more That wasn’t the end of it. The ignored. It spawned a range
of machines but will always
before, so it was up to smaller and besides. It’s an ideal way to add those Bass Station spawned other not so be remembered as the
alternative – and very
faster-moving manufacturers to analogue sounds to your present obvious offspring in the form of the British – 303.

recreate the old sounds for the new setup without worrying about Drum Station, a 1996 drum module

masses. Enter Novation… retro-fits or secondhand uncertainty. designed to emulate the rest of

The Bass Station was designed by Solid, super and less than 400 Roland’s dance music gear. And then

synth legend Chris Hugget who had notes. Smashing.” there was the 1998 Supernova, a

produced the mighty OSCar and Legacy huge and still sought-after polysynth
unique Wasp synths. He was tasked with the Bass Station very much at its

with producing a synth that was The original Bass Station only had core. There was even a software

capable of those sliding 303-style seven memories, yet it was successful version of Bass Station which you can

riffs, all within a relatively affordable thanks to its ease of use, portability now download for free.

24

30 Years | Feature

ITS QUALITY, DIVERSITY, EASE OF USE
AND EXPANDABILITY, GAVE IT THE
KIND OF MOMENTUM NOT EVEN
ROLAND COULD HAVE FORESEEN

ROLAND JV-1080
WHAT IS IT?: SUPER SOUND MODULE WITH EXPANDABILITY | LAUNCH YEAR: 1994 | LAUNCH PRICE: £1,085
I n the 1990s, the world of the
synth was (broadly) divided into with: everything from electronic your taste, you’ll find a set of sounds doubled the polyphony. (And no, we
smaller, newer companies trying basses, leads and pads, to authentic here. What more could you ask for?” don’t know why a 4080 never came
to make the sounds of yesteryear acoustic and orchestral samples. But out either.) The expansion cards were
for the kids of tomorrow, and the easy to install expansions – Legacy also added to with House, Techno,
initially covering Pop, Orchestral, Dance, Asian, Country among many
With 64 notes of polyphony and 16 more options for your custom sound
collection needs. Famous users
the old guard trying to make Piano, Vintage and World – gave it a parts of multitimbraility the 1080 included Faithless, Tony Banks and
Paul van Dyk, yet its impact was
every other sound. There were virtual bespoke route to expandability that was always designed to be the wider as a sound source behind many
a film and TV soundtrack – Hans
analogues for dance music and great producers of the time loved, and its ultimate song-writing and film-scoring Zimmer and Nathan McCree (Tomb
Raider) were big users – which has
big digital workstations designed for sounds and those of the expansions tool. But it was the sheer brilliance of led to Roland claiming it as the most
widely used sound module ever
everything else. The big Japanese ended up on many a chart hit and on those sounds – many designed by a created. And who are we to argue?

companies, mostly kept their feet in even more film and TV scores. certain Eric Persing – that people fell IN A NUTSHELL

this latter camp, producing keyboards What we said at the time in love with, on top, of course, of that The JV-1080 might have
expandability. The synthesis options looked like another boring,
and modules full to the brim with black sound module, but it
and its children became
presets, polyphony, multitimbrality, “It really is the icing on the dog’s were there if you wanted them, and studio mainstays; not just
workhorses, more
effects… you name it. And Roland bollocks. It features a massive 64 weren’t that hard to access beneath a thoroughbred do-everything
sound modules.
were the biggest proponents of the notes of polyphony and 512 sounds few menus if you wished to twist and

all-singing sound module. (plus 128 user) as well as the option tweak the sounds, but it was the

In the middle of the decade, their for expansion by sound cards. presets and expansion options – by

JV-1080 was an unassuming release, Massive eh? It’s quite easy to get way of SR JV-80 cards and two PCM

just another of these power-packed around the JV-1080, to set up slots at the front of the unit – that

modules, yet its quality, diversity, combinations and MIDI controllers sold this module by the bucketload.

ease of use and expandability, but its biggest attraction has to be its Never ones to miss the chance of

suddenly gave it the kind of catalogue of sounds: great grunge an upgrade, Roland continued the JV

momentum not even Roland could guitars; fine basses; loads of pads, range with the JV-2080 (with double

have foreseen. The breadth of sounds fab pianos and organs; and a heap of the JV slots for more sounds) and

it came with was pretty good to start indescribable sound effects. Whatever then the XV-3080 and 5080 which

25

Feature | 30 Years

CLAVIA NORD LEAD
WHAT IS IT?: THE FIRST VIRTUAL ANALOGUE SYNTH | LAUNCH YEAR: 1995 | LAUNCH PRICE: $1,995
The 1990s were all about
virtual analogues or was taking the top tech of the day Legacy Meanwhile the Nord synth range
feature-packed digital and refining it into a pristine emulation didn’t just stick with the Leads. The
synths. The company that of the best of analogue synthesis, and Even though it was very much seen as Modular was and still is regarded as
kick-started the former boy did it do a good job. So good that a high-end keyboard, the original ahead of its time thanks to its
we recall opening up our review Nord Lead 1 shifted enough numbers unlimited modular appeal and
for Clavia to continue the line, software compatibility.

category – so arguably model to check that it wasn’t full of releasing follow-ups including the It took Clavia a decade to add to
the Lead 2x (which followed the 3)
also had a hand in much of the analogue components. And inside? Lead 2 [pictured], 3 and 2x which with the 2013 Nord Lead 4 and then
the 2014 A1 which is a very easy and
software we use today – were Clavia, Pretty much an empty metal box, eventually notched the polyphony up quite brilliant way to jump on the
Nord Lead wagon if you are a
with the original Nord Lead 1. With with one circuit board and enough to 20 voices. It wasn’t common for first-time user. Nearly a decade on,
though, we’d love to see a proper
just four voices of polyphony, a basic room to store your flat-pack furniture. virtual analogue synth manufacturers Nord Lead 5. Something to look out
for at the next NAMM perhaps?
architecture and no effects, it doesn’t to embrace the sounds of ‘real’
keyboards like synths and organs, but IN A NUTSHELL
seem outstanding in today’s terms but What we said at the time
The Nord Lead not only
back in 1995 it was a game-changer. “Some may wonder what the point is Clavia then released the Nord Electro launched virtual analogue
hardware, but its top-notch
Synths back then were knobless, – using the best technology to in 2001. It took the emulation ethos emulation ethos found its
way into whole new lines of
black and menu-driven machines that recreate the oldest of sounds may of the Nord Lead synths but applied it keyboards and synths that
are still among the most
weren’t a lot of fun. Then out of seem somewhat strange. And you to Hammonds, Rhodes, Wurlitzers highly regarded today.

nowhere – actually Sweden – came could always buy a set of secondhand and other famous ‘proper’ keyboards.

this red synth with loads of knobs, a synths and get them retro fitted for So successful have Clavia (now

wooden pitch stick and enough space the cost of the Nord Lead. But what Nord Keyboards) been with these

on its front panel for a library of you do get is a brand-new digital quality keyboard emulations that a

instruction manuals. Without wishing synth that gives you analogue results whole series of keyboards – Piano,

to stereotype: if IKEA had made a with a genuine reliability – with the Stage and Grand – have joined the

synth, it would have been this. number of secondhand synths Electro, mostly with that distinct red

While Lead 1 looked analogue, it declining as their prices increase, a hue you can spot a player using on TV

was anything but, with Clavia creating new model (albeit digital) becomes a mile off. It was a great and forward-

the first ‘virtual analogue’ synth. This that much more attractive.” thinking marketing move after all…

26

30 Years | Feature

PERHAPS ITS MOST FAMOUS USE
IS THE MAIN LEAD OF SMACK MY

BITCH UP BY THE PRODIGY

KORG PROPHECY
WHAT IS IT?: MULTI-ENGINED MONOSYNTH WITH HANDS-ON CONTROL | LAUNCH YEAR: 1995 | LAUNCH PRICE: £999
I n the 1990s the big Japanese
synth companies finally woke this: virtual analogue, physical Legacy monster Z1, essentially a 12-part
up to the obsession for modelling and Variable Phase (expandable to 16) polyphonic and
hands-on control and liquid Modulation. With such mixed Prophecy looked different from most 6-part multitimbral Prophecy for less
analogue sounds. While Roland messaging, not to mention much of synths, but borrowed from just about than twice the price of the original.
its architecture hidden, Prophecy all of them. It featured MOSS
(Multi-Oscillator Synthesis System), Prophecy had a number of famous

soldiered on with expandable should have gone the way of the dodo. with nine oscillator types delivering users including the usual suspects of

modules (until their JP-8000), both But its cool aesthetic, big sounds and the VA, VPM and three types of Jarre and BT, but perhaps its most

Yamaha and Korg steered their oil hands-on controls helped it succeed physical modelling that lay behind famous use is the main lead of

tankers back to analogue, albeit in in a sea of me-too synths. It was even Prophecy’s wide range of sounds. The Smack My Bitch Up by The Prodigy,

largely digital ways. Yamaha’s (arguably) the synth that kicked the touch ‘log controller’ was key to its which alone seals its place in history.

response was the CS1x, a digital analogue door down for Korg, Yamaha success, delivering realism for your And ultimately, while Prophecy might

sound module with knobs on. It must and Roland to go through and orchestral sounds or analogue for your not have aged well – you can still pick

have taken minutes to design but was eventually return to the synths that basses and leads. Nothing beat them up relatively cheap – without it

*whisper* actually pretty good. Korg, made them big in the first place. hearing a sound morph as you slid Korg might not have returned to the

meanwhile, came up with something What we said at the time your finger along it. (This was the path that has given us so many great
different: hands-on, dirty, analogue- 1990s remember; we’d been 21st century synths, from Volcas to

ish, monophonic and a bit weird… “It may only be monophonic and play stepping through menus with buttons ARPs. What Prophecy predicted

Prophecy was a big sounding just one sound at a time, but Korg’s for the previous ten years.) certainly came true.

monosynth and a lot more. On the Prophecy is the business. This The synth must have shown Korg IN A NUTSHELL
one hand it made huge 303-style amazing synth heralds a return to that there was a demand for analogue,
sounds, utilising a touch strip user control and fat analogue sounds or at least analogue-style interfaces, Quirky, fun, hands-on, big
controller and assignable performance – not to mention a sophisticated but it took them a while to get back sounding and frankly weird,
rotaries to get sliding effects; but on physical-modelling synthesis system on that bandwagon, and the rest of Korg’s Prophecy stood out
the other it tried to emulate acoustic for ‘real’ instrument sonics… If you the 1990s was filled with Trinitys, among the duller synths of
instruments. And it used every sit down with one of these you’ll Tritons, even the OASYS soundcard. the ’90s and predicted a
synthesis method of the time to do be captivated.” But one direct descendent was the grand, hands-on future.

27

Feature | 30 Years

FROM DEPECHE AND JARRE DOWN
EVERYONE NODS SAGELY WHEN YOU

SEE A VIRUS IN THE STUDIO

ACCESS VIRUS
WHAT IS IT?: VIRTUAL ANALOGUE SYNTH AND DANCE MEGASTAR | LAUNCH YEAR: 1997 |
I n the 1990s, Access were
creating MIDI controllers for the recreations of anything the electronic its red finish, was initially rather lazily in 2009 with the Virus Ti. This
likes of Oberheim and Waldorf music producers of the time required: seen as a Nord Lead clone. But its became the ultimate Virus, adding
but it wasn’t a direction the supersaws, 303s, huge leads, effects, 16 parts of multitimbrality, computer integration and a firm
company would pursue for long. arpeggiations and deep sub basses. multiple outputs and sonic partnership between hardware and
architecture – 64 digital waveforms software which is still rare today.
Not only did Access deliver the
The Virus sound not only became
“We found that building our sounds, it became one of the coolest on top of the traditional saw and that of dance – with everyone from
Leftfield to Jam And Spoon
own synthesiser would be much more synths to own in the latter part of the square waves plus two flexible filters employing its glorious textures to full
effect – but was adopted by the
fun,” they decided. More fun and decade. If you had Access, you had – very much gave it its own character broader electronic scene. From the
gods – Depeche and Jarre –
successful as it turned out. What they the keys to the VIP areas of clubland. and audience. You could get more downwards, everyone still nods sagely
when you see a Virus in the studio.
built would define tracks and genres What we said at the time than ‘just’ a virtual analogue sound by
well into the next century. employing the digital waveforms, IN A NUTSHELL

The Access Virus (which became “Sure, the Virus is no super-synth, while 16 parts of multitimbrality The Access Virus range
might have started as a
‘A’) was their first release. While and in many ways the Supernova and enabled the Virus to handle every synth that perfectly
emulated analogue but it
probably not a name synth Z1 are far superior synths. But that’s track a dance anthem needed. became an essential synth
used by the entire
manufacturers would choose these not the point. The Virus is relatively And that’s pretty much what it electronic music
community. The Serum of
days, this Virus was very much simple to use, once you’ve hiked up ended up doing, and so successful hardware, if you will.
Serum? Virus? Coincidence?
something people wanted back in the the steepish learning curve that is, was it that Access quickly released

’90s. On the face of it, it was an out and it fulfils a healthy range of useful the follow up, the B (pictured), in

and out virtual analogue machine but functions. It’s great as either a dance 1999 (along with a rack, keyboard

actually had a few digital elements in module or an extra source of some and compact keyboard versions) and

its signal path that would give it the quality analogue-style sounds. This then the C (with similar alternatives)

edge over the Nords and Novations of Virus is catching.” in 2002. The Virus became one of

the time. Yet it was those big, Legacy the first great synths to be used in
analogue dance sounds that it software on both the Pro Tools and TC

became famous for. It could produce The original Access Virus was a Powercore platforms in the 2000s,

precise, physically modelled 12-note polyphonic synth that, given and this computer linkage continued

28

30 Years | Feature

Doepfer A-100 Image-Line Fruity Loops Fruity Loops as it looked in allowed users to move pre-
2001. Once derided, but its programmed loops and samples
[1995] [1997] roster of users speaks louder around a grid to sequence tracks.
The A-100 system from German Over the course of its life, Fruity While the scope was limited – there
designers Doepfer isn’t necessarily Loops – eventually renamed FL multiple generations of rising hip-hop were few effects, and the sound was
remarkable for the modules Studio after a legal dispute with and EDM producers. fairly lo-fi – crucially the included
themselves – although the 200-odd cereal brand Kellogg’s – has loops nailed the sound of ’90s club
strong lineup of modules added over consistently been the most divisive Music/Music 2000 music to a tee. Its influence was
the past three decades certainly isn’t DAW on the market. Some producers massive too, providing a gateway into
short on highlights. What the original swear by it, others unfairly write it off [1998] music making for countless young
A-100 is primarily remembered for is as an underpowered plaything. Since When the original PS1 launched in dance, grime and hip-hop producers.
the format it launched: Eurorack. The its inception though, Fruity Loops has the mid-’90s, it provided something
configuration of modules 3U tall and taken a more playful and accessible of a cultural moment, and one often Propellerhead ReBirth
multiples of 2HP wide has become a approach than other DAWs, and one tied to dance music. The Playstation RB-338
defacto standard for the majority of that lends itself particularly well to was a games console pitched at
modular brands over the years, loop-centric beatmaking. By doing so, adults – in the UK and Europe, Sony [1999]
bringing much needed coherence to it’s provided a creative platform for seemed determined to make it the de A precursor to the studio-in-a-box
the realm and playing a massive role facto post-clubbing activity for ’90s design of Reason, ReBirth was a
in the resurgence we’ve seen in ravers. Part of that appeal lied with pioneering softsynth that combined
modular synthesis over the past Wipeout, the iconic sci-fi racing game emulations of two Roland TB-303s
couple of decades. that made the most of its cutting- and a TR-808, with a TR-909 also
added for version two. The design of
Steinberg Cubase VST “ITS INFLUENCE WAS MASSIVE, the grooveboxes was remarkably
PROVIDING A GATEWAY INTO MUSIC faithful, and the sound decent,
[1996] although limited by the restrictions of
Since the advent of software music MAKING FOR COUNTLESS DANCE, soundcards of the era. Like the
making, there have been numerous GRIME AND HIP-HOP PRODUCERS” Playstation Music games mentioned,
plugin formats compatible with a ReBirth was fun and accessible,
variety of DAWs and OSes. While albeit with a more pro slant, with
Steinberg’s Virtual Studio Technology features including pattern switching,
has never been the only game in and a sequencer-equipped filter.
town, it’s set the standard – to the
point that many musicians use the ReBirth survived in a variety of
terms ‘plugin’ and ‘VST’ forms for nearly two decades before
interchangeably – and it opened up a finally being discontinued due to a
wide world of software possibilities. legal claim from Roland in 2017.

Music 2000, Playstation’s play edge CD format to bring gamers a
for a stake in dance music soundtrack featuring Leftfield, The
production got many hooked Chemical Brothers and Orbital (as
well as a host of original compositions
inspired by the sound of underground
dance music).

Towards the end of the ’90s the
PS1’s dance music ambitions
reached their logical conclusion with
the arrival of Music, a game that was
effectively an entry-level DAW, similar
in style to Amiga-based trackers but
with a more accessible design. Both
Music, and its follow up Music 2000,

29

Feature | 30 Years

ALESIS ANDROMEDA A6
WHAT IS IT?: MIND-BLOWING ANALOGUE SYNTH WORKSTATION | LAUNCH YEAR: 2001 | LAUNCH PRICE: £2,599
M assive analogue
polysynth in the with 16 parts of multitimbrality and an arpeggiator, loads of controls and, confuse. But there was nothing else
early 2000s? 16 voices so it could operate over 16 importantly, a completely analogue like this synth in 2001; an analogue
Alesis? Are you MIDI channels as 16 separate signal path. Yes there was digital multitimbral workstation for way less
kidding? Even two analogue monosynths. control, effects and envelopes and than three grand. Despite the lack of
LFOs, but the actual signal path from heritage in the name, Andromeda
In 2001 this was a fantastical sold enough to keep production going
for a decade. It created, or at least
decades on we’re synth odyssey. But Andromeda was its 32 oscillators through 32 filters spurred on, the revival in analogue
synthesis and helped Alesis to
still in shock that Andromeda actually very real, reasonably priced and did (both operating at two per voice) become, well okay, part of, InMusic.
And you suspect that now they are
happened, let alone it being produced better than even the most cynical of could remain entirely analogue. part of this much bigger corporation,
we will never see the likes of
by a company that is now famous for us expected. And incredibly, it went A fantastic modulation matrix, Andromeda again. Certainly not with
their name on it, anyway. But then we
cheap speakers and controller on to do it for another ten years. offering 71 sources and 90+ thought that 20 years ago…

keyboards. Yet Andromeda did What we said at the time destinations, helped give Andromeda IN A NUTSHELL
happen, and it’s quite possibly the a mighty, evolving and varied sound:
Andromeda was a curious,
best synth – or at least one of the “If you’re lucky enough to have massive, complex and dynamic when once-in-a-lifetime synth
release that joined up
most important – of the 21st century. £2,599 to spend on an instrument, you wanted it to be, or simply big, fat classic analogue designs
with 21st century thinking
In 2001 synths were still VA or you’re going to need a damn good and analogue. With 72 rotaries and to shine a light and show
there was a future for
largely digital and Alesis had just reason not to invest in this baby. As over 100 buttons, pretty much every analogue synths.

restructured after filing for for the rest of us, we’d better start feature had its own control and the

bankruptcy. They had produced saving. The ideas behind the massive screen gave you all the

ground-breaking products in the past Andromeda may not be new, but it information you needed. Also worth

– ADAT and Quadraverb being the defines the future of easy sound mentioning was the connectivity, with

most notable, while their SR and generation and manipulation.” main and aux outs plus eight stereo

HR-16 drum machines were best- Legacy outputs, two CV ins and three audio
sellers. But rather than play it safe inputs – an impressive array even now.

after near extinction, Alesis then just Andromeda packed in a hell of a lot There were negatives. Andromeda

went for it, releasing the Andromeda for its asking price including effects, weighed a ton, had reliability issues

A6. This was an analogue workstation extensive modulation, 256 presets, and an architecture that could

30

30 Years | Feature

MOOG VOYAGER
WHAT IS IT?: MINIMOOG RECREATION WITH 21ST CENTURY ADDITIONS | LAUNCH YEAR: 2002 | LAUNCH PRICE: £2,200
T he story of Bob Moog
and his company name Within a decade of this release, and pretty much everything else at launch with the limited edition
is: he invented the Korg were knocking out Volcas for the about the original Moog Minimoog, Signature model released at the same
modern concept of the price of a three-course meal, Eurorack but added a lot more besides. Firstly time as the first and original
synth with the Minimoog was exploding and it was like digital it had a continuous sweep across its Performer Edition. Later we got the
synthesis had never happened. Bob core oscillator waveforms (the original 50th Anniversary Edition, the Electric

in 1970, then lost the can take responsibility for some of was fixed on one of six) and there was Blue, the customisable Select Series,

Moog Music company name, but by this with Voyager. He’d invented the also a dedicated LFO, extra filter and the Rack Mount Edition (RME), the

2002 had mostly (bar the UK) got the synth in the first place in the 20th modulation features. But perhaps the Voyager Old School and then finally

rights back. To celebrate, what could century, and now he was its analogue biggest additions for the 21st century the Voyager XL, a massive Voyager

be better than recreating the original saviour in the 21st. synth user were patch memories, a with patching, a larger keyboard and

Minimoog with some cool 21st century screen, keyboard velocity and more performance controls.
aftertouch and a Touch Surface Voyager has now almost reached
additions? The resulting Voyager was What we said at the time

not just welcomed back as a fantastic “To have all of the sonic qualities of a Controller (TSC) with which you could the same status as its grandparent,

nostalgia trip, but warmly received as totally analogue machine, with logical control three filter parameters (or use and even with so many hardware

a future classic in its own right. and satisfying controls ready to be as a modulation source). Voyager also clones and software emulations of

Yet this synth was even bigger tweaked, but with masses of extra featured a full complement of MIDI that original Minimoog out there,

than that. Voyager can now be seen features also waiting to be used if connections and way more ins and Voyager is still the best way to buy

as one of the big synth releases that required – and all with reliable outs than the original. into that sound.

welcomed back analogue synthesis at keyboard triggering and solid tuning So far, so 21st century Minimoog, IN A NUTSHELL
the start of the 21st century. No one (not something you can honestly and that was enough to seal the deal
thought it could ever return – there guarantee on a 25-year-old Minimoog) for many; Voyager ended up selling Voyager was a fitting synth
were rumours that analogue – is extremely tempting.” some 14,000 units over the next 13 to help Bob celebrate and
components would be too expensive years. Perhaps what helped it garner brought his original synth
to produce – yet Voyager and one or Legacy classic status was a series of additions success story up to date for
two other releases proved it was still a and upgrades which helped keep it in the 21st century. The
commercially viable proposition. The Moog Voyager featured the the public eye. These actually started Minimoog at its peak.
familiar three-oscillator architecture

31

Feature | 30 Years

WITH EXTRAORDINARY DEPTH, REAL-
TIME CONTROLS AND A DYNAMIC

SOUND, IT WAS LIKE NOTHING ELSE

ROLAND V-SYNTH
WHAT IS IT?: EVERYTHING ROLAND, ALL IN ONE BOX | LAUNCH YEAR: 2003 | LAUNCH PRICE: £1,999
I n the 1990s, you could criticise
Roland for not reacting to the With everything including the until after his death. To get around Roland had (again stubbornly) stuck
needs of the market which was kitchen sink in V-Synth, it impressed this with the V-Synth in 2003, yet with; a fine idea but very much sixth
demanding classic analogue and baffled enough people to sell still embrace the latest technology, form student drama on stage. Only
Roland sounds. To give them well. You couldn’t find this level of the company effectively put a Jarre could ever get away with
performance control anywhere else at computer into a Roland box. It was something similar via his laser harp.

their due, they were trying to the time and there were extraordinary packed with tech we might take for But V-Synth found many a home
and famous users like Orbital,
forge ahead in other areas. By the levels of sound design. granted these days in our Macs and Ladytron, BT and Nick Rhodes. With
extraordinary depth, amazing
start of the 21st century they’d pretty What we said at the time PCs, with the VariPhrase sampling real-time controls and a dynamic
much tried everything including technology being the most obvious sound, V-Synth was like nothing else
and really hasn’t been bettered since.
virtual analogue with the JP-8000 “All-in-all the V-Synth is a great synth example. It allowed you to use Roland did release a souped-up GT
version and an XT rack (with proper
and real-time sample warping with and should find many friends among supplied waveforms or your own industrial handles), but have since
focused more on the software and
their VariPhrase VP9000. They’d those wanting to break free from the samples and play them back in – for hardware versions of their classics
that we all demanded back then.
reached a ROMpler peak with the endless merry-go-round of re-releases then – unusual and sophisticated
IN A NUTSHELL
finest sound modules, and gone off that many manufacturers have ways, like playing it back across your
V-Synth was the sum of
road with the frankly odd D-Beam become stuck on of late. It can do keyboard with real-time pitch and many disparate Roland
technologies all packed
technology that was finding its way conventional very well, but head off time manipulation. into one keyboard to make
one of the ultimate
into so much Roland gear. road and the V-Synth opens up into But what you would not find on performance synths.

Some of it worked, some of it one hell of a creative beast.” your computers were the real-time

didn’t, but they just carried on Legacy performance features on V-Synth. The
ploughing their own synth path TimeTrip Pad was an X-Y touch pad

regardless. What to do with all that Roland’s founder Ikutaro Kakehashi that you could assign parameters to

technology? Shove it all inside one once told us that Roland gear would and then you had the twin D-Beam

big, heavy box and come out with one never feature in a computer controllers. These were assignable,

of the most wide-ranging synths ever environment – it was standalone. The left and right movement detectors so

created. V-Synth was the peak and company didn’t really embrace the you could control sounds with hand

merger of several Roland technologies. computer music-making revolution gestures. It was a technology that

32

30 Years | Feature

CRAMMED THE BEST BITS OF THE
MS2000 INTO A MINI KEYBOARD

POWERED BY SIX BATTERIES

KORG MICROKORG
WHAT IS IT?: THE BEST-SELLING PORTABLE SYNTH EVER | LAUNCH YEAR: 2003 | LAUNCH PRICE: £399
I t has tiny keys, not enough
controls for its virtual analogue that has led to countless products range and well beyond. Certainly the design. If you really want to go off the
engine, is quite difficult to use, over the course of this century. appearance – quite a shock at the beaten microKorg track, strap yourself
and suffered pretty middling time, as we recall – of the Volca range into the RK-100S keytar version.
reviews on release. It even has And with its powerful virtual in 2013 must owe something to the Finally the microKorg S was the last
analogue synthesis, a vocoder and portable power of the microKorg. version of the synth to be released in
some wonderful sounds, microKorg 2016, which is more like the original,
with double the presets.
the wrong name if you think didn’t just help kickstart this portable But it’s the direct descendants
Famous users include Crystal
about it (microSynth anyone?). Yet revolution, it continues to be a good that tell the real story. A limited Castles, The Killers and LCD
Soundsystem, but it’s perhaps the not
Korg’s microKorg is quite possibly one seller for Korg to this day. edition reverse colour key microKorg so famous masses that are the real
story here as microKorg – in its many
of the best – and certainly longest – What we said at the time came out in 2007 but didn’t bring incarnations – has sold well into six
selling synthesisers ever made. anything else to the party, whereas figures. And a quick Google tells us
you can still buy (at least) the original
At the start of the century we were “On the one hand, the microKorg is a the 2009 microKorg XL added a lot model, the XL+update and the S
version brand new. This microStory
surrounded by virtual analogue bargain, it’s highly portable, it’s more. It had better MMT analogue will run and run.

synths, and Korg jumped on board immediate, it looks and sounds great. modelling, double the polyphony (to IN A NUTSHELL

with the MS2000 synth and rack. On the other hand you could probably eight voices), an improved screen, Not all classic synths have
to be workstations or virtual
This was a great entry for Korg, sold pick up an MS2000 for £150 more, KAOSS effects, PCM waveforms (for analogue monsters costing
thousands. microKorg is the
well and truly opened the ‘hands-on and just think of all that extra more ‘real’ instrument sounds) plus original mini synth with the
maxi life.
control’ door the Prophecy unlocked. tweakability that comes with it. It’s a waveshaping for a more varied tone

But back in 2002, someone at Korg tough one, but for those that need an and a Unison Simulator for big,

must have been thinking about a affordable and tidy little synth with a stacked leads (think ‘supersaw’).

portable version and the result was vocoder thrown in and the sort of This was an excellent update to

the Korg microKorg, a synth that looks that will make an impression, the microKorg but wasn’t the end of

effectively crammed the best bits of then the microKorg fits the bill.” it. The less said about the 2009

the MS2000 into a mini keyboard Legacy microSampler, the better, but the
powered by six batteries. It would be microKorg XL+, released in 2012,

the start of a micro and mini You could argue that the microKorg’s added more vintage sounds, extra

explosion for the Japanese company success had an impact across Korg’s categories and a ‘nostalgic’ black

33

Feature | 30 Years

ELEKTRON MONOMACHINE
WHAT IS IT?: SYNTHESISER AND SEQUENCER WITH ATTITUDE | LAUNCH YEAR: 2004 | LAUNCH PRICE: SFX-6 KEYBOARD: €1,950, 60 MODULE: €1,350
L
ike Clavia in the 1990s, ambience, low bit-rate industrial Legacy having six plus flexible (and complex)
Elektron were another mechanics, the dirtiest of beats and, effects routing gave Monomachine
Swedish company who well, amazing results… if you let it. Using Monomachine might take a the kind of sonic prowess and depth
designed products on shift in your thinking. It utilises six that richly rewarded extended delving.
their own terms. With It got quite a reputation, and even internal sequencer tracks and six But for those who allowed the
though it led to loads of other great monosynth engines (Machines), each

the Monomachine they products and lines, it is still the one with eight Parameter Locks that can machine to rock – and count Air and

took the concept of the synth and piece of Elektron gear that is most in be tweaked and recorded. You get the Autechre among those – this could be

sequencer groovebox into new demand, commanding sky-high original SID Machine that was based a fantastically rewarding relationship.

dimensions, stuck it into an secondhand prices, particularly for on the Commodore 64 SID chip Monomachine, of course, could

aluminium box and a keyboard the limited edition keyboard. behind Elektron’s very first product, be said to have led to every other

shaped like a cricket bat, added a the 1999 SidStation. Superwave is fantastic Elektron product since but
the more analogue Machine with five one direct relative was the SFX60 Mk
joystick, and came up with one of the What we said at the time

best products of the 2000s. “We were impressed by the range of oscillator types. Others include II from 2009, an update of the

Sometimes you get the impression tones we could coax from it, from DigiPro which delivers 32 waveforms module that contained extra

that you don’t buy Elektron gear to classic to futuristic, and then there’s and is often used for beat creation; waveforms, a better signal to noise

serve a purpose, you serve the gear the fact that it’s a six-note polyphonic FM+ for Frequency Modulation ratio and a slightly thinner design.

and it will take you wherever the hell synth in disguise as well. The synthesis; GND for sine and noise IN A NUTSHELL
it wants. You don’t necessarily sequencer is detailed enough and full (often not included as a main engine)
approach Monomachine with a of unique creative possibilities that it and finally VO which is a voice Monomachine is both a
specific idea in mind – it’s more a can hold its own against computer- modeller. Add a dedicated effects design and sonic classic, an
collaborator. What you both come up based packages. Elektron have taken machine which can also process inspiring box/bat that will
with, though, will always sound great the best of established ideas and external signals and you had a very give you much more than
and have attitude. Monomachine was mixed them with some maverick compelling setup. you put in – eventually –
the grittier alternative to the ‘always design spirit to give us an eminently and is now one of the
lush, always smiling’ VA synths of the usable instrument with bags of Any single one of these Machines standout synths/
era; it would also give you dark character and charm.” could have been the engine in any grooveboxes of the era.
other hardware synth of that time, but

34

30 Years | Feature

sound like a vocal or guitar line, this
new technology let users completely
change chord patterns or fix the
pitch or timing of a single part of a
vocal harmony.

Korg Kaoss Pad Garageband may be less Pioneer CDJ-1000
feature-heavy than Logic, but
[1999] its reach is unmatched [2004]
While Korg’s sampler and multi-effect Pioneer’s CDJ range weren’t the first
pad was by no means the first effect widely adopted and at times bettered become synonymous in the minds of DJ-focused CD players – the likes of
processor designed for live in rival software, it’s hard to imagine the general public with the Denon had got there previously – but
performance, its design was fairly how different the course of distinctive, overt pitch correction the ubiquitous CDJ-1000, and their
revolutionary in the way that it made music-making software design might used – for both good and ill – numerous successors, have shaped
sound mangling such a tactile, hands- have been had these ideas not been throughout modern music. modern DJing like no other device.
on experience. Its XY pad would kicked off by Live. Love them or hate them, CDJ features
preempt the way we’ve come to use For those in the know though, such as simple syncing, one-touch
touchscreens and tablets by two Celemony Melodyne Celemony’s Melodyne is the more loopers and the ability to change a
decades. It was fun, creative and groundbreaking pitch tool. Although track’s tempo without altering the
expressive, capturing the [2001] Melodyne launched with version 1 in pitch, have had a major impact on
imaginations of producers like Brian When it comes to pitch correction 2001, its key development arrived the way DJing styles and techniques
Eno, bands including Radiohead and software, Antares Auto-Tune is the with Melodyne 4 in 2009. This have evolved in the post-turntable
countless DJs. household name. For the name has version added DNA – or direct note age. Coupled with Pioneer’s rekordbox
access – a feature that was, at the software, and the current gen’s ability
Ableton Live time, genuinely draw dropping, in its to link multiple decks to a single
ability to allow users to edit USB, the CDJ range has even
[2001] individual notes in polyphonic managed to outlive the format that
We’ve written in these pages material. While previous pitch gave them their name.
previously about the influence of correction tools had let producers fix
Ableton Live – in fact, we dedicated a or change the notes in a monophonic Apple GarageBand
full issue to it on the DAW’s 20th
anniversary last year. It bears [2004]
repeating here though. While much of Apple’s top-tier DAW Logic – originally
what made Live distinctive over the developed by Emagic – is certainly
years, such as its clip launching the bigger hitter in music production
workflow, audio warping and terms, and in its current state it’s
easy-to-use devices, has now been undoubtedly one of the best – and
certainly best value – music making
Ableton Live shook up the packages around. In terms of the
modern DAW format as we once impact on music as a whole, we’d
knew it with its innovations argue that its entry-level sibling
GarageBand is the more significant
application though. While there have
been plenty of quality free and
accessible music making apps over
the years, none have done as much to
democratise the music production
process as GarageBand. Part of this
comes down to having the heft of
Apple behind it – by including
GarageBand on various computers,
phones and tablets, Apple
automatically put it onto the desk of a
whole generation of budding music
makers. Its simple, accessible design
is hard to knock though, making the
process of composing and recording
easier than ever before.

35

Feature | 30 Years

NI MASCHINE
WHAT IS IT?: MPC-INSPIRED MIDI CONTROLLER FOR PAIRED WITH NI’S BEATMAKING SOFTWARE | LAUNCH YEAR: 2009 | LAUNCH PRICE: £515
M aschine was
essentially (if designed to fit a specific application, success for NI, and the range One. In 2020, NI followed suit
obviously, but Maschine presented a software expanded and developed rapidly in themselves with Maschine+, a full
indirectly) environment made solely for use with the decade following the release of circle for the range that shifted the
pitched as an a controller, and a plug-and-play MIDI version one, incorporating the more software onto a built-in CPU running
device with full end-to-end access. compact Maschine Mikro, the a Linux OS.

MPC for the That bond meant that Maschine expanded Maschine Studio, That’s not to say that the

laptop generation. With its square could offer a tight, fluid workflow, grid-based Maschine Jam, and a Maschine controllers have been

frame and 16 pads ready for sample allowing beatmakers to quickly jam companion iOS version. resigned to irrelevance. NI have

slicing and finger drumming, the loops, tweak and resample, apply In the earlier half of the ’10s, developed the Maschine ecosystem

similarities between Native effects and then quickly integrate Maschine’s software-meets-hardware beyond its beatmaking roots into a

Instruments’ beatmaker and Roger those creations into a DAW. approach seemed to be the prevailing fully fledged DAW capable of

Linn’s original MPC concept are great. paradigm for modern production recording and sequencing audio,
gear. Its success inspired the likes of sequencing external hardware and
What sets the two devices apart, What we said at the time

however, is Maschine’s reliance on “Maschine [sits] squarely in Akai Ableton Push, and even the MPC much more besides. The current,

software. Whereas – at least back in MPC territory. That said, it can’t be range that provided Maschine’s interface-equipped mk3 hardware is

2009 – all MPC models made use of used as the centrepiece of a studio original inspiration followed in its excellent too, capable of providing a

internal sampling, Maschine handed since there’s no way to sequence footsteps, with Akai pivoting to a new slick studio centrepiece.

off all the actual music making external MIDI gear from its software. generation of MPC controllers in Given NI’s recent mergers, the

processes to its accompanying As for that other MPC plus, the lack 2012. Over the past few years, future is unclear for Maschine, but we

software application, which would run of any software-induced latency, this however, increasing numbers of hope there’s life in it yet.

on the user’s computer. What made is down to your audio interface and musicians have clamoured for ways IN A NUTSHELL
Maschine’s design quietly drivers, but we’re confident that to move from a reliance on software.
revolutionary, however, was just how Maschine can hold its own.” Akai led the way this time, ditching The original Maschine was
tight the bond between that software the largely forgettable MPC an MPC for the laptop
and the hardware controller was. We’d Legacy controllers for excellent all-in-one generation, in many ways
already seen plenty of MIDI devices devices such as the MPC Live and the era’s defining product.
The Maschine proved an instant

36

30 Years | Feature

KORG MINILOGUE
WHAT IS IT?: FOUR-VOICE ANALOGUE POLYSYNTH | LAUNCH YEAR: 2016 | LAUNCH PRICE: £435
T he Minilogue arrived
against the backdrop of experience we associate with classic the excellent Monologue monosynth, What’s interesting about the
a boom in affordable analogue polys. higher-end Prologue and a Minilogue is that, despite that
analogue synths. By forthcoming drum machine named obvious success, it’s had few direct
2016, hardware-loving The Minilogue’s real trump card, Drumlogue. It also spawned a direct rivals in the years since. Budget
however, is the versatility it offers for follow-up in the form of the Minilogue polysynths are certainly more
its price – thanks to a multitude of common than they once were, but
most tend to be digital, such as
music makers were voice modes, it can do classic pads XD, which added an additional Arturia’s MicroFreak or Modal
Electronics’ various compact
spoiled for choice, with the likes of and chords, monophonic bass or element of digital sound generation in keyboards. It could be argued that
some of Behringer’s affordable
Arturia’s Mini- and MicroBrutes, leads, arp lines and sequences, and the form of its customisable oscillator analogue synths sit in a similar
ballpark, but even the DeepMind 12
Novation’s Bass Station 2 and Korg’s thick unison parts too. The analogue and effect section. or Poly D come with a significantly
higher street price than the
own Volca range all jostling for delay module and external input are The XD is an excellent instrument, Minilogue. Ultimately, if you want
analogue versatility on a budget,
attention in the sub-£500 bracket. the cherry on the cake. but it doesn’t necessarily supersede there’s still no better deal in town.

Minilogue stood out though, due What we said at the time the original; the additions add an IN A NUTSHELL
not only to its polyphony – a rarity extra layer of complexity and a bump
Several years on, the
amongst a sea of monosynths – but “You can make deep, subby and in price, which means there’s still Minilogue is still one of the
best value synths on the
the fact that it felt like a proper, growling basses, a great Wurlitzer- something to be said for the user- market, and a brilliantly
versatile package for its
substantial instrument, rather than a style EP, wah Clavs, rich evolving friendly analogue purity of the original. bargain price.

compact compromise like many of pads, cutting leads, huge stacked There’s no doubt that the

the Volcas or Roland’s Boutique range. unison sounds and MS-20-style FX Minilogue has been a success for

Although the Minilogue’s slim and bleeps. In fact, it’s scary how so Korg. Six years on from its release, it

keys and the relatively modest voice many different types of sound just still ranks highly in retailer Reverb’s

count belies its status as an drop out of the Minilogue with little annual rankings of the best-selling

affordable instrument, the ruggedly effort. It’s just so inspiring.” synths – consistently higher than

built interface, equipped with Legacy anything else in the ’logue range,
hands-on controls for almost every including the XD. It’s also one of the

parameter, allows for the sort of The Minilogue kicked off a whole most common instruments we’ll find

proper, tactile sound programming range of ’logues for Korg, including on visits to artists’ studios.

37

Feature | 30 Years

ELEKTRON DIGITAKT
WHAT IS IT?: SAMPLER AND SEQUENCER | LAUNCH YEAR: 2017 | LAUNCH PRICE: £659
A s production software
became increasingly Arturia’s Beat- and KeyStep range. Legacy well-pitched Digitakt was in the first
powerful throughout With Digitakt, Elektron tapped into place; instantaneous enough to be
the ’90s and ’00s, this trend perfectly. In terms of Elektron’s product line, inspiring both live and in the studio,
hardware samplers Digitakt marked a break from the while capable enough to steal
Although the Swedish brand company’s previous focus on high-end primary beat-making duties away
already had a successful lineup in the gear like the Analog Four, RYTM and from your DAW.

and sequencers began form of Octatrack, Digitakt was a Octatrack and a shift towards more Digitakt has fared well in the years
since its initial release too, thanks to
to look obsolete. Why would anyone more mass-market affair, with a broadly accessible hardware. The a steady run of firmware updates that
have expanded its capabilities. These
want to work with a limited and cheaper price and more accessible sampler was followed by Digitone, have included the addition of extra
LFOs and expanded filter modes, that
expensive piece of equipment when workflow. It captures the software- an FM synth pitched at a similar help add to the appeal of Digitakt as
a one-stop-shop for beat making. It’s
soft samplers offered vastly superior made-hardware balance perfectly, level, which does an equally little surprise that it’s become a
must-have staple for the studios of
sampling capacity, increased with quick and capable sound design impressive job at taking a primarily electronic musicians, constantly
cropping up within artists’ kit lists.
polyphony and total recall of projects? tools reminiscent of something like digital format and making it work as a
IN A NUTSHELL
By 2010, production hardware Ableton Simpler, but housed in a hands-on instrument.
Digitakt brought sampled
appeared to be following the paradigm slick and satisfyingly tactile and The company have ventured even beat making back out the
box, and introduced a
popularised by Maschine – bespoke inspiring instrument. closer to the entry-level end of the fresh generation to the
creative potential of
controllers designed to work in What we said at the time market in the years since too, with hands-on sampling.
tandem with powerful software. Model:Samples and Model:Cycles,

The past decade has seen a “While Digitakt is very flexible and which take the basic format of

reversal in this though. Many of the capable, Digitakt isn’t necessarily the Digitakt and -tone and repackage

most successful music-making tools most intuitive sampler to use. This them into compact, preset-focused

in recent years have been those will likely not come as a surprise to grooveboxes. There’s a lot to like

designed to draw musicians away seasoned users of Elektron gear – it about both, but with a slightly more

from their DAWs without completely tends to be the case that the limited set of features neither is as

losing the conveniences offered by company’s instruments boast depth inspiring as their higher-end

software – products such as Akai’s and functionality at the cost of counterparts. If anything, their

excellent standalone MPCs or simplicity and accessibility.” existence hammers home how

38

30 Years | Feature

ROLAND TR-8S
WHAT IS IT?: DRUM MACHINE BASED ON VIRTUAL ANALOGUE, SAMPLE AND FM ENGINES | LAUNCH YEAR: 2018 | LAUNCH PRICE: £609
N o other brand had
the enduring effect the combined 909, 808 and 707 Legacy them. While the vintage sounds are
on dance music sounds were remarkably on-point, and the backbone of the drum machine,
that Roland did the interface, with faders and chunky Since the arrival of the first Aira wave, the more interesting FM sounds and
with their early ’80s sequencing buttons, accurately Roland have gone all in on their highly versatile sample engine mean
captured the joy of sequencing with a legacy products. Between the that the overall character is far
Boutique range – which offers more

run of synths and hardware drum machine. straightforward, downsized clones of broader than most other beatmakers

grooveboxes. For much of the ’00s, Arriving four years later, the the classics – the virtual Cloud on the market. What’s more, the

however, Roland were reluctant to TR-8S improved on its predecessor in emulations, and the Zen Core- sizeable interface, complete with

revisit the machines that provided the several significant ways. It ditched powered instruments that stuff a ton automatable controls and powerful

foundations of house and techno. the green trim for a smarter all-black of sampled sounds into instruments sequencer, make for a highly tactile

That all changed in 2014 with the look, and it added extensive new like the Juno-X and MC-707, there’s and capable machine that’s become a

arrival of the Aira range, launched capabilities, with sample and FM a head-spinning array of options for staple for electronic live performers.

with a trio of instruments that, drum engines sitting alongside the those looking to get their retro Roland Among all the products that aim

between them, aimed to emulate the analogue emulations, plus expanded fix. Sonically, there’s often little to to put a fresh spin on their heritage,

sound of some of the company’s most effect and automation abilities. differentiate these multiple product the TR-8S is Roland’s best attempt.

iconic instruments. What we said at the time lines. Those looking for 808 sounds, It’s built on the sounds and ideas that
Those initial Aira instruments for example, have the option of the helped found house and techno, but

were a mixed bag. The 303-inspired “On the whole, the TR-8S is TR-8 and TR-8S, TR-6, a Boutique is not entirely beholden to them.

TB-3 although capable of producing excellent. It builds on the potential of TR-08 or the TR-808 cloud plugin, IN A NUTSHELL
some solid acid sounds, housed them the original TR-8 in all the right ways. all of which offer essentially the same
in a garish, touchscreen-equipped The added depth does lose a little of set of digital emulations. Roland’s best attempt at
unit that missed the appeal of the the immediacy, but the trade off is revisiting the legacy of the
original. Of those first Airas, the TR-8 balanced well overall, creating a What makes the TR-8S stand out brand’s classic grooveboxes,
drum machine was the highlight. machine that’s far more flexible but against those other instruments isn’t but also an inspiring and
While it’s black-and-green styling and still intuitive and, most importantly, a so much the quality of the emulated capable modern instrument
lack of analogue circuitry was divisive, lot of fun to use.” drum sounds – which are still in its own right.
impressive – but everything around

39

Feature | 30 Years

Native Instruments Native Instruments’ Massive
Massive once dominated over other
plugin synths for good reason
[2004]
It’s hard to think of a plugin that had
the impact that Massive did. For a
time around the late ‘00s, Massive
was everywhere – it was the go-to
synth for producers across the
electronic spectrum, thanks to its
powerful wavetable engine and
generous feature set. What made
Massive truly distinctive were its
modulation and macro tools though.
Its ability to easily modulate filters,
wavetable positions and pitch
effectively spawned the distinctive
‘wub’ sound of US dubstep and
generated thousands of EDM and
drum & bass basslines. As far as
wavetable plugins go, Serum is
probably now more powerful and
popular, but Massive had to walk so
the likes of Serum could run.

Novation Launchpad Apple iPad Whether as sketch pads, controllers or pint-sized instrument has remained
file sharing tools, pocket devices and so popular for so long – consistently
[2009] [2010] tablets have become a key part of the topping online retailer Reverb’s list of
Novation’s Launchpad Live controllers Love them or hate them, Apple modern music-making toolkit. And as the most sold synths, and creeping up
obviously owe a lot to Ableton’s DAW. devices have had a huge impact on current gen iPad Pros begin to reach in price to well above its original
The original was a simple, button- the development of mobile music parity in power terms with their launch RRP. It’s finally been
laden device designed to let users making. Although iPhones had desktop counterparts, it looks like superseded by the updated – and
have easy, hands-on control of Live’s already been around for a few years mobile music-making will only get even more expensive – OP-1 Field,
clips and scenes. By taking the when the company announced the better in the decade to come. but the original OP will live on as an
concept out-of-the-box, however, the first iPad in 2010, it was the arrival icon of modern instrument design.
Launchpad helped usher in a whole of those larger tablets that really Teenage Engineering
new style of live performance. The kicked off the iOS music-making OP-1 Arturia Beatstep Pro
Launchpad concept has been realm. Within a few years, we were
bettered considerably in the years beginning to realise the sci-fi dream [2011] [2015]
since – both by the likes of Ableton’s of accessing cheap, touchscreen- Ten years on from its initial release, The rise of software sent production
Push controller and Novation’s own enable synths and effects that we there’s still nothing quite like the into the box, only for hardware synths
successors – but the original could carry with us wherever we went. OP-1. Its unique combination of and sequencers to make a comeback.
Launchpad launched a thousand live synthesis, sampling, effects Analogue fell out of fashion only to
sets and YouTube performances. processing and loop recording give it come roaring back. By the end of the
a workflow unrivalled in creative 2010s though, even mainstream,
potential by any other portable device entry-level gear was incorporating
(except, arguably, a phone or tablet.) analogue ins and outs. Few
It must be this uniqueness that has companies have ridden this analogue
meant the Teenage Engineering’s resurgence as well as Arturia,
breaking from their software roots
Teenage Engineering’s OP-1 with a run of impressive analogue
wasn’t just a great device – it synths and CV-equipped controllers.
was also a fashion statement The highlight of the company’s
hardware range, however, remains the
Beatstep Pro – a compact, highly
versatile CV-equipped sequencer that
bridges the gap between analogue CV,
MIDI and digital production like no
other device.

40

30 Years | Feature

MOOG DFAM
WHAT IS IT?: SEMI-MODULAR PERCUSSION SYNTH | LAUNCH YEAR: 2018 | LAUNCH PRICE: £549
It took until the release of the
Mother-32 in 2016 for Moog to Core to DFAM’s character is the Legacy pairing with other drum machines or
properly wade into the modern way its oscillators interact. The two a DAW – but used alongside the
modular waters. That first entry VCOs have a particularly wide range, In terms of Moog’s product line, MIDI-equipped Subharmonicon or
into the ‘Mother’ range was a and can be synced as well as used for DFAM sits at the vanguard of a Mother-32 this is easily overcome.
audio rate modulation. Each oscillator full-throated semi-modular revival,
preceded by the Mother-32, but A few years on from its initial
release, the key thing that means
fairly straightforward instrument, also has its own punchy pitch followed by the Subharmonicon, DFAM still stands out from the crowd
is how unconventional it is. While a
a single oscillator monosynth envelope, all of which makes the Grandmother and Matriarch. Of these, monophonic, percussive synth might
not be so unusual in the modular
equipped with a 32-step sequencer, synth capable of excellent metallic the Mother-32, DFAM and realm, as a mass-market synth it’s
certainly an unusual sell – offering
32-point patchbay and classic Moog perc tones, tuned drums and Subharmonicon are effectively neither the variety of sound we expect
from a drum machine, nor the
ladder filter. Moog’s follow-up, sweeping kicks that can really cut siblings, housed in identical Eurorack- versatility of a true monosynth. Kudos
for Moog though, for not only making
however, was anything but through a mix. compatible chassis and designed to something so distinct, but convincing
the world why it’s a must-have.
conventional. play nicely when used together in one
of the brand’s multi-tier racks. IN A NUTSHELL
An initialisation of Drummer From What we said at the time
Despite its limitations as a
Another Mother, DFAM sits in the “DFAM is a top-quality creative We’ve included DFAM here as it’s standalone instrument,
DFAM is a distinctive and
space somewhere between drum percussion synth, but it’s worth the most distinctive and, by some inspiring instrument that’s
caught the imaginations of
machine and synthesiser. On the one considering how you plan on using it. metrics, successful of the trio, but it’s countless producers.

hand, its monophonic signal path If you already own a Mother-32, this probably fairer to consider the three

with dual oscillators and resonant should definitely be on your wish as a single ecosystem. It’s certainly

ladder filter is classic Moog synth list… they really do pair together true to say that, while DFAM is

fodder. However, the snappy brilliantly. Similarly, if you’re looking appealing as a standalone instrument,

envelopes – with control over just the for an interesting new drum voice for it comes into its own when paired

decay length – combined with its a Eurorack system, this is highly with one of those sibling instruments,

routable noise generator and basic recommended. For broader studio use or a wider modular system. The

eight-step sequencer, means the though, we’d advise you to have a instrument’s biggest drawback

instrument is particularly well-suited think about how DFAM would fit into remains its lack of a MIDI clock input

to punchy, percussive sounds. your workflow before purchasing.” – which can make it awkward for

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In The Studio With | Mura Masa © Olly Curtis/Future

MURA MASA

Grammy-winning Alex Crossan has worked
with some of the most exciting names in pop,
rock and hip-hop. But, as he tells Matt Mullen,
he still places creativity over technical ability

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Mura Masa | In The Studio With

s we enter Alex Crossan’s home studio, Was demon time produced entirely in your

housed in a modestly sized room at the home studio?

end of his shady South London garden, “It was entirely recorded in that little room back there,

we’re politely asked to remove our shoes. excusing some remote vocals that came in from

This isn’t only to preserve the white international artists.”

carpet, though – the producer tells us that

the no-shoes policy is an idea pinched What do you feel has been the most significant change

from Rostam Batmanglij of Vampire in your approach to music-making between this album

Weekend, who nabbed it from Rick Rubin. By popping off and R.Y.C.?

your shoes, the thinking goes, you invite your collaborators to “I embarked on a different process this time, because the

let their guard down, opening up the creative process to a driver behind the decision-making was spontaneity and

more loose, playful and unrestricted space. mischief and fun. So I wanted to create an environment

Those three words neatly capture the spirit of demon where that could happen with very few time-consuming

time, Crossan’s third album as Mura Masa. A no-fucks-given constraints. I created a palette, like a painter would have:

embrace of fun, riot and mischief, the project was conceived drum samples, synth patches, other kinds of sounds and

during lockdown as a means to combat the introspection and effects and little tags and stuff. I’ve got a big folder in my

isolation faced during the early days of the pandemic. sample library just called ‘demon time’. And it’s all sounds

“The key word just became fun. That became the driving that I felt reflected that attitude. So that when I did get in the

force behind the sonic palette of the album,” Crossan tells room with people, it was just a case of pulling from that

us. “Demon time is that 1am to 6am period, you’re maybe a canvas, or pulling from that palette.

little bit too drunk, maybe doing something you might regret, “There was no thinking, oh, now I have to worry about

but not really – secretly you thought it was quite fun.” whether this drum sound sounds the way I want it to. I could

Across 11 tracks of unruly, future-facing pop music, just be like, oh, I need a clap. I’ve got ten demon time-

sounding claps here. That is a different way around

“THE DRIVER BEHIND THE DECISION- from the way I would do it normally, where I would
do everything in the room. But it really sped up that
MAKING WAS SPONTANEITY AND FUN. SO process of having an idea and then immediately
having the resources to make it. I’m always trying to
I WANTED TO CREATE AN ENVIRONMENT close that gap between having the idea and being
able to put it down.”

WHERE THAT COULD HAPPEN” So you’re trying to minimise that in-between
period where you lose the creative spark?

Crossan holds a fractured mirror to our hedonistic, “I think a lot of people suffer from that in technical
attention-deficient world, and finds it looking back with a studio settings, where it’s like: oh, I’ve got this really amazing
mischievous grin. The album zips between more genres than idea but I have to sit down at my synth, shape the sound,
we care to name, inviting a varied cast of collaborators on a patch things in and then record it in a certain way. There’s a
giddy, endorphin-rushing tour of his musical influences. lot to be said for doing some of that previously outside of a
quote-unquote creative environment, where it’s just focusing
Critics might say it sounds more like a playlist than an on the technical aspects of the sonics. It’s something that I’m
album, but that’s missing the point entirely. The record’s definitely going to carry forward because it’s worked really
born of a slap-happy desire to toss expectations out the well. It means that in a session, you’re not wasting time going
window, with every aspect of its creation, from the lyrics and through 100 kick samples. I’m a big fan of that.”
artwork through to the finer details of the production,
embodying the mischief and mayhem implicit in its Where do you find your samples?
arch-concept: demon time. “I try not to directly sample from records. More than
anything for publishing reasons. Also, I find if you hear
Back in Crossan’s studio, we’re beginning to talk through something you like, and you try and recreate it, you’re never
his creative process, and there’s something he’d like us to gonna get exactly close, but what you will get is something
know. He’s keen to inform us that if there’s one thing he that is a little bit different in a way that you can’t help. For
wants people to take away from this interview, it’s that he this album, I was creating the drums with synthesisers. I’ve
truly doesn’t know what he’s doing. got the Monomachine. That’s been revelatory. I’m a big fan
of Reddit drum kits that people post, the trap kits circuit, I’m
The Grammy-winning 26-year-old’s modesty is admirable, very well versed in that. I’m an occasional Splice user, I think
if a little misplaced – he’s notched up north of a billion that’s fun. But never the charting stuff. You gotta go in with a
streams and worked with more big names than most keyword and really search for the weird thing.
producers do in an entire career – but the confession
touches on something essential about his approach to “One thing I’d love to do is just set a track recording, and
music-making. really fuck around on a synth for like 20 minutes, and then
spend another 20 minutes listening back to it and marking
“There’s a whole approach that does away with the off sections. That’s actually what I was doing before this
technical snobbery of production, that’s just about output,” interview – I was doing a big Monomachine jam.”
he tells us. The practice of music production is beset by
protocols to follow, conventions to observe, techniques to So you’re sampling your own jams, in a way.
learn, menus to dive and manuals to read. But for Crossan, “Exactly. That’s something that Flume put into my head. I
what matters is that what’s coming out of the master bus saw him doing it. That is a really good way to get to the crux
makes you feel something. In the words of Mura Masa,
“don’t overthink it – it’s about having fun”.

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In The Studio With | Mura Masa

of that messing about vibe. Sampling that, resampling it and something that neither of us would have come across. But

putting it into a granulator. One of my production idols is yeah, it’s case by case. Some people have a very clear idea of

Arca. She occasionally does these live streams where she’s what they want from me and I respect that. Or if I’m

showing her process, and it’s very destructive. She’ll print the working on somebody else’s project, then it’s about me

reverb onto the track, then chop that up. There’s no restraint, making suggestions about what I’d like to hear from them,

no thinking,‘I should plan for the future by bussing this and I’m feeding back off that.”

thing out, or separating it’. It’s very spur of the moment.

That’s been super inspiring.” Can you talk us through one or two bits of equipment

that were fundamental to the making of demon time?

When it comes to working with collaborators, do you “The Ableton 11 Drum Buss is crazy. It does nuts things to

have a particular process, or are you taking a new drums, it just makes them sound better. That’s how I’d

approach with each person? describe it. It has a great transient shaper, there’s some

“I’d say the commonalities are talking to them about what distortion built in there. I use that all the time.

they’re really interested in at that moment. That’s always a “Antares Auto-Tune, I gotta be honest, that goes on

good starting point, because the answer always surprises you. almost everything. Even if it’s not doing the legwork of

You’ll get in with a reggaeton artist, thinking you’re gonna actually tuning the vocal, sometimes I’ll tune the retune

make some reggaeton, and then be like, what are you really speed to really long so it’s not actually tuning the vocal.

interested in? And they’ll be like, oh, I’m listening to loads of There’s something about the way the vocal gets processed, it

Portishead. Then you just follow that. Then they’re happy has this weird digital sheen on it. That’s become part of the

because they’re not being pigeon-holed, and you’re trusting lexicon of pop music vocals – it’s a really powerful thing.

them to do something a little bit different. “The Abbey Road TG Mastering Chain, from Waves.

“I always describe it as putting one foot into their world, Again, this is going to make somebody who’s reading this

they’re putting one foot into my world, and we’re making very mad, but I’m not entirely sure what it does. Somebody

recommended it to me and I bought it. There’s a

“I’M ATTRACTED TO THINGS THAT HAVE certain thing I do every time – I’ll turn the top left
knob to 7.5 and one of the middle knobs a quarter
REALLY HEAVY LIMITATIONS. IT’S ALMOST of the way.Whatever that combination is, I settled
on it, and it makes everything sound better.
LIKE A CHALLENGE… LIKE, I BET I COULD “The Moog DFAM got used on a couple of
songs. And the Elektorn Monomachine is amazing.
GET A BANGING SOUND OUT OF THAT” It’s the best-kept secret. I don’t know what’s wrong
with people – everyone should have one! I guess
they do cost two-and-a-half grand, and they’re

quite hard to find. SOPHIE was one of my biggest

influences of all time, and Autechre as well, and

they’re both big proponents of the Monomachine.

“Frank Dukes, the producer, has made this soft

synth for a company called Cradle, called The

Prince. It’s really interesting. There’s a noise module

in there that has ocean sounds on it. It’s the exact

kind of thing I like – you can just scroll through the

presets and fiddle with some stuff, and you’ll

get something.

“The MS-20 is worth a mention. There’s

something about a monosynth that only has a

couple of options for waves and a noise generator.

And obviously the famous filter. That got used a

lot for little solo-y bits and arpeggio flourishes. A

lot of Soundtoys, as well. Shout out Soundtoys – I

love EchoBoy.”

Is that something you’re drawn to more
generally, synths or instruments that limit
your options?

“Yeah, exactly. I only really get the Moog One out
when I want the one specific thing, really warm
pads and things like that. I think I’m attracted to
things that have really heavy limitations, because it’s
almost like a challenge, isn’t it? Like, I bet I could get
a banging sound out of that. I get the same feeling
when I see a beat-up guitar with two strings on it: I
bet I could get that to sound really interesting.”

Are you still learning new techniques in
production, or is that something that happens

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Mura Masa | In The Studio With

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In The Studio With | Mura Masa

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Mura Masa | In The Studio With

more in the process of messing around
and experimenting?
“It’s the latter. I read this interview with Daft Punk once,
when they were making Discovery. They explained that they
read the manuals for the synths that they own back to back,
once a week to keep things familiar. And I was like, that’s so
cool, I’m gonna do that, that’s amazing. But then I found
myself attracted to the idea of just turning something on and
essentially just messing around with it. In a way, that’s a
curatorial approach, isn’t it? It’s not necessarily about
knowing exactly how to make the sound, it’s about when you
stumble across something, being able to hear it and know
there’s a rabbit hole there to go down.

“But in terms of new processes, the whole destructive
workflow thing has been really interesting. Not getting too
hung up on separation of tracks and bussing effects and
things like that. That’s been a big weight lifted, to be honest,
and it’s another thing that shortens the process, because
you’re not fumbling over routing and things like that.”

Do you use any outboard gear for effects processing?
“Something I actually want to explore next is working with
some outboard stuff and reamping some synths. Mostly I
just use – and this goes for everything – I just use what’s to
hand. I use a lot of Ableton stock stuff just because it’s the
quickest thing to drag in. Again, I’m trying to close that gap
between having the idea and getting it out.

“I like bragging about using stock plugins, because you
don’t need some crazy $500 multiband compressor. Maybe
that’s what I want people to take away from this is how
incompetent I really am. [laughs] There’s a whole approach
that does away with the technical snobbery of production,
that is just about output. Like – does it sound good coming
out of the master bus? It’s a very minimalist approach.

“I think a lot of people my age, and kids who are coming
out now really admire the Rick Rubin school of thought, like:
what can we take out? How can we get this down to its bare
essentials? And dryness, too. Not covering everything in
reverb if it doesn’t call for it, really getting closeness and
intimacy. It’s revealing. I don’t work with reverb when I’m
writing. I wait right at the end to do all that stuff. It makes
sure that what you’re doing is good on its own.”

You’ve mentioned you used the bass guitar on some of
the tracks on this album?
“Normally what I do if I’m using the bass guitar is, I’ll try my
best to get a lot of the bass frequencies that I want out of the
bass guitar with EQ and compression and stuff. But then if
that’s not working, I’ll put a massive shelf, 100Hz, on the bass
guitar and then go in and retrack a sub bass under it, doing
the exact same thing. So it’s layered, you get the quality of the
real bass and the sound of the strings and plucking but you
get that way, down low 30Hz sub quality. A track like prada
has that sort of thing going on.”

Do you mix your tracks as you work through them or
leave that process to the end?
“I’m mixing as I’m producing. For me, I really didn’t
understand, when I learnt to produce, that they were
different things. Isn’t the mix just as creative a process as the
production? So I didn’t really understand the separation
between the two things. Now I understand it a little bit more.
But as I was learning, that was part of it for me, cause I’ve
learned how to make it sound good, how to use the mixing
process to get a creative output.

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Mura Masa | In The Studio With

loads of new gear in all at once. I’ll get one thing
and leave it on a shelf for four weeks, remember I’ve
got it, play with it for a couple of days, harvest a lot
of samples from it, then it goes back on the shelf. I
don’t have a huge collection of stuff. But I’ve got a
rotation of main synths. The Moog One is out at
the moment, I’ve got a Prophet-5, I’ve got a Poly Six
which is amazing. That’s kind of it, between those,
the DFAM, the MS-20, the Monomachine, which is
my favourite bit of gear, ever.”

Aside from the Frank Dukes plugin, what soft
synths are you using?
“Massive, I use if I need a utilitarian, one-oscillator
thing. Also what I use a lot is Analog Lab. It’s got
whatever you need. If I need a Wurlitzer – there it is,
there’s 50 options there from different decades. It’s
incredible. That was a game-changer for me. I’m
very lazy and I hate having to go, oh where’s the
Wurlitzer, it’s in Kontakt somewhere…? In Analog
Lab, it’s all in one thing, with a search bar.”

What’s your live setup like?

“It’s just me and my vocalist, Fliss. It’s really cruel to

“I LIKE BRAGGING ABOUT USING STOCK expect somebody to be able to go from being A$AP
PLUGINS; YOU DON’T NEED SOME CRAZY Rocky into being Charli XCX into PinkPantheress,
but she’s probably the only person on earth who
$500 MULTIBAND COMPRESSOR… can do it consistently, and put on a performance.
It’s another way that I like to be curatorial. She’s
performing the show, I’m just creating the

IT’S A MINIMALIST APPROACH” environment for her to get people excited.
“It’s a deceptively simple setup. I’ve got a MIDI
keyboard, a couple of SPDs triggering drum

samples. There’s a few real drums, toms on one side,

“Nathan Boddy, who mixed this album, is really receptive a snare on the other. Crash cymbals, they’re important. I’ve

to that. He just takes it over the line, with his amazing got a guitar. Then there’s some lowkey Akai controllers and

knowledge and taste. But I’ll come to him with something little button things. I think for my music, the esoteric,

that I would consider pretty mixed. He says he loves me for button-pressing, is-he-really-doing-anything vibe doesn’t

that. When I send it to him, I’ll think yeah, I’m pretty happy really suit it. The mantra for the live show is, what’s the most

with this mix. But he makes it ten times better. It’s a really interesting thing happening musically at any one point in a

good working relationship. It’s good to have a longer-term song? Whatever that is, I’m performing it.”

relationship like that, somebody who knows how you want Finally, we heard that you’re building a new studio at
to sound and how to fill the gaps in your knowledge.” the moment…

So you’re working in Ableton Live. Is that something “There’ll be a big emphasis on social space. People think of
you’ve always used?
studios as places of productivity. But a big aspect of studio

“I started out on Sony ACID. I saw a video of Rusko, the work for me is chance meetings, and finding out who’s

dubstep producer, using it. I was like – that must be the way! working next door. It’s an opportunity to network with peers

[laughs] I heard that Burial uses Sound Forge, so I tried that and contemporaries. So I want that to be the emphasis of the

out. I went through a Cubase week. I tried FL Studio, because studio. We’re setting it up as a community-led space. I want

all the rap producers use it. But Ableton has the right mix. to make it a social space where people can hang out as well as

There’s quite a steep learning curve when you get into it, but making music.

once you get a handle on the workflow, it’s so convenient. “I wanted to create something that could exist outside of

There’s so many shortcuts, there’s so many quality-of-life the context of me even being an artist. It might be that one

things that are really great about it. day I move to LA and I’m not even in this space, it’ll just be

“When I started using it, I considered it to be more of a bubbling along on its own. I’m really into this idea of the

sequencing-type program, not something for recording Warhol-style factory that everyone rolls through. There’s an

audio. But I think they’ve made real strides into making it opportunity for not just musicians, but other types of

really suitable for recording. Even just with the Comping in creatives to occupy the space. It’s a big undertaking. It’s the

Live 11. I think there’s a pivot on Ableton towards the most exciting, complex thing I’ve ever done.”

realisation that some of the world’s top producers have been WANT TO KNOW MORE?
using it to produce quite audio-intensive music. I love it.”

How often are you experimenting with new gear? Mura Masa’s album demon time is
“It’s probably a profound laziness, but I don’t tend to get out now

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In The Studio With | Mura Masa

demon time – impression. Yeah, but yeah, I felt that On 2gether, that stuttered synth
track-by-track deserved to be the title track just sound stands out to me as one of
with Mura Masa because that beat to me feels the most the most powerful moments on
embodied. It’s mischievous, the album. How did you make
Starting with demon time… Is electronic, shiny, but a bit gritty.” that sound?
that a car exhaust you’ve sampled “I don’t know if any Future Music
on the beat? Moving on to bbycakes, where did readers are big TikTok fans, but
“I believe it’s a motorcycle. It sounds the idea come from to interpolate there’s a breakdown of this track on
like a car because I’ve de-pitched it a the 3 of a Kind track? there. The start of that was, I was half
little bit. That whole thing just comes “I was listening to it sped up on some playing Metal Gear Solid, half
from that early Pharrell, sound CDJs, and I realised, if you put a drill messing around on the Novation
effects-driven boom-bap in the early beat behind this it would sound AFX Station. I just started recording
noughties. I think that’s my favourite incredible. That was actually the very and playing with the tempo, and the
beat that I’ve ever made. It was one of first time during the lockdown that I rate of the LFO on the opening and
the first demon time things. It’s a felt myself having fun coming up closing of the filter. Again, I did a
surprisingly simple track. There’s with an idea for music. I thought I very long take of lots of arrhythmic
only seven or eight tracks. Because was just messing around and making weird stuff. Then went back over it
the main loop, the bass with the an edit that I was going to use for DJ as I would a vocal, and created
bleeps above it, that’s all DFAM. That sets. Then I put a drill acapella over it, this pattern.
came out of one of these 20-minute and that became the thread that I
tinkering sessions, and this rhythm followed for the rest of the album. “A really interesting part of that
emerged out of nowhere – song is actually the vocaloid saying
resampling that, chopping it up. “It was also really important to ‘together’. That took a long time to
put Uzi on there, because of the fun do. It’s like seven or eight individual
“I had a big drum rack full of juxtaposition of this super sounds pieced together, and made in
stuff that I had already pre-approved revolutionary American rap artist, Massive, or Sylenth or something. I
and was able to just go in and like who’s punky but also kind of cute, made loads of short individual bits to
very improvisationally slap together. I juxtaposed with this classic UK make up the phonetics. But everyone
wrote the hook on that one. BAYLI, garage hit that he probably had never probably just thinks it’s someone
she came through with her amazing heard before. That was another saying ‘together’.
verses, but there wasn’t really a chorus revelatory moment in the process.”
jumping out, and then it occurred to “2gether was written on guitar,
me: it’s demon time. I whispered it slomo is a good opportunity to ask and it was a lot faster originally. Like a
into my phone and sent her a voice about your vocal processing Daft Punk, Digital Love style. But it
note. There’s a really funny version approach. What drew you towards ended up taking the form of this
out there of me doing my best BAYLI that heavily manipulated sound? wonky, grungey thing. It doesn’t
“That one has a bizarre vocal on it! really fit into a category, which is how
[laughs] Actually, mixing-wise, that I know that I like it.”
one was the most of a process
because it’s such an aggressive track. We love the distortion and
In terms of the vocal sound, it was saturation on up all week. What’s
tricky because it came out of an your go-to technique for achieving
improvised string of lines that Midas that kind of sound?
came out with. She’s known for “I like piling distortion on something
Afrobeats stuff, and we were toying and really fiddling with the
around with that. Then I was like, parameters and turning everything
what do you really want to do, up to ten, and then kind of working
though? She was saying, I want to backwards to rein it in. It’s usually a
make all kinds of music, I don’t post-processing thing, or a reamping
want to get boxed into the Afrobeats thing. My distortion idol is Jack
thing. We were talking about rage White. He gets the most interesting
music, Playboi Carti-esque rage beat clicky broken up sounds. I’m a huge
stuff. Then we made this in about an White Stripes fan, and I really love
hour and it just felt very fun The Raconteurs as well. I’m always
and spontaneous. going for that satisfying bee-buzzing
broken up sound, so you can hear the
“Because of the improvisational individual clicks the sound.
nature of the vocal take, there was a
lot of headphone bleed and it took a “For that song specifically, that
lot of processing. Nathan Boddy, my main synth patch is a Massive
mix engineer, me and him worked patch, and I think it probably uses
quite closely on that one and went some of the Brauner Tube distortion
back and forth a lot. There’s a lot of in the VST, but then probably run
Revoice and crazy X-Noise processing through Decapitator, the Soundtoys
and things like that. She basically one, then Devil-Loc, with a limiter on
sounds like a robot, and Tohji tried to the end of it. But still, going back
match the vocal sound.” over it and taming it after I make it
too horrible.”

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