Software
As a software developer/network administrator my backgound is computers, and music equipment was new to me when I started out in 2003, so a PC-based approach was only natural. This meant that I had to get some software running on my computer in order to use it as a DAW (Digital Audio Workstation).
Propellerhead Reason 5 + Record 1.5
I started out in March 2003 armed with a hardware Mixer, Synth and Cubase. It wasn't until December the same year I first got my hands on Propellerhead Reason (2.5), and over the years I have upgraded it as new verions comes along.
If you are not sure where to start, or if at all making music on your computer "will grow on you", then your first choice should be Propellerhead's Reason. Hooking up this great piece of software with a Midi-keyboard, you got all that you need (given you also got a PC with a decent audio card - low latency it what to aim for). I REALLY recommend Reason (especially with Record).
Reason is not simply a Virtual-Instrument, but a whole rack full of "instruments" and "effect-boxes". You can setup this rack to suit your needs by inserting the "modules" you need for a particular project. Once the modules are inserted into your rack, you flip the entire rack around and start "plug in the wires" connecting the various modules with each other (just as you would do with a physical rack - very intuitive and FUN to work with). Before Reason 5, your only access to audio material in Reason, was to load audio-files (from disk) into the samplers in Reason, but after Reason 5 you are able to sample directly - via your audio interface - into these samplers (no longer it is necessary to sample in another external program, save the sample to disk, and THEN load it into Reason).
Except the Samplers (Drum-machines and Dr.OctoRex), Reason cannot handle audio as the sequencer don't allow you to make Audio-tracks. However Propellerhead solved this by making a product called Record which allows you to make Audio-tracks, and it comes with an impressive mixer. If you got the Reason+Record combo (own both products), then you will have access to all the devices from Reason when you start up Record. This combo is simply awsome, and I love working with it. When you save a Reason project you are able to include all the samples/audio-files that you use, in a single project file. So it is so (bloody) simple to archive it or move it to another PC (Save - Copy/Move - Load, and you are up and running). Today most of my work is taking place in Record.
Reason/Record comes with its own sequencer - yet not "too basic" - however not able to send MIDI to external-instruments (naturally you can play Reason/Record using MIDI keyboards/controllers). Nor are Reason/Record able to work with external virtual (VST) instruments/effects. However thanks to ReWire you are able to connect Reason to Cubase (or other ReWire enabled sequencers). Hereby you can let Cubase control your external MIDI instruments and/or virtual (VST) instruments/effects. ReWire will also transfer all audio from Reason/Record, so you can do further processing/mixing there if you so desire. When you connect to Cubase (or other sequencer) using ReWire the two are in perfect (sample accurate) sync and there is no problem generating audio in Reason that is then transfered via ReWire to Cubase where its processed by some VST based effect, or playing along with other VST based instruments.
1920x1200 wallpaper for ReCycle, Reason and Record
1920x1200 wallpaper for Reason and Record
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Propellerhead ReCycle (Loop-editor)
The Dr. Octo Rex device (drum-machines and samplers) in Reason are able to play files that has been saved in Propellerheads own REX2 file format, that is used to contain a loop (e.g. a drumloop). In the REX2 file this loop has been cut up into individual samples along with "MIDI-Data" that contains the rythm of the loop (when to trigger the individual samples). However there is no tool bundled with Reason that allows you to make your own REX2 files, so for this purpose (if you want to make your own REX2 files - in stead of simply use REX2 files generated by others), you will need to purchase ReCycle (also by Propellerheads).
Basically you load up your sampled loop into ReCycle and then by dragging a slider (after specifying the loop length in bars) you have ReCycle look for "appropriate places" to spilt up the sample. In most loops it does a pretty good job identifying where to split, but sometimes you need to take matter in your own hands and decider where to split and where not to (you got best of both worlds). Once the split-points have been set you can save these to individual files (if you need to) or simply save it all into a REX2 file. The nice thing is that propellerheads has made the REX2 file format public, so you'll find a lot of products (e.g. Native-Instruments KONTAKT sampler) that are able to use the REX2 file just as easily as Dr.Octo Rex does it.
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Steinberg Cubase 5
I started out using Cubase SL 1.0, however when 2.0 was released I though long and hard about upgrading, but I didn't until Steinberg released their "20th anniversary edtion" - called Cubase SXXL - basically Cubase SX 2.0 bundled with HALion2 (sampler), Xphraze (Sound Texture Synth), Walberg PPG (Synth), Walberg Attack (Drum/Percussion Synth) and Walberg D-Pole (Filer). September 2004 I upgraded to Cubase SX 3.0, October 2006 I upgraded to Cubase 4, and February 2009 I once again upgraded to Cubase 5.
Cubase was the first sequencer I tried and as sequencers come its not a bad product at all, and I think that Steinberg is doing/have done a fine work. As the versions progress more and more features sees their way into the product. Like all software it got its list of bugs and missing features (but nothing major). Reason/Record is not able to control external MIDI instruments or VST based Instruments/Effects. So if I want to sequence my hardware Synthesizers (send MIDI to them, in order to have them play) I will have to rely on Cubase for the job. But thanks to ReWire I can have both Cubase and Reason/Record running at the same time running in PERFECT (sample accurate) sync with each other and if I want to I can further process my Reason/Record audio within Cubase.
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Steinberg Wavelab 7
The Audio editing features in Cubase is by far not simple nor crippeled, however its not a Audio Editing software per say. In 2007 Steinberg desided to offer Wavelab 6 to Registred Cubase owners for a reduced price (less than 50%), and this was what "convinced me" to spring for WaveLab. I have later upgraded til Wavelab 7
One of the things I like about WaveLab is its scripting feature, so you can easily have the program carry out the mondane tasks, so you only have to concentrate on "the real work" yourself (it a HUGE timesaver when processing many files - e.g. if you have sampled a hardware synthesizer in order to loop the samples within Reasons virtual samplers).
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Native-Instruments KOMPLETE5
I started out with a few select of NI's (Native-Instrument) products (FM7 and KONTAKT 1.x), but as I got more and wanted even more of their products, I ended up purching their KOMPLETE3 bundle late 2005. This bundle contained 13 of their products (REAKTOR5, ABSYNTH3, GUITAR RIG2, KONTAKT2, BATTERY2, ELECTRIC PIANO, INTAKT, KOMPAKT, B4II, FM7, PRO-53, VOCATOR and SPEKTRAL DELAY).
Since I have upgraded to KOMPLETE4 and then KOMPLETE5. In evey new KOMPLETE-bundle some of the old products (e.g. INTAKT, KOMPAKT, FM7, VOCATOR and SPEKTRAL DELAY) becomes opsolete and disappear from the bundle, but on the other hand new versions of "old products" sees the day along with totally new products (KONTAKT3, ABSYNTH4, BATTERY3, GUITAR RIG3, AKOUSTIK PIANO, FM8 and MASSIVE). I like the very idea of the KOMPLETE-bundle. Once a year you simply purchace an update of the latest bundle and then you know you got the latest version of all products and you are set for the next year (when its time to update again). Beside the bundles I also got TRAKTOR 3.0 (DJ Software) since it was offered at a reduced prices for customers who went for the KOMPLETE CARE 2006 program, and I also went for KORE 1.
Installing and authorizing KOMPELTE3 took almost a week (due to errors in NI's registration/authorizaiton process), and getting KOMPLETE4 up and running was not enrirely smooth either. But it appears that NI has got all these trouble fixed for KOMPLETE5 since it was effortless installing and authorizing the entire bundle.
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Synthesizers
As of now I have 6 hardware synthesizers in my arsenal (3 keyboards and 3 synth modules) and I have no plans to add additional synthesizers to my "collection" in the near future (these days I use my hardware synths less and less). Actuallly I have "retired" some of my hardware as I don't have room for it (in 2010 I moved and my new Studio/Office is not as big as the old was).
Yamaha MOTIF-6 (synthesizer)
This Synth was the perfect choice for me as a mother keyboard. It has 384 preset voices (+ 128 GM) in addition you have 128 user voices (not to mention the expansion boards of which 3 can be added at the same time). I have expanded the standard 4 MB sampling memory to 64 MB however I am probably not going to use the sampler nor the build in sequencer since Reason/Record, Kontakt and Cubase are doing a far better job. For saving/transferring data to/from the PC it uses normal (32/64/128 MB) SmartMedia (beats SYX-files over MIDI hands down <G>).
My MOTIF is the "classic" edition from 2003 and since I bought mine, there have been several new editions of this great synth. No doubt the new editions are superiour to mine, but I still like mine. The build in preset sounds are GREAT for orchestral sounds: Pianos, Keys, Organ, Brass, Reed/Pipe, Strings and it serves as a fine 61 key (5 octave) keyboard with a great feel.
Additional (GREAT) voice-banks can be bought at PRO-REC and MOTIFmart. Using these 2 sources I have added additional 7 banks (896 voices) to my MOTIF's "Voice-collection" (not counting the Performances that also comes with these banks).
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KORG Triton Rack (Synth Module)
After I got my MOTIF I desided to go for Korg's Triton, and already owning the MOTIF as a keyboard, the rack-mounted version of the Triton was a great way to expand my "Synth collection" (also its A LOT cheaper than the "full Triton"). The Triton Rack is 16-part multitimbral, has 60 voices of polyphony (30 if you use stereo voices), and it comes with 4 banks each holding 128 voices, plus a GM bank. The "limited polyphony" (30/60 voices) can be a problem if the Triton Rack is your only Synth/Module however as "Tweak" put it in his review of the Triton Rack: "As these sounds are thick, you can run out of polyphony very fast. But what you will have in 3-4 tracks will be very full sounding". This "box" also comes with an integrated sampler with 16 MB of memory, which can be expanded to 96 MB.
The Triton Rack has room for 8 expansion boards (ROMs), EXB-MOSS (DSP card), EXB-SCSI ... I have bought the following:
- EXB-MOSS: The ultimate DSP tone generator with 13 oscillator 6-voice MOSS (Multi-Oscillator Synthesis System) tone generator featured on the Z1. This lets you use all synthesis methods: PCM, Analog, VPM (variable phase modulation), and physical modeling on a single instrument. When the MOSS tone generator is installed, 128 MOSS programs are added.
- EXB-SCSI: I grew tired of using the build in Floppy Drive in order to transfer new sounds/banks so I later added the EXB-SCSI card, so I now can connect CD-rom and/or Harddrive.
- EXB-PCM04 "DANCE": 454 new drum-samples, and 202 new synth waveforms spread out on: synth basses, synth-strings, guitar-hits and motion leads.
- EXB-PCM05 "Vintage Archives": 158 multi-samples and 56 drum-samples, waveforms from legendary British, Japanese and American Synth-programmers.
Additional (GREAT) voice-banks can be bought at PRO-REC. This way I have added additional 19 banks (2.432 voices) to my Triton "Voice-collection" (not counting the Multi's that also comes with these banks). Also there is a lot of great free banks on the net (e.g. from Triton Heaven and Irish Acts).
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Roland D-550 (Synth Module)
Back in 1988/1989 when I purchased my first Synth (a secondhand Roland D-10) the latest/hottest synth you could own (if you weren't a "poor student" like I me, at the time) was its "big-brother" the Roland D-50 and if you happened to see a group performing - either on stage or on TV - there was a big chance that their keyboard player was using a D-50. The D-50 is featured on a lot of music from the 80's/90's (and later) and have been used by (to mention a few of my own personal favorites) Mike Oldfield, Jean Michael Jarre, Vince Clarke & Enya. The Roland D-550 is the rack-version of D-50 and share its specs. Both are cable of 16 voice polyphony (8 voices, using 4 partials per voice in Dual or Split mode). For a long time I both owned the D-50 and the D-550, but I seldom used both at the same time, so I ended up selling my D-50, but I still keeps my D-550 (it is able to make a lot for fat - almost analog sounding - sounds).
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Roland JV-1010 (Synth Module)
This "little box" (half of 19" wide) doesn't look like much, but its packing a lot of great sounds (actually 896 preset + 128 user sounds) and it is 64-voice polyphonic, 16-part multitimbral. On the downside the output level can be a bit on the low side with some of the sounds, however boosting up the gain on your mixer or compressing the audio in your sequencer will fix it.
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Roland D-10 (Synthesizer)
The very first Synth - that I had back in 1988/1989 - was a Roland D-10 so in the name of nostalgia I promised myself that I would get one if I came across a cheap and still 100% working model. It has 32 voice polyphony and is 9 part multitimbral (of which 1 is dedicated for drums). The build in presets are not the best around, however the organs are OK (well for approx $100 its an OK Midi keyboard).
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Grooveboxes / Samplers
Beside my hardware Synthesizers I also got 3 Grooveboxes. However I must admit it was an error on my behalf to get these grooveboxes in the first place, since I have used them far to little. They are however great fun to play around with - there is something appealing about psysical knobs and sliders you work directly with your fingers in stead of useing a mouse. They have also served as a great source of inspiration, and I also lifted various samples from them.
Roland MC-808 (Samping Groovebox)
It comes with only 4 MB of sampling memory, but having adding a standard 512 MB DIMM module I now got a total of 516 MB, which allows for approx 51 minutes (44.1 kHz Stereo). In addition I have added a 1 GB CompactFlash card for saving Pattern-, Patch-, and Sample-data. It connects to your PC via USB which can be used for transferring samples and allows you to access the MC-808 from the PC via the enclosed Editing software. As a first among affordable grooveboxes the the MC-808 features 8 motorized faders. It offers 128 voices of polyphony and the sequencer lets you use 16 different patches.
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KORG ESX-1 (Music Production Sampler)
Both the KORG-ESX and -EMX looks similar and they also share a lot of common features (for one they both offer 2x 12AX7 vacuum tubes for a warm sound), however they are still 2 very different products.
The ESX-1 is a sampler that allows for 384 different samples totaling a total of 285 seconds (mono) recorded at 44.1 kHz (if using stereo-samples there will be room for "less seconds"). It allows for 16 parts (2 synth parts, 9 drum parts, 1 drum accent part, 2 streach part, 1 slice part, 1 audio in part), and the sequencer has room for 256 patterns each with a maximum of 128 steps and 24 motions-sequence (up to a grand total of max 20000 event recordings). In regard to the Effects there are 16 different to choose from and they can be accessed from 3 different chains.
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KORG EMX-1 (Music Production Station)
The EMX doesn't allow you to sample (as the ESX does), in stead it relies on the build in MMT (Multiple Modeling Technology) synthesis-engine to produce its sounds. The MMT offers 16 different forms of synthesis, ranging from analog simulations to a number of digital synthesis forms like PCM+waveshaping, vocal formant and more.
Like the ESX it features a total of 16 parts (5 synth parts, 9 drum parts, 1 synthesizer accent part, 1 drum accent part) and the sequencer has the same "limitations". Both units feature a Ribbon and Slider that lets you control the Arpeggiator. and make "live adjustments" to your parts (you have the option "to record" these Ribbon/Slider-movements into your sequences so you can play them back later). One thing that sadly is missing on these boxes, is an USB connection to the PC (for transfering data), however they can both utilize SmartMedia cards (4-128 MB, 3V) for storing/retrieving sounds/patters.
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Computer / Interface
The cornerpiece in my "studio" is my DAW- Digital Audio Workstation which is simply a PC connected to the music hardware, both with regard to Audio (sound) and MIDI (note-on/off signals). There is nothing special about the PC, its just "a normal PC". What makes it "special" is that it is hooked up to various Audio/MIDI-Hardware, and the operating system has been optimized for usage as a DAW (all screencandy and nonessential services has been disabled/stopped).
RME Fireface 800 (Audio-Interface)
Having outgrown my mixer I had to plug equipment -in/-out when I wanted to use it. Finally I decided to replace my Audiophile 2496 with a RME FireFace 800 which has 8 analog outputs and 10 analog inputs (4 are microphone inputs, but 2 of these also doubles as "normal line inputs"). Beside the analog connecters you can connect additional equipment via 2 ADAT interfaces. It connects to the PC both using FireWire-400 and FireWire-800 but since I planed to add 2 ADAT interfaces (totaling in 24 Input/Output) I decided to connect it to the PC using a Lacie FW800 module (more bandwidth than FW400).
I highly recommend the RME Fireface 800 to everybody who needs multiple inputs and/or outputs. The software for this device lets you "use it as a mixer" where you can reroute any input/output where you need it to go - it is bloody FANTASTIC !!!
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Behringer ADA8000 (ADAT)
I have bought 2 Behringer ADA8000's which when connected to the FireFace 800 adds 16 additional analog -inputs and -outputs so I end up with 24 analog "instrument" inputs/outputs plus 2 dedicated microphone inputs. So now I no longer have to plug audio in and out as I need it.
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MOTU Midi ExpressXT (USB/MIDI Interface)
Having outgrown my Midisport 4x4 I wanted to purchase its "big brother" (the Midisport 8x8) but at the time M-Audio had stopped producing it. I therefore went for the MOTU Midi Express XT. It provides 8 MIDI In/Out (128 channels) and it can be programmed to double as a MIDI Patchbay as well.
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Midiman USB Midisport 4x4 (USB/MIDI Interface)
I started out only using the Midi port on my Audiophile 2496 soundcard, but quickly I got myself a Midisport 4x4. But after having bough some controllers and additional synthesizeres I got to a point where I had to plug equipment -in/-out when I had to use it.
As of now I have disconnected mi Midisport 4x4, since I had some problem getting my Novation ReMOTE SL37 to function as it should, but these problems were not related to the Midisport 4x4.
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Novation ReMOTE SL 37 (MIDI Keyboard/Controller)
For a long time (in my old Studio/Office) I had my Roland D-10 sitting on my desk in front of me however for some time I thougth about replacing it with a Novation ReMote, since I like the Automap idea implemented by Novation. It beats all other controllers since Automap means you don't have to waste time loading- and saving settings, and the 2 large displays tells you what the knobs and buttons are controlling, so you don't have to (try to) remember what the rotary controller in the 3rd row/2nd column is connected to..
I was very unsure which version of the ReMOTE to go for. I wanted one with at least 3 octaves, so the choice would either be the SL 37 (3 octaves), the SL 61 (5 octaves) or the "new version" Remote SL 49 (4 octaves). The "new version" has fewer buttons/rotary encoders, but via mode-shifting you end up with the same amount of controls. The choice ended up being the SL 37, since compared to the new version you don't have to do as much mode-shifting, and compared to the SL 61 its small enough that I might swap the position of it and my computer keyboard (based on what I am doing).
But be warned that the MIDI driver for this device is Crap. I HAVE TO make sure that I have switch off my MOTO MidiExpress, BEFORE I switch on my Novation ReMOTE SL 37 (otherwise the MIDI port 2 on this decice is not working - hence Automap is not working). However once the ReMOTE is switched on, I can afterwards switch on the MOTO MidiExpress (and then both are working) - F*CK it took some tweaking to find out why the ReMOTE was sometimes working and sometimes it was not.
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KORG padKONTROL (MIDI Controller)
Using a standard Synthesizer-/MIDI-keyboard for programming drum-tracks is not the most ideal tool for the job at hand (to me its the same as if you have to play on a keyboard wearing gloves). Until you actually tries a pad-controller you won't believe how much improvement it is over a keyboard. I looked at various pad-controllers (e.g. AKAI MPD16, MPD24 and M-audio's Trigger Finger), however my choice ended up being KORG's padKONTROL. Beside the "standard" 16 velocity-sensitive pads (that can be configured to different velocity-curves) it also features an intuitive XY-pad that can be used with either the Roll- or Flam-keys to quickly fire Rolls and Flams. The best part is that your favorite setups (Scenes) can be configured/loaded/stored directly on the unit or using the included Editor/Librarian software. I have made several scenes for my varius equipment (e.g. one for General MIDI drums, another for General MIDI percussion, Roland-MC-808, Korg ESX-1/EMX-1, Reason Drum Machine and 4 scenes simply sending the notes C1-D#6 used e.g. for triggering samples in KONTAKT). In order to switch between these sceens, I just have to hold down the "Sceen" button and then tap one of the pads and the desired Scene is loaded instantly and now the Pads send Midi data within the range of notes expected by those devices. On those devices I always lay out my drummaps in a particual order, hence when I use the padKONTROL the Kick, Snare and Highhats are always fired using the same pads on the padKONTROL, no matter which device I am controlling.
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Other studio Equipment
I don't have nor need a lot of Studio Equipment, however a few odd parts that are needed in a DAW setup. The list below lists these few odd elements.
Mackie 1202-VLZ (Mixer)
When I purchased the MOTIF I wasn't sure if I should get a mixer or not, however I decided to do so. This turned out to be a VERY good idea, and I even ended up outgrowing this mixer within a year or two. For a long time I wasn't sure what to go for: a new/bigger mixer or a soundcard with multiple channels (both for input and output). I ended up desiding on a REM FireFace 800 and 2 Behringer ADA8000 (a choice I am very happy with).
I am still using this mixer as it allows me to feed it with various outputs from my FireFace800/ADA8000 setup and then choose how to mix it directly on the Mackie 1202VLZ and then feed the mixed signal back to the FireFace800/ADA8000 setup via the ALT3+4 output from the mixer . However mostly I simply use it for level control (before the sound is passed on to my amplifier).
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Cobalt Co5 (Microphone)
My voice is not suited for recording, so I didn't purchase this microphone for singing. However I am using it for various voice samplings. Don't know if this is considdered a good microphone or not (a "real singer" would probably prefere a better one) however for my usage its serving its task.
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Zoom H1 (Flash-Stereorecorder)
My Cobolt microphone mentioned above is fine when I am sitting in front of the PC (but there is a limit to how long the cable is). Also my "studio" is not as quiet as I would like it to be for recording quality audio. Sampling "wierd noises" and turning these into "musical instruments" is a constant source of great fun, whether you are: banging away on everything in your kicthen, record the noise from an industrial machine or record the growl of the Lion in the zoo. For this purpose it is very impractical to bring your stationary computer, so in stead I got a Zoom H1 (Flash-card) Stereorecorder. It is fairly cheap, and the build quality is plastic (so handle with care). However the quality of the recordings are supperp. It records stero files (microphones in an X/Y configuration), and it can handle Wav from 16 bit/44 kHz up to 24 bit/96 kHz, or MP3 from 48 kbps up to 320 kbps. It comes with a 2 GB microSD card, but I got a 4 GB in stead. Most of the times i simply recrod Wav at 16 bit/44 kHz and this gives me +6 hours of recordings. Recording wav at 24 bit/96 kHz the recording time drops to 1 hours 53 minues, or increases to +27 hours recording MP3 at 320 kbps (set it at 48 kbps, and you can record for weeks). It can handle microSDHC cards up to 32 GB, and it is powered by a single AA battery (for 10 hours - depending usage). It has dedicated buttons for everything so it is easy to use without navigating through menus. It has a mini Jack on each side (one for input and one for output) so if you want to you can connect headphones and/or external microphone (it has a build in speaker so your can hear your recording without headphones). I can only recommend to also get the accessory package which includes a small pouch to protect it, a wind-hood, an AC-adaptor, a USB cable, a small tripod and a microphone clip adaptor. If you are into recording video with your dSLR camera you know how lousy the micronphone in the camera is. So instead shoot the video with your camera, record the sound with the Zoom, and later mix the two together... that is the way to do it.
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Sennheiser EH2200 (Headphones)
I didn't want to end up in a body bag, so in order not to bother those living next to me - too much - I thought I'd better had to get myself some Headphones. So now I can play at high volume also late at night without bothering others (at least when I remember to also disconnect the external speakers, which I don't always remember <G>).
I didn't have a lot of demands for these headphones (beside they had to be "closed", so I can Voice-sample "while listening" at the same time) and so far they served their purpose without any problems.
Denon PMA-655R (Amplifier)
Professonal musicians would most likely not go for such an item, but as this is only a hobby for me and money IS A SUBJECT it was what I could afford when I started out. As of now its hooked up to a pair of Dantax 2000 satelite speakers (with a passive subwoofer), and its doing a fairly ok job (perhaps a bit heavy on the bass sounds). Some time in the future I would like to be able to replace my amplifier/speaker-setup with a set of real active monitors, but its not the first thing on my whishlist as such a setup doesn't come cheap (if you plan for a 5.1 setup using Genelec 8030A/8040A).
