who needs a
MIDI synth module?
Dramatically increase your Sonic Arsenal with with a Rack of Synths
| Modules at zZounds |
by Rich the Tweak
How MIDI Sound Modules Evolved
To really appreciate what a
synth module is I have to take you back to the beginning, So don your time travel suit and lets go back, back, back,
back to 1986. Every studio making money has a Yamaha DX7, a revolutionary all-digital synth
whose realism led many to sell off their old dirty analog
beasts for the clean, 80's, digital sound. But the DX7
only boasted a 32 presets and sent and received on ONE midi channel. No multi timbrality yet. If you wanted 16 instruments to play at once, you
either tracked it to tape or needed, yep, 16 keyboards. Naturally, no one wanted 16 sets of plastic ivories in their studio so the logical answer to this was a box that contained a full synthesizer that could connect to the midi thru and give you another channel of synthesizer goodness.
Enter the first MIDI module.
Korg Radias-R
Virtual Analog Synthesizer Rack
The TX7 was born, wedge shaped little nightmare with 12 buttons and a tiny display that had all the innards of the famous DX7. It stacked right on top of the DX7 and gave you 32 more voices on channel 2. Tweaks bought them in sufficient number and within months there were the next stage of module evolution, the Yamaha TX81Z, an 8 voice multi-timbral module which was like having 8 mono DX9s (the DX7's little brother) in one single rack space. The idea of getting 8 instruments playing at once for about 475 street really was a significant crossroad in the new MIDI home recording industry, and within weeks it seemed there were new modules everywhere. By 1989, with the introduction of the 1st Proteus by E-mu, modules had come of age with full 16 channel multi-timbral operation and the 19" rack format, which was previously the domain of digital delays, eqs, compressors and amps became the footprint of choice for the synthesizer module as well.
Today's Modules
After almost 16 years, the synth module is still with us. In some cases, it almost looks the same. You get a 19" rack box, a display, a few buttons, maybe a few knobs. Lets just compare a standard module from today, a proteus 2000, to the 1st Proteii. The Proteus /1 had 191 presets, no resonant filters and could add one $500 expansion board that increased the sample rom from 4 megs to 8 megs. The Proteus 2000 comes with 32 megs of rom standard and you can add 3 more 32 meg boards for a total of 128 megs and over 2,500 presets when fully decked. The feature set includes resonant filters and more modulation options than many of us will be able to explore.
A good thing about many modules
is that
they can be racked.
It should be clear what the major advantage of the synth module is: You get the full features of the keyboard version (sometimes more, sometimes less) in a nice convenient package that fits in a studio rack and takes up little studio real estate. There's been many a classic midi synth module that is still in demand today. As you might expect, the early analog synth modules still get premium dollars at online actions. I am referring here to the Oberheim Matrix 12, 6r, 1000, the Roland MKS-70 and 80 as some early notables. There plenty of classic modules still working in today's studios like the Roland D550, the Yamaha TX802, TG77, the Korg Wavestation A/D and SR. These are still in demand because they sound great.
But today's MIDI modules are a result of 2 decades of refinements. They totally overpower the modules of the past with memory, voices, dynamic range, signal to noise and just about any spec you want to toss at it. The display has changed from a 16 character non backlit LCD to a large graphic display in some cases, even touch-sensitive, in the case of the recent V-Synth XT. Modules that support 128 voices and 32 midi channels and sampling and rom expansion options line up the higher end. While in the early days you definitely needed 4-6 modules to make a full MIDI production, today you really only need one to do a full piece of music. And with today's software synths, it is possible to argue that the module is becoming obsolete. We'll get into that in a bit.
Types of Modules Available
Massive Sound Palette Modules. Perhaps the most attractive of the modules, these offer a truly large set of sounds with expansion options to cover nearly every musical need. The Roland Fantom XR, Triton Rack and Motif Rack all fit in here. These also include the Roland 1080, 2080, 3080, 5050. These may or may not have general MIDI capabilities, so make sure you check. The P2000 does not, for example. The Rolands' do have GM. After all, they pretty much invented it when they released the Roland D110 module back in 1988.
Specialty Modules: These are modules that cater to a specific class of music and do that class extremely well. The most obvious are the Emu 'Mo Phatt for R&B and Hip hop, the Emu XL-1 for techno and DnB, and the many analog style modules from Roland, Nord, Novation, Waldorf, Access Virus and more. You will find there are two different product formats for these. The Most common is the 19" rack module. Many of the newer "DJ" style modules that lay flat on a desktop are often called "desktop modules". Some desktop modules can be rack mounted and some cannot. Specialty modules usually do not have General MIDI.
General Modules: These are modules designed for the those needing a wide range of sounds, general midi capability and other basics that the user may need for gigs and for studio use. This group includes the Kurzweil PC2r, the Roland JV 1010, the Roland Sound Canvas, Yamaha MU50 and others. These modules have all the "standard" sounds like pianos, strings, clavs, horns that you expect. They usually have General MIDI compatibility.
Micro Modules: These are small boxes that usually specialize in one class of instrument and do it well. Examples here are the Kurzweil Micropiano, Alesis NanoBass on the low end and the Yamaha VL70M physical modeling synth on the higher end.
The Best Module for your Studio
Really depends on what else you have in your arsenal. Putting together a complete recording studio involves taking stock in what you already have and filling the gaps of what you don't have. If you already have a general MIDI soundset on your keyboard, do you really need a general module that covers the same territory? Not really, unless the module does it significantly better. Yet if you only have a general soundset on your keyboard, and you want to do advanced DnB and techno, it makes a lot of sense to get a specialty module that has the sounds you want, ready to roll. If you already have a late model sampler, does it make sense to spring for a full tilt Roland 5080 with the sample cd rom loading option? Probably not, but the 3080 might work extremely well. But if you already have a keyboard you like, but it's older or not very powerful with sounds, then you might want to look at some of the workstation like modules like the Triton Rack or the Roland 5080. Variety is the true spice. If you already have 2 emu modules should you get a third or should you get something different, like a Korg Triton rack? Go Triton. Synths which use the same engine, though they are based on different sound sets, often have a similar "ring" in the mix. Experienced tweaks can spot an emu vs. a Roland vs. a Triton in the mix regardless of which model you have. The difference in sound engines is much like the difference between two personalities. Forget brand loyalty. Mix and Match. You will sound better for it.
Questions
Q) Tweak, Can you give me your opinions on some modules?
Tweak: Sure thing.
Tweak's Pick! If you just want great sounds and lots of them, there is really only a few choices. At the top of the heap, bang for the buck too, is the Roland Fantom XR. This has all the sounds of the Fantom X workstation, sampling, and room for 6, yes six, SRX cards. This is the descendant from the Roland XV5080 which for years was Roland's flagship module (and some argue it still is).
Korg Triton Rack Module Tweak's Pick
See my full review. The Triton in a rack has greater expansion possibilities than the original Triton itself. This is one serious module with tons of features. If you are just starting out, be prepared for a learning curve. But if you already know your way around MIDI and are ready for a no compromise general synth with powerful mix-ready sounds, onboard sampling, this is an extremely great value. You can also use scsi (optional board), hard/removable drives, cd roms, You'll find support at www.tritonhaven.com. If you are thinking of the Triton LE keyboard, but already have a nice keyboard, you should know you can load the LE sounds right into the Rack. There is also a SoundDiver adaptation if you own SoundDiver that will help you build a library of patches and program on the computer screen.
Yamaha Motif Rack ES Sound Module
A worthy module for any midi studio. If you want quality sounds, this will more than do. All the sounds of the Motif ES are in this rack
Roland V-SynthXT MIDI Synth Module
For those who love hardware, and want a first class synth capable of extraordinary sound, including analog synth and voice modeling, sampling, elastic audio warping and a d50 emulator, the V-synth is the ticket. Not for beginners, but for the die-hard tweakers and studio-pros.
Roland XV2020 64-Voice Expandable Synthesizer Module
The good thing about Roland's is the sound. While the XV2020 is a small half-rack module, it has a similar synth architecture as the classic JV1080, 2080, XV5080 and is not that much different from the modern Fantoms. There are plenty of sounds to choose from for all styles of music. A good way to get started and a nice alternative to using software synths.
Access Virus TI You want Virtual analog? It does not get better. Ask anyone who owns a virus. Go to the access site for more info and pics. Do I want one? Yep.
Q) What's the Best MIDI Module?
A) Oh gee, you guys, you know how much I like these "the best" questions. But I will tell you what's HOT as of right now November 2005. If you want LOTS of sounds, bang for the buck too, the Roland Fantom XR will take the crown. The MOTIF ES Rack takes it though, if you want different types of synthesis under the hood. As much as i LOVE the sound of my Triton rack, by today's standards, its quite expensive. Go for the keyboard Triton Extreme instead, if you like the Triton sound. It has a lot of the add on cards included.
Q) I only have ONE MIDI port and my keyboard is using it, do I need a midi interface to use a sound module?
A) No. You can connect the MIDI thru port from your keyboard to the MIDI in of your module. The module will still get the data your computer sends as it passes through the keyboard to the MIDI Thru. What you have to do is turn OFF some channels on your keyboard and turn OFF some channels on your module. You can, for example, let the keyboard have channels 1-8 and give the module 9-16. When you start feeling limited by 16 channels then you need a new midi interface.
Q) I want to do orchestral-like scores. Which module has the best orchestra?
I'd suggest looking into the Roland modules that can take the srx orchestral cards. These would be the XV2020, XV5050, 5080 or, of course the Fantom XR. For the best possible orchestras like film composers use, you probably want to go with a sampler and some hi quality sample cd roms. The Triton Rack, or Fantom XR, when fully decked can load many of these cdroms like a sampler, and it has a nice set of orchestral cards too.
Q) I only have one keyboard and it's old. I want one module that can do everything with clean and clear sounds.
I'd nudge towards the Motif Rack on that one, though any I mentioned above would do that well.
Q) How can I control my MIDI module with the knobs and sliders on my keyboard?
This is usually pretty easy on most synths because the knobs allow you to choose which controllers to send. For example, if your module responds to filter cutoff with controller #71 commands, you simply assign your knob to send that. The data goes through the computer and comes back out to the module. Often times you can set the module to respond to certain controller numbers. In my rig, I have all my modules set to controllers 21-25 so the 4 sliders on my qs8 can control them all.
Q) What are the advantages of multiple outs on a module?
First, keep in mind they won't do much good unless you have a mixer that can accommodate them. If you do, then you can separate different instruments on different mixer channels and tweak EQs. external FX. Just putting the kick drum on a seperate channel and eq-ing it can alone improve the mix. If you record all your midi tracks to audio tracks in your sequencer, you really don't need multiple outs as you can add effects with plugins. But for those using analog mixers, multi-outs are very useful.
Q) What are the advantages of 32 midi channels in a module? Isn't 16 enough?
First, the drawback of 32 channels is that you need to dedicate two full midi ports to access all of them. So make sure you have that capability on your system or you will need to get a suitable midi interface. 32 channels is for the person who only has one or two modules an heavily relies on them for tracking. Or for the person who does not want to use program change commands to switch instruments on a channel mid way through the song. You don't absolutely have to use all 32 just because they are there. You can just use one midi port and 16 channels if you don't have enough midi ports.
Q) I'm doing hip hop. Which is a good module for me?
The emu Mo'Phatt has a hip-hop/RnB oriented soundset. It will give you a good start. Of course many producers use vinyl and and cds as their sources and put them into samplers, or take common synth and orchestral samples and tweak them hard. An analog modeling synth, like the Korg MicroKorg will give you the deep bass you need and some synthy hip hop tones.
Q) Will any keyboard work with a synth module?
Let's be real clear. Any keyboard that sends midi data will work with a synth module. If it has a midi out on the back, it will most likely work. The synth module's functions and separate channels are unlocked in a sequencer. One typically controls the parameters of the synth module right in the sequencer, where you can select different channels, instruments, volume and pan, so with many modules you never have to touch the front panel. Of course, those with knobs may transmit midi controller data to the sequencer.
Q) OK, my midi module has knobs and sends controllers, and my keyboard does too. I only have one midi in on my soundcard though. How do I get both midi outputs into the computer?
A midi interface will really help with this. Or if you think you are not going to expand any more, midi wise, get a midi merge box. A merge box will join the two streams of data into one. A midi interface, for example, an 8x8 interface, will send out 8 midi data streams. When the computer receives these, they will be merged in the sequencer. This allows you to have 8 devices pouring in data at once, and if you had eight hands, you could tweak them all at once. If you don't have a merge box or midi interface, you will have to swap cables when you want to switch between using your keyboard as a controller and your module as a controller.
Q) What is 128 voice Polyphony?
A) Polyphony refers to how many internal available channels of audio, or "voices", can be output by the synth at a given moment. Don't confuse this with MIDI channels or sounds. Many synths function by layering these "voices" in a single program or preset. A simple, one layer tone uses 1 voice of polyphony when you press one key. Press down a chord of 4 keys and you have used 4 voices. If the preset uses 4 layers, as many do today to get a "phat" sound, then your chord uses 16 voices. A "Performance Preset", sometimes called a "multi" or "combination" may layer several 1-4 voice presets in different "zones" on the keyboard. Hence, you might find that by using a single performance preset, latching down an arp, kicking some drums and playing a solo you might be using 20, 30, even more voices at one time. Typically, today's synths allocate these voices as you need them so after the sound stops those voices are available for use again. If you run out of voices in a synth, you will hear "voice stealing" going on. The tails of the sounds might get cut off, sometimes abruptly. This was a huge problem in the early days of 8 voice machines. Rule of thumb, 32 voices is usually enough for 4 or 5 tracks. It's relatively easy to run out of voices in a song. 64 voice polyphony will get you close to 8-10. At the dense parts, you may notice it. With a 128 voice machine you can usually get 16 tracks. Of course, if you are really careful about selecting only single voice programs and are playing only mono lines (one voice) as in the case of bass and analog sounds, as in many techno oriented pieces, even 8 voice polyphony will go a long way. This is why virtual analog modeled synths can can be useful with only 4-8 voices.
To sum up, 128 voices is important if the synth is going to be doing lots of tracks. If it is your only module, you should consider it. If the synth is just an "add on" to your existing rig, then your polyphony requirements are not so demanding.
Q) People talk about "layering" sounds using midi modules. How is this done?
It's simple and one of the best things to with your additional polyphony. Make a track in your sequencer, say a string section. Copy that track to another track, and set it to your module's midi port and select a channel. Call up another string patch so the both play at the same time. Pan one left and the other right. Copy it again and bring up a solo viola patch and put it in the center. Copy it one more time and this time assign it to a violin patch, but instead of leaving it the same, transpose it up a 5th. Now you have a massive sounding string section! Go ahead and change a note or two in the chord voicing and make it even more authentic.
You can do the same with synthy textures and make massive "pads". In fact, this kind of layering is very CPU intensive with soft synths. If you layered up 5 or more soft synths and played a a 10 finger chord a few bars, you will no doubt be clicking and popping like madness. Bit in MIDI, there are no clicks and pops and your CPU will not even blink. Modules really shine at this.
Q) Are MIDI Modules Obsolete?
A) Tweak sez: Not yet. Maybe in another 3 years they will be depending on whether manufacturers continue to develop new features of convenience or not. We can be relatively assured that computers will increase in power and that will allow soft synths to catch up to their hardware counterparts. But they are not there yet. The latest modules sound awesome and because they are MIDI, they have an insignificant hit on the CPU of your computer. Today's software synths can just about rival a hardware rack mount in sound, but they will tax your CPU to get there. That means less bandwidth for audio tracks, plugins, mastering tools, all of which also compete for CPU time. You should consider a sound module to be a separate computer that is dedicated to one thing--making synth noises. Perhaps the greatest advantage is the sound of today's modules. 1000s of presets, pre tweaked and production ready for your music.
Whew!
Go to the Next Class
Go to the Previous Class
|
Want to talk about MIDI Modules? See what's hot! |
Great Links
VintageSynth.com Look up nearly any synth module ever made.
Cool Quote:
Have you ever been up in your plane at night, alone, somewhere, 20,000 feet above the ocean?... Did you ever hear music up there?... It’s the music a man’s spirit sings to his heart, when the earth’s far away and there isn’t any more fear.
Dalton Trumbo (1905–1976), U.S. screenwriter