N

Jamie CAKEWALK

Cullum
SONAR
PLATINUM
REBOOTS MAKE
IT THE ULTIMATE
WINDOWS DAW

Piano Man for the LINNSTRUMENT

New Millenium CAN AN ALTERNATIVE
CONTROLLER BE
USEFUL AND FUN?
ROGER THAT.
PLAY LIKE JAMIE pg 18

JORDAN
RUDESS PHY
PHYS
HYS
YSIS
S
PHYSIS
TALKS CUTTING-EDGE K4EX
MIDI CONTROLLERS MEGA MIDI
CONTROLLER
RR R R R MEETS
MODELED
DOMINANT PIANO

DIMINISHED
NOT AS COMPLEX
AS IT SOUNDS

6.2015 | $5.99
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CONTENTS JUNE 2015

KNOW
TALK 26 PERSPECTIVE
Jordan Rudess on fretless keyboard
8 Voices, tips, and breaking news from the Keyboard community.
controllers.
DÞ(#9)
#
NEW GEAR MIDI CONTROLLERS EDITION 28 THE ART OF SYNTH SOLOING & œ nœ œ#œ œ œ œJ
Explore unique color notes in the
minor blues
10 Our June issue includes a special focus on MIDI controllers, finale of our series on Jan Hammer.
including a full-page preview of the Akai Advance, plus new releases
from Arturia, Icon, Novation, Artiphon, and Opho. 30 BEYOND THE MANUAL
Learn adventurous ways to
use modulation.

32 DANCE

HEAR Turn drums into

pitched instruments.

12 COVER STORY REVIEW

The new album from U.K. jazz-pop
phenom Jamie Cullum, Interlude, 34 MIDI CONTROLLER
showcases the artist’s percussive Viscount Physis K4EX
playing style and fearless approach and K5EX
to record making. We talked to
Cullum hours after one of several 38 GRID CONTROLLER
dates opening for Billy Joel. Roger Linn Design
LinnStrument
16 TALENT SCOUT
Discover great work from classical 42 DAW
pianist and teacher Roger Cakewalk Sonar Platinum
Peltzman and concert performer
and new-music champion Bruce 48 APP
Levingston. Native Instruments iMaschine

PLAY CODA
18 JAZZ 50 Brad Blackwood shares five things he has
Brian Charette shows five ways learned about mastering music that will
to play like our cover artist, Jamie benefit musicians as well as engineers.
Cullum.

20 JAZZ
Andy LaVerne helps you discover
more with dominant diminished
scales. Online Now!
A vintage synth oasis in the
shadow of the Bay Bridge.
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4 Keyboard 06.2015
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 Vol. 41, No. 6 #471 JUNE 2015

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 Connect
TALK VO IC ES FRO M T HE KEYBOARD COMMUN ITY

Comment directly at

Editor’s Note
keyboardmag.com

twitter.com
keyboardmag

facebook.com
I’d like to kick this month off with controllers. Our lead review looks
KeyboardMagazine
congratulations to our New York at the Physis K4/K5, which brings
City-based editor at large, Jon Re- to mind the days of high-end mas-
SoundCloud.com
gen, who’s becoming enough of a ter keyboards such as the Kurzweil
KeyboardMag
rock star in his own right that soon MIDIBoard, Peavey DPM-C8,
I’m not going to be able to overwork and most directly (given the Vis-
Keyboard Corner
and underpay him anymore. His count parentage) the Oberheim
forums.musicplayer.com
new album Stop Time was produced MC-3000. We’ve got a hands-on
by Mitchell Froom and features the preview of the Akai Advance and
email
rhythm section from Elvis Costello’s a video with designer Jen Hruska
keyboard@musicplayer.com
band The Impostors. Watch Jon talk about Froom’s at keyboardmag.com/june2015. My own piano-
vintage keyboards at keyboardmag.com/stoptime. biased hands venture into “alternative” territory
Being a crossover singer-songwriter with a seri- on Roger Linn’s LinnStrument, and Dream The-
ous jazz background, Jon was also the perfect guy ater keyboardist and all-around shredder laureate
to interview Jamie Cullum. If you’ve ever seen Ja- Jordan Rudess gives his take on gigging with two
mie play live (either solo or in his recent gig open- “fretless keyboards”: the tried-and-true Haken
ing for Billy Joel), you know why he’s on our cover. Continuum and the relatively recent Roli Sea- Stephen Fortner
In gear, there’s been a lot going on with MIDI board. Enjoy! Editor

+
30 The June 1985 issue’s cover invited readers to use synth programming to
create an individual sonic palette. (Fun fact: The synth in the palette image
was a Sequential Pro-One.) Bill Meyers and Patrick Leonard talked touring for

YEARS Madonna, and we profiled the now legendary Grammy performance in which
Stevie Wonder, Herbie Hancock, Thomas Dolby, and Howard Jones

AGO joined forces. Reviews were of two samplers at rather opposite ends of the
price spectrum: the Kurzweil 250 and Ensoniq Mirage. Barbara Schultz

TODAY

Key Secrets Thumbnail Sampler

I love the speedy solid-state drive in my MacBook Air, but its small capac-
ity has always been a challenge when working with sample sets. Moving my
iTunes and iPhoto libraries to external hard drives helped, but for music
production, I wanted something more mobile. Enter the SanDisk UltraFit
CZ43 ($28), a 64GB thumb drive that’s half the size of a thumbnail. Running
at USB3.0 speeds, it protrudes only 3/8" from the computer, making it com-
pact enough to leave in all the time. If 64GB doesn’t seem like much, it holds
the entire Kontakt 5 factory library, the FX Tron sound effects collection,
plus several more virtual instruments with room to spare. David Battino

8 Keyboard 06.2015
NEW GEAR

Akai’s VIP software

can make multis
from patches across
all your plug-
ins. It can be run
standalone or as
a plug-in within
your DAW.

COMPUTER INTEGRATION
SPECIAL PREVIEW VIP software and Advance controllers
respond to commands in real time simul-
AKAI ADVANCE taneously, allowing users to do everything
from either the keyboard itself or the VIP
BY JON REGEN software display. Physical control move-
ments are mimicked both on the keyboard
WITH THE PLETHORA OF VIRTUAL INSTRUMENT PLUG-INS AVAILABLE THESE and software displays, and in my initial ob-
days, keeping track of your sound library can be a challenge. With their new line servations, communication in both direc-
of Advance MIDI controllers (developed by Jennifer Hruska of Sonivox and Sonic tions was seamless and quick.
Implants), Akai attempts to answer the question, “How can I find, organize, and use
all of my plug-ins at a moment’s notice?” Available in three different lengths that all PRICING AND INCLUDED SOUNDS
feature semi-weighted keys, control knobs, and MPC-style pads, the Advance line is The Advance series is available in three
geared toward both the live and studio musician looking for maximum control at a different semi-weighted lengths: 25-key
minimally painful price point. ($399), 49-key ($499), and 61-key ($599).
Along with the VIP software, Akai also
HANDS-ON CONTROLS VIP HOST SOFTWARE includes Vacuum Pro, Loom, Hybrid 3,
All Advance controllers feature a high- Things really get interesting when Xpand! 2, Velvet, and Transfuser—all by AIR
resolution 4.3-inch color screen, eight Advance controllers are paired with the Music Tech, which you may recognize as
endless rotaries, eight velocity- and included Virtual Instrument Player soft- Avid’s former in-house instrument devel-
pressure-sensitive MPC-style pads, and ware. Available in both 32-bit and 64-bit oper. (Before that, they were Wizoo.)
a host of other performance features. versions, VIP utilizes an “open-platform”
Controls here are big, brightly lit, and design. In practice, this lets you consoli- WHO IS IT FOR?
color-coded for near idiot-proof live use. date and play any VST (or AU or AAX) As a guy who spends most of his time at
In addition, the large color screen pro- instrument in your library. VIP goes one an acoustic piano or a Wurly, I was im-
vides real-time feedback of plug-in pa- step further and lets you organize your mediately taken with the sonic power of
rameters. We would like to see faders in plug-in collection by type, manufacturer, the Advance line. Add the splitting and
addition to knobs, though, perhaps with description and other characteristics. This layering of the VIP software, and you begin
an inverted mode for controlling virtual lets you find just the right sound on the to understand how powerful this control-
organ drawbars. fly, and the integrated patch browser al- ler can be. Editor Stephen Fortner said,
lows you to search sounds by type quick- “When I first saw this at NAMM, I thought
DUAL MODES ly. Multi mode allows the simultaneous ‘Oh, they’re doing NI Komplete Kontrol for
Advance controllers can operate as both layering of up to eight virtual instruments, the rest of the world.’ Looking at VIP more
standard MIDI controllers, or as “smart with the ability to mix, solo, pan, and edit carefully, for live players it looks like it could
controllers” in conjunction with the in- patches in real time. Also on hand are be a MainStage alternative that’s simpler
cluded VIP (Virtual Instrument Player) extensive key zone splitting and mapping in all the right ways, with the Advance as
software, which allows extensive control options and a set list feature that lets you its own hardware control center.” Advance
of plug-ins in both standalone and DAW- switch between plug-in Multis from the deserves serious consideration by anyone
hosted modes. keyboard instantly. looking to streamline a live or studio rig.

10 Keyboard 06.2015
 DEVELOPMENTS IN

MIDI Controllers
BY STEPHEN FORTNER

ARTURIA BEATSTEP PRO

WHAT Pad controller meets dual step sequencer with analog
CV/gate out, eight drum gate outs, USB, MIDI, and even old-
school DIN sync. All outputs work at the same time. WHY For
groove-based composition, this could be the nerve center of
your soft synth, MIDI hardware, and analog/modular worlds.
$299 | arturia.com

ICON DIGITAL INSPIRE G2

WHAT Controller keyboards
with endless encoder knobs, X/Y
pad, support for Mackie Control
and HUI protocols, USB2.0,
popular DAW templates, and
“VirtualPort” technology for
working with multiple programs
and instruments at once. WHY We saw this at NAMM. It’s well-spec’d and well-
made, and you get a lot for your money.
49 keys: $499 | 61 keys: $599 | 88 keys: $699 | icondigitalusa.com

ARTIPHON INSTRUMENT 1
NOVATION LAUNCHKEY WHAT Fun, iOS-oriented
(2015) MIDI controller that can be
WHAT Update of the approached like a guitar, violin,
popular controller featuring keyboard, or drum machine.
multicolor velocity-sensitive WHY It’s a great gateway
pads matched to clip gift for beginners, works with
colors in Ableton Live and GarageBand and any iOS soft
“InControl” support for synth, and can inspire new ideas
major DAWs. Includes Live Lite, Bass Station and V-Station soft synths, and experienced musicians might not
content from Loopmasters. WHY You want a combination keyboard and think of on their main axe.
clip launcher for, um, a song. $TBD | artiphon.com
25 keys: $199 | 49 keys: $249 | 61 keys: $299 | novationmusic.com

OPHO KEYS
WHAT Mini controller with companion online platform/
app for learning and sharing songs via the light-up keys.
WHY Beyond the size and fun factor, multiple units can link
together magnetically—without cords—to increase your
note range. Pretty slick.
$99 street | playkeys.io

All prices are manufacturer’s suggested retail (list) unless otherwise

noted. Follow keyboardmag.com/gear and @keyboardmag on Twitter
for up-to-the-minute gear news.

06.2015 Keyboard 11
HEAR COV ER STORY

I JAMIE CULLUM I
THE CELEBRATED SINGER AND PIANIST ON HIS ROARING
NEW RELEASE InTerlude
By Jon Regen | PHoTogRAPHy By JUAn PATIÑo

“It was the most nerve-rackIng thIng I’ve ever done, because I really drummer Brad [Webb], “Oh man, I’m so nervous.”
wanted Billy to enjoy it,” Jamie Cullum says regarding his recent audition in front of And Brad, who was the youngest and newest member
Billy Joel and his nearly 20,000 fans in New York City. “My band and I were offered of the band at that time replied, “Oh man, we’ll just
one 35-minute tryout in front of his audience at Madison Square Garden. If it went say what we’ve got to say. What else can we do?” It’s a
well, they were going to give us six more. Luckily, it did, and it’s been amazing.” really good point.

If Cullum was the slightest bit nervous when I That kind of irreverence seems to be em- Let’s dig into the songs on Interlude a bit.
saw him open for Joel at a later gig, he never let on, blematic of your career—the way you take The second track is Ray Charles’ “Don’t You
displaying the pomp, romp, and razor-sharp pia- elements from different sounds and genres. Know,” which almost transports the listener
nism that has made him one of the biggest live acts So while this is a jazz record, per se, it still back in time to when people really danced to
in the world today. Since his 2004 breakout album has traces of the dirty R&B and hip hop jazz and R&B music. It sounds like we’re lis-
Twentysomething shattered sales records, Cullum grooves you came up listening to. tening to you and your band performing at a
has continued to meld myriad musical styles into a I’m so glad that comes across in the music, sock hop in the 1950s!
unique sound all his own. On his latest release, In- because I couldn’t escape it even if I tried. I think Absolutely. I think that comes from the fact that
terlude, Cullum waxes decidedly retro, with a set of that’s one of the great things about having a my producer, Ben, and I both really took to the jazz
soul/jazz classics recorded live to analog tape. background as a jazz player, even thought I’m that came from that world, when it was all about
Just hours after playing to Billy Joel’s sold-out not trained and I’m not the greatest technician. the dance floor. I love the way Ben makes drums
hometown crowd, Cullum sat down at the offices The great Stewart Levine said this to me when he sound. He runs everything through an analog desk
of his new label, Blue Note Records, to talk about produced my Twentysomething album: “Jazz is a onto analog tape, so the drums are permanently
his spirited new release. springboard to take you anywhere you want to overloading the analog preamps. It’s not even mythi-
go.” And it’s true. As long as you don’t go too far cal—there is something scientific about the way
The last time you spoke to Keyboard in 2010, up your own a**hole, it’s a giant trampoline that a snare drum hits analog tape. It hits a certain
it was about your album The Pursuit, which enables you to visit all different kinds of genres! frequency and gives you a crackle that is basically
melded pop and electronica. With Interlude, distortion. So it’s essentially a mistake, but it’s the
you’re digging into the jazzier corners of the Years ago, you said something to the effect sound that everybody wants! There is no plug-in
American popular songbook, with producer of, “I respect the jazz tradition, but it’s not in the world that can do that. I love Pro Tools and
Ben Lamdin. What did he bring to the project? my tradition.” So from the beginning, that plug-ins, and I love having tons of keyboard patches
Ben and I both grew up listening to all kinds template of not being locked in to a particu- and plug-ins that can give me the sound of an old
of things, from pop and rock, to hip hop and lar sound or style has been a great road map preamp or compressor. But recording to analog tape
drum and bass. We both came to jazz through for you. You followed your own compass. not only gives you that unique sound, it also makes
things like DJ Shadow and A Tribe Called Quest. I I had a great conversation with [trumpeter and you think in a different way. Every time you do a
was immediately taken with the sound of Ben’s bandleader] Wynton Marsalis about that on my radio take, that’s it! If you’re halfway through the song
Nostalgia 77 records—the way they are recorded show [on BBC Radio 2]. He was one of the people and it’s going great, you’d better not f**k up, because
totally in analog and all in one room. that really inspired me and made me want to work you can’t splice takes together.
With Ben and Nostalgia 77, it was also about at playing the blues and bebop properly, and really
the way they conduct themselves. They have a learn the history of jazz. I saw him play [the Charlie So you didn’t punch in at all on the new album?
small record label where they make 500 beautiful, Parker composition] “Now’s the Time” just with his Nope. The only things that were done “post-
heavyweight, hand-stamped, hand-printed vinyls quartet, and it was overwhelmingly powerful and full humously” on this album were Laura [Mvula] and
of each of their releases. They sell everything at of youth, vibe, and dirt. I had heard certain precon- Gregory [Porter]’s vocals, because they were both
premium prices, and after everything sells out ceptions about him, so when we met I thought, “Oh, out of the country when we were recording.
they put it up on Bandcamp. They’re all in their he’s going to hate what I’m doing.” But he said to me,
mid-to-late 20s, and they are all amazing players “I love what you do, man. I’ve kept a really close eye Your comping on “Don’t You Know” is bluesy
with a following that has nothing to do with the on your career.” He was so complimentary to me. So I and rollicking—like you’re “egging on” the
traditional jazz set. It’s like an old punk collective, think as musicians, it’s all about saying what you want trumpet player. Can you talk about your
but they’re not punks! to say. When we played Carnegie Hall, I said to my piano concept on that song in particular?

12 Keyboard 06.2015
 That was the first song we recorded on the once you set things up you can’t really change the time and there was snow outside. In fact, it
album. In fact, we were just checking the sound. things too much. So twenty minutes after I ar- was so cold inside the studio because there was
Ben set the microphones up and said, “Let’s rived in the studio and met the bass player and no heating that I had a hat and scarf on! We all
bust through something to see how everything drummer, we played “Don’t You Know,” and it had a shot of whiskey from a hip flask and we
sounds as a test.” With this way of recording, was full of energy. It was freezing in London at just played. And I think the key to my piano play-

06.2015 Keyboard 13
ing on this track was I played as if I was playing Harry Connick Jr. He was playing a New Orleans- her for this song. It reminded me of one of those
solo. Now, most music teachers would say, “Don’t type song, tapping his foot on the sustain pedal 1960s films when you see a split screen of two ex-
crowd the bass player by playing so much with while playing off beats by drumming on the piano lovers thinking about each other. That’s the kind
your left hand,” because obviously that leaves with one hand. I saw that and thought, “That’s cool.” of story I wanted this song to tell.
the bass player with nowhere left to go. But I was Later on a gig of my own, when we were playing “It
doing the total opposite there [demonstrates the Ain’t Necessarily So,” I asked my bass player to slap The track “Sack o’ Woe” is a grooving blues
rocking piano part from the song at the piano], the body of his bass, and I hit the top of the closed tune in F minor. You don’t take a piano solo
grooving and keeping time with my foot on the piano with some mallets. On the next gig, I left the on that one, or much at all on the whole al-
sustain pedal. piano open and started playing the sides of it with bum. Why is that?
both of my hands. Gradually I realized that if you On this album, I was surrounded by musicians
That piano part is crazy rocking; it sounds as hold the sustain pedal down, you get a whole range that I wanted to hear play. There were a couple
if Jerry Lee Lewis could have played it! of sounds, depending on where you hit the piano. It of moments where I thought, “Maybe I’ll take a
Yeah. The bass player was digging in, and the even sounds cool when you hit it underneath! Now piano solo here,” but then I thought, “I want to
one thing I told the drummer was just to lay off on gigs, I have a little Brazilian drum in the piano, hear that guy play.” I feel much more confident as
the ride cymbal until the end. I wanted him just a bass drum under the piano, and drumsticks. But I a jazz musician delegating and collaborating. And
to play the accents on the hi-hat, and to sound have to be using my own piano, because it tears the on this album, I just made snap decisions in the
like someone who was just learning how to play whole lid apart! moment that I wanted to hear a particular player.
the drums—with a drum part that sounds almost I guess it goes back to liking beats and beatboxing That saxophone solo on “Sack o’ Woe” is just so
dumb but is totally grooving at the same time. as a kid. Before I knew it, playing the piano that way pokey. It pokes you in the face. It’s so great.
became part of my thing. In fact, a lot of the things
Who are some proponents of this piano style that have become part of what I do, I discovered on- Your version of Randy Newman’s “Losing
that you listened to, and that readers can stage in front of people. That’s why when young mu- You” is an almost total reinvention of one of
check out? sicians ask me for advice, I tell them, “Get out there the most heartbreaking songs ever written.
Ike Turner is a good example of someone who and start playing shows.” Whether it’s to two people, How did you approach re-imagining it?
plays piano like that. Obviously, he was a terrible or one person, or to nobody in a bar. Soon there will What’s interesting about that song is that I had
man, and this is in no way a commendation of his be people there. And that’s where you learn your known it for ages, but I never worked it out. I played
personal behavior, but if we’re talking about piano stuff. I started out playing tunes I barely knew, busk- it to the guys in the studio when we were recording
playing, he played with that kind of aggression and ing my way onstage with bands that were far superior the album and we literally worked it out as a trio on
drive. Other obvious influences include Jerry Lee to me. That’s where I learned everything, really. the spot. So when I recorded it, I can’t say I knew it
Lewis and Ben Folds. Also, watching Harry Connick really well. It was only the second or third time I had
Jr.’s encores—when he’s alone at the piano, playing The song “Good Morning Heartache” has a ever played it. The vocal mic was quite far away from
that kind of New Orleans style—had a great impact chilling string intro that catapults the lis- me, and we were set up quite close together as a band
on me. And Dr. John has been an influence as well, tener back in time. There’s a cinematic sense with just a few microphones on all of us. I think if I
although I can’t play that rolling style of piano [he to this one, almost like [Henry] Mancini’s had thought about covering that song beforehand, I
imitates Dr. John’s piano style at the keyboard]. I score to a movie like Charade. probably wouldn’t have done it. But that’s the great
think it’s just about the idea of trying to play power- The arrangement to that song is one of my fa- thing about this record. There was zero thinking
ful solo piano, and the vibe of bringing the power of vorite ballad arrangements because it’s so weird. It’s
an entire orchestra into your solo playing. very filmic, and Mancini’s score to Charade is a great
example. It goes back to me studying film noir at Listening List
You seem totally comfortable playing and sing- university. But that arrangement is the original Bil- CULLUM'S TOP JAZZ
ing on your own, without a band behind you. lie Holiday arrangement that we copied. I’ve never KEYBOARD ALBUMS
Only because I’ve done a lot of it by necessity. As done that on an album before, but it’s a direct result
a working musician, I still do a ton of gigs where I’m of my and Ben’s record nerdiness. We wanted to do
just not able to bring a band with me. Even today, I that arrangement to highlight it and the time when AHMAD
probably play half of my shows solo. And as a piano arrangers put the singer in the band, weaving them JAMAL The
Awakening
player and singer, it’s a great gift that you actually into a more orchestral vibe. Our arrangement of “My
can hold people’s attention for an hour on your One and Only Love” is like that too, as well as some DUKE ELLINGTON,
own, playing both the quiet stuff [plays a series of other things on the record. It’s a shout-out to 1930s CHARLES MINGUS,
lush, Bill Evans-style chords at the piano] and the and 1940s things by people like [Duke] Ellington, Gil AND MAX ROACH
powerful stuff [he unleashes a torrent of thunder- Evans, and Marty Paich. It was a very conscious deci- Money Jungle
ous runs at the keyboard], coupling in all the percus- sion to make a point about that kind of arranging. BILL EVANS Everybody
sion possibilities as well [he then proceeds to keep Digs Bill Evans and The
time by playing drums on the top and sides of the That song features the terrific vocalist Laura Tony Bennett/Bill Evans
piano while holding the sustain pedal down]. Mvula. Did having her guest on that song Album
help you tell a new story with it?
Where did you pick up your “piano drum- Definitely. Just like Gregory Porter, who also
HERBIE HANCOCK
ming” tricks from? guests on the album, I met Laura through my Thrust and Head
The truth is I never really saw anyone else doing radio show. We became friends immediately, and Hunters
it. The first person I saw do anything like that was after singing together a few times, I thought of

14 Keyboard 06.2015
involved. We just thought, “Let’s do this.” We didn’t a song will enter my brain and I’ll think to myself, playing chords with a lot more information in them,
know if anyone would ever hear any of this stuff! “That’s a cool song.” In the case of a song like Ri- and I’m not doubling loads of notes. So it’s been a rev-
Maybe that’s the way we should always make records. hanna’s “Don’t Stop the Music,” I remember hearing elation to me, and my singing has improved as well.
it in a club and immediately loving the beat and the
The chords you play in that one are remi- melody. That song is like a 1980s house/rave sort of You don’t read music?
niscent of Bill Evans’ impressionistic piano thing. It stayed in my brain until later, when I was No. I would love to, though.
voicings on “Blue in Green” from the Miles in my studio and I was trying to write something
Davis album Kind of Blue. over these open, hymn chords. [He plays a repeating How do you find such lush chord voicings if
That’s because that’s the way Randy Newman cycle of open chord clusters that ascend up the piano you’re not able to read them?
wrote the song. I wish I could take credit for be- keyboard]. And suddenly, I started singing the verse I definitely have a good ear, and I’m persis-
ing a great re-harmonizer, but I think he over- lyrics. That’s exactly what happens to me with covers. tent. I’m constantly surrounded by better musi-
wrote that song so nobody could f**k it up! If they end up underneath my fingers while I’m jam- cians than myself, so I’m always asking, “What’s a
ming almost by accident, I know I’m onto something. better way to play this?” And my bass player will
Randy has so many trademarks in I did that recently with a cover of Taylor Swift’s say, “Oh, you’re looking for this chord!”
his arrangements, like doubling “Shake It Off.” I was thinking about the lyrics and
the vocal melody in the piano part realized that the song worked really well slow. Was Billy Joel a big influence on you coming
while he’s singing, and that great inner [Reaches inside the piano and mutes the strings up as a musician?
voice movement. with his hands, coaxing an almost guitar like sound He was by osmosis, by way of the other
That’s interesting, because I did the same thing out of it while singing the lyrics to “Shake It Off”]. people I was listening to, like Ben Folds and El-
intentionally as well on that song. I did some I think it’s a lot harder to come up with your own ton John. I met Elton at an early age and he was
things with Burt Bacharach a while back. He’s an- version of a cover song after you learn it properly. It very encouraging to me about my playing, so
other over-writer. I had a few gigs with him for the has to become part of you after you start messing he’s someone I’ve probably talked about more.
BBC with guest vocalists like Adele, and we all had around with it. It’s got to feel like you wrote it. But Billy has been just as big an influence; I
to go up to his hotel room to rehearse with him. just haven’t been as vocal about it. When I hear
I was doing the song “Make It Easy on Yourself,” Unlike many of your other albums, on In- songs like “Scenes from an Italian Restaurant,” I
and he was asking me to sing notes a quarter beat terlude you often sing over someone else’s hear that incredible, sick rock piano technique of
later. He would say, “I want you to interpret this in piano playing. Does that affect the way you his. It’s amazing how he is able to hold it down
your own way, but that’s not where the note goes!” sing and interpret a song? in a big rock band like that.
That’s the same kind of thing Randy does with his My God, it is the greatest feeling, especially with
songs. Because he’s the one playing the piano part, a piano player as good as Ross Stanley. I learned so What did you learn about Billy Joel during
every note in every voicing has a purpose. much from him; he’s an incredible accompanist and your support tour with him?
he’s also the best Hammond organ player in the U.K. He loves talking about music and musicians,
As someone who is renowned for an ability I watched him play the song “Make Someone Happy” and chords and pianos. He was interested in what
to take a well known song and make it com- and I worked out what he was doing on it. [Demon- I have in my monitors and what my setup is on-
pletely their own, what tips can you impart strates the song at the piano, playing a series of lush, stage. We talked about transposing and how he’s
to the next generation to help them put modulating jazz chords]. I wasn’t playing chords like brought a few things down a little bit [into lower
their own stamp on familiar material? that a year ago, but getting to sing that song while keys], but how most things he can still sing in
I never decide to cover a song. What happens is Ross played it got me to start working things out. I’m their original keys. Myself as well.

What’s next for you?

CULLUM’S GEAR After Interlude, I feel incredibly free to start
“I’ve got quite a good collection of vintage keyboards these days,” says Jamie Cul- writing again. It’s almost like having a field
lum, seated behind a seven-foot Yamaha grand piano. “I really got into the organ where you don’t grow crops in for a year. I’ve
thing, so I have a great 1960s Hammond B-3 with a 1960s Leslie as well. It took written a bunch of new songs and I plan to
about four years to refurbish it with all the correct parts. I also have a Farfisa, which write more. And I’ve definitely been heavily
I love the sound of without vibrato. Other keyboards include a beige, “flat top,” influenced by Billy lately; not so much in the
tube [140 Series] Wurlitzer electric piano, an original Roland Juno synthesizer, a up-tempo rock department, but in the classic,
Minimoog that I’ve used on loads of tunes. On my album Momentum, I sometimes piano singer-songwriter sense of things like
used it to double bass drum sounds like a [Roland TR-] 808. And I just got a new “She’s Always a Woman” and “Piano Man.” So
Dave Smith Prophet 12 that I think is great. I feel it’s a real player’s keyboard. there’s definitely a lot of songs like that going
“In terms of plug-ins, I like the ones by Native Instruments. Their organ, synth, around in my brain!
and drum sounds get used a lot with my Logic setup when I’m doing demos.
Sometimes the demos I create in my studio become the backbone of tracks
that end up on my albums, so I like to use as many real instruments as possible.
I also use an Apogee Symphony [I/O interface], a Chandler summing box, some Jamie Cullum
vintage Neve preamps, and a Bricasti reverb unit. I also have some great mics, performs
including an old Telefunken and a great Neumann U47. And I have a Yamaha S6 “Walkin” live.
grand piano, which I absolutely love. It’s a great recording piano.”
keyboardmag.com/june2015

06.2015 Keyboard 15
HEAR TA LENT S COUT

Roger Peltzman
AN ACCLAIMED CLASSICAL PIANIST AND TEACHER IN NEW YORK CITY, ROGER
Peltzman has given six solo concerts at Weill Recital Hall at Carnegie Hall, and has
played chamber music and solo repertoire at the U.S.’s oldest community music
school, the Third Street Music School, where he is a member of the faculty. Find out
more at rogerpeltzman.com.

TRAINING: I was originally a cinema student at Myra Hess and Harriet Cooke. And the newly
Binghamton University. One credit shy of gradu- released box set by the Velvet Underground. Bach, Chopin recital at SubCulture, a very cool
ating, I had the realization that music was my life, subterranean club in New York City.
so I added it as my second major. After graduat- LATEST ALBUM: Dedication: Roger Peltzman
ing, I received my Master’s Degree in Piano at the Plays Chopin. This recording is dedicated to my ADVICE: Find a mentor, someone you can rely
Manhattan School of Music. Uncle, Norbert Stern, who was a young, Jewish on to tell you the truth, work hard and don’t let
pianist in Nazi-occupied Brussels. In 1944, he anyone tell you that you’re too old to become suc-
INFLUENCES: Ivan Moravec, Paul Lewis, was deported to the Auschwitz concentration cessful in music. —Jon Regen
Murray Perahia, Dinu Lipatti, Ignaz Friedman, camp and he died there at 21 years old. Dedica-
Walter Gieseking, Vladimir Horowitz. The com- tion is a tribute to a brilliant performer the world
posers I feel the greatest affinity with on piano would never know. It is an all-Chopin program Roger Peltzman
are Chopin, Bach, Schubert, and Bartok. recorded in the Brussels Conservatory of Music Plays Chopin
on the same stage where Norbert had played.
WHAT I’M LISTENING TO RIGHT NOW: keyboardmag.com/june2015
Early 20th-century recordings of the U.K. pianists WHAT’S NEXT: Getting ready for a Schubert,

Bruce Levingston
THE NEW YORK TIMES DECLARED CONCERT PIANIST BRUCE LEVINGSTON ONE OF
“today’s most adventurous musicians,” and The New Yorker called him “a force for new
music.” Levingston has performed world-premieres at Carnegie Hall, Lincoln Center,
and other venues. He is also the founder and artistic director of Premiere Commission
Inc., which has commissioned and premiered more than 50 new works. Find out more
at premierecommission.org/brucelevingston.html.

TRAINING:I studied under Anton Kuerti at the playbacks of some recent recordings I just made of
Royal Conservatory of Toronto; in Switzerland some études by Philip Glass that will be released on
with Bela Boszormenyi-Nagy; in New York with an all-Glass album I am currently recording.
Morey Ritt; in Aspen with Herbert Stessin; and
private lessons with John Perry, Elizabeth Buday, LATEST ALBUM: My fifth solo album Heavy
and Amanda Vick Lethco. Sleep, out now on the Sono Luminus label. It in-
cludes some of my favorite Bach works and pre-
INFLUENCES: Greatest piano influences include mier recordings of some beautiful new works by
Annie Fischer, Alfred Cortot, Vladimir Horowitz and Timo Andres and Mohammed Fairouz.
Rudolf Serkin. All had completely different sounds ADVICE: Be fearless. Try to play as many new
and approaches, but each shared a kind of perfection WHAT’S NEXT: I will be performing through- things as possible, and believe in your own voice.
in their unique artistry. Other influences include out Italy this April, finishing up my Glass album It is unique. —Jon Regen
Maria Callas, Bill Evans, the conductor Carlos Kleiber, and gearing up for an exciting program at Carn-
and composers Bach, Schubert, Chopin, and Debussy. egie Hall that I’ll be playing next season. I have
also recently completed my first book “Bright Bruce Levingston
WHAT I’M LISTENING TO RIGHT NOW: Bach Fields,” about the pianist Marie Hull, who became Prelude in B Minor
played by my friend, the violinist Johnny Gandels- a famous and influential painter. It will be pub-
keyboardmag.com/june2015
man, Louis Armstrong singing “Mack the Knife,” and lished in September 2015.

16 Keyboard 06.2015
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PLAY JA ZZ

5 ways to play like

jamie cullum

JUAN PATIÑO
BY BRIAN CHARETTE

Being known as the most successful u.k. jazz artist in history is quite a responsiBility, But jamie cullum
wears it well. Since the release of his breakout album Twentysomething over a decade ago, this prolific artist has garnered a
slew of awards including a Grammy, two Golden Globes, two “GQ Man of the Year” awards, and numerous other accolades.
Cullum’s new album Interlude has him revisiting his roots by interpreting jazz classics, and on it he displays his funky, minimalist
piano style. Here are a few examples to get some of Jamie’s techniques into your own playing.

ex. 1 C min

b 4
F min/C

& b b 4 œœ .. œœ œœ œœ œœ .. œœ œœ œœ œœ .. œœ œœ œœ œœ .. œœ œœ œœ ˙˙˙ ... œœ œœ ww

1. pedals and fourths
œ œ w
In Ex. 1, fourths in the right hand set
up the pulse and mood of the track
in the first two bars. The open, bell-

? bb 44
like quality of the riff has an almost

b w w Eastern flair. Experiment on your

w w own with a shallow sustain pedal to

get these clusters to rub against each
other just the right way. (Try them
ex. 2 B b7 E b9 A b13 staccato, too.) The low, pedal-point

b œœœ ... œ œj œ j
B 13

b
& b 12
j j
œœœ # œ n œ œ œ
chords in bars 3 and 4 are a nice

8 œ œ œ # # # œœœ .. # œ n n n œœœ nœ. œœ œœ # œ n œ œ œ

contrast to the intro. Let the passing

œ .. bœ œ chords ring out against the strong

C pedal. At the end of bar 3, quickly

? b b 12 . œœ .. œ. Œ bœ œ.
8 Œ. n # œœ . Œ b n œœ Œ.
grab the F minor triad in the pedal
Œ j bœ œ.
œ.
and go right back to sustain.

J œ J 2. intro Devices
B b13 A b13 G 7# 5 D b7 F 13#11b 9
On his rendition of Randy Newman’s
C min9 C min11

b œ.
song “Losing You” on Interlude, Cul-

&b
3

œœ .. bœ. œ.
n œœ .. n œœ .. b œœ .. œœ .. n b n ˙˙˙˙ ....
lum’s intro beautifully sets up his

b œœ ..
vocal entry. In Ex. 2, I’ve given you a

œ. ˙.
few ideas to spice up your own intros.

? b b b œœ .. bœ. œ. ˙.
Bar 1 shows how you can approach

bœ. nœ. bœ. ˙.

the Bb7 chord chromatically from
above. Notice the B13 voicing in the
first beat which in a tight shape con-
tains many spicy chord tones includ-
ing the ninth and 13th. It’s these ex-
tra colors that give jazz chords their
Brian charette has performed and recorded with Joni unique quality. Bar 2 harmonizes a
Mitchell, Michael Bublé, and Rufus Wainwright in addition simple melody accenting off-beats
to leading his own jazz groups. He recently won Downbeat with nice piano chords. The last two
magazine’s “Rising Star Organ” award and released the bars show another great technique:
album Good Tipper. He also has a new book out entitled 101 chording each melody note. Out of
Hammond B-3 Tips: Stuff All the Pros Know and Use. Find the numerous voicings here, my fa-
out more at briancharette.com. vorite is the last one, F7 b9 #11.

18 Keyboard 06.2015
Ex. 3
D min9b 5 G 9# 5 G min7b 5 C 7b 9 F min9 F min13 D min7b 5 G 7b 9 C maj13

b
C min13

& b b 44 ww n b ˙˙ b ˙˙ b ˙˙ ˙˙ ˙ ˙˙ ww w nw Listening
˙ nw nw List
? b 4 ww ˙˙ n ˙˙ b ˙˙ ˙
bb 4 n˙ b b ˙˙ ˙
˙ bw
w
bw
w w
w
ESSENTIAL JAMIE
CULLUM ALBUMS

3. Cullum Comping
Like all great pianists, Jamie mixes his chords up quite a bit, as in Ex. 3. Sometimes he plays bebop chords with
left-hand shells, and other times he employs two-handed rootless voicings in the style of Bill Evans. Here, I’ve
tried to give you a few interesting voicings for this common chord progression. These work especially well when Interlude
playing with bassists because they have no roots and a nice spacing. Usually the third and seventh will be in the (2014)
left hand, with the color notes in the right. Try to voice-lead your chords nicely without too many jumps.

j
Ex. 4

n nn œœœ ... œœ
A b13
œ œ ˙˙
3

œœ œœ œ œ
C maj7

bb 4 œœ n œœ œœœ œœœ ˙˙ Œ œœœ n n n œœœ ww

& b b bb 4
The
œœ œœ œœ œœ ˙ w n n œœ .. n n œœ ˙˙ Pursuit

œ nœ œ œ n œ. nœ ˙
(2010)

œœ œœ œœ œœ ˙˙ n œœ n n œœ ww
? b b b b 44 œ œÓ Œ nœ w
bb
Catching
Tales
4. Modes and Fourths (2005)
Ex. 4 expands on the concepts in Ex. 3, demonstrating the kind of fourth shapes made famous by pianist McCoy
Tyner. The biggest thing to remember with this style is that all of the notes are coming from a particular mode at
first. In the first two bars, the notes are derived from the Ab Mixolydian scale (Ab, Bb, C, Db, Eb, F, G, Ab). The left
hand harmonizes the scale in fourths at different degrees, as the right hand adds additional fourths and thirds.
In bars 3 and 4, we move the idea to the C Ionian mode and use more fourths still. A popular technique is to slide
these types of chords in and out of key by a half-step up or down and then return to the home mode. This is called
side-stepping.
Twentysomething
(2004)
E min7b 5 A 7b 9
Ex. 5

œœ ˙˙ œœ œœ œœ œœ œœ œ # œ œ œ
F maj7 D min13

4 œœ œœ œ œœ œœ œ œœ # œœœ œœœ œœ œœœ

& 4 œœœ œœ œœ
b œ ˙˙ œœ œœ œœ ˙˙ Ó
œ œ # œ n œ œ # œœ œ
? b 44 œ œ nœ œ nœ œœ ˙˙
Ó
5. Block Chords
A few of Cullum’s chords in his rendition of the classic song “Come Rain or Come Shine” serve as the inspiration for
Ex. 5. I’ve come up with a sort of block chord solo here to explain a few key points of this style. Many of these chords
are often called “drop 2.” This means the second note from the top of the voicing is played one octave below with the
left hand. This has an open sound and nicely mimics a saxophone section. In bar 2, notice how we use D minor
chords to pass between the Em7b5 and A7 shapes. You can actually fake this style by playing a strong melody
in your left hand while filling in whatever harmony you can grab with your right. You don’t have to be Original audio
perfect. The melody of the left hand gives the audience direction and their ears fill in the rest! examples.

keyboardmag.com/june2015

06.2015 Keyboard 19
PLAY JA ZZ

Dominant Diminished
Discoveries
BY ANDY LAVERNE

My “Quartal chorDs in Motion” article in the June 2014 issue of KeyBoarD presenteD an overview of
various types of chordal (including quartal) structures that move across the keyboard. Now, we’ll dig deep into voicings and
lines created exclusively from scale tone triads. All this digging has unearthed a discovery of sorts, which will be revealed as
you play on. After working through these exercises, head to keyboardmag.com/june2015 for additional variations and a piece
that puts all these concepts together.

ex. 1 1. Diminished Basics

& 44 œ œ bœ
œ bœ bœ nœ #œ
The diminished scale is an eight-note scale that alternates whole steps and half steps (as-
cending). The dominant diminished scale in Ex. 1 alternates half-steps and whole-steps
(ascending). The dominant diminished scale is actually a mode of the diminished scale.

? 44 b www
Start the diminished scale from the second degree, and you have a dominant diminished
scale. Another way to visualize the diminished scale is that it’s two diminished seventh
chords separated by a whole-step. (The dominant diminished scale can be thought of as
C7 two diminished seventh chords separated by a half-step.)

ex. 2 ex. 3

& 44 œœœ b b œœœ # n œœœ & 44 œ b œ n œ b œ n œ b œ n œ

b b œœœ

? 44 b www ? 44 b www
C7 C7

2. scale tone triads

Ex. 2 illustrates how the four main triads in the C dominant diminished scale are built from C, Eb, Gb and A—which are all minor thirds apart. Another
point of interest is that both the dominant diminished scale and diminished scales can only be transposed three times before duplicating notes.

bœ bœ œ w
ex. 4a

œ n œ œ b œ
& 44 œ œ œ œ b œ b œ b œ œ
3. the tritone scale
œ Ex. 3 demonstrates how combin-
ing the notes of the C major and Gb
major scale tone triads from the C

? 44 b ww ww ww dominant diminished scale results in

w w a six-note scale known as the tritone

scale. Combining the opposing tri-
C7 tone triads in the C dominant dimin-
ished scale (Eb major and A major)
creates another tritone scale.
œ œ
ex. 4b

& 44 œ œ œ œ b œ œ b œ œ bœ bœ bœ œ œ #œ nw 4. linear patterns

Ex. 4a illustrates a linear pattern
derived from the C tritone scale,

? 44 b ww ww
outlining the two tritone triads. Ex.
4b illustrates a linear pattern derived
w w w from the C dominant diminished
scale using all four scale tone triads.
C7

20 Keyboard 06.2015
 Ex. 5a Ex. 5b
C/D b C 7b 9
w
& 44 w & 44 ww 5. Triad Workout
ww Ex. 5a shows a C major triad over a Db in the bass. Db is a scale tone, and the flatted

w
ninth in the C dominant diminished scale. This structure can be used as a C7b9 chord

? 4 bw ? 4 b ww
voicing. Ex. 5b transposes the C major triad up an octave, and fills the intervallic distance

4 4 between both hands by doubling two of the notes from the C major triad in the left hand
for optimal spacing.

Ex. 6a
C 7b 9
bœ œ œ œ nw
bœ bœ œ #œ nœ
6. Triads in Motion
4 bœ bœ
&4 œ œ œ œ œ
Ex. 6a contains the left-hand
structure from Ex. 5b, while

w
b nb ˙˙˙ # # ˙˙˙ b n ww
arpeggiating the four major

? 44 ˙˙ ˙
b ˙˙
scale tone triads in the right

b˙
hand, moving both hands up
in minor thirds. Note that tri-
ads are in the first inversion.
In Ex. 6b, the four scale tone
Ex. 6b
œ
C 7b 9
œ
œ œ #œ œ œ œ bœ œ nœ
triads are in the second inver-

& 44 bœ bœ bœ bœ
œ nw
sion, with both hands moving
down in minor thirds.

˙˙
?4 ˙
b # # ˙˙˙ b bn ˙˙˙ n ˙˙ w
4 b˙ b ww
7. Triad
Substitutions
Ex. 7a reveals our discovery.
In place of the left-hand di-
Ex. 7a Ex. 7b

n n n œœœ n n n œœœ
minished structures, you can
C 7b 9 C 7b 9
b b b œœœ #œ b b b œœœ #œ
4 b œœ n œœ b œœ n œœ
play scale tone triads. These

&4 b œ & 44 b œ
are in second inversion, which
is the preferred inversion for
this application. Also notice
that the right-hand and left-

& 44 n œœ œ #œ n n # œœœ & 44 œ # # # œœœ

hand triads are separated by a

b b œœ # # œœ n n # œœœ n œœœ b b œœ
minor tenth (an octave plus a

œ minor third). Ex. 7b is similar

to 7a except the distance be-
tween the right- and left-hand
Ex. 7c Ex. 7d
C 7b 9C 7b 9
# œœ # œœ n n n œœœn n n œœœ C 7b 9
#œ n n n œœœ
triads is a tritone up an octave.
b œ b œ b b b œœœ
œ œ b b
œ œ
44 44b b œœ b b œœ b œ b œ n œn œ b œœ n œœ
& 44 b œ
Ex. 7c has the right-hand and

&&
left-hand triads separated by
a sixth. Ex. 7d has triads that

n œœn n œœ b n œœœ b n œœœ n œœ

start a minor tenth apart and

b œ b œ n # œ
œ
n # œ
œ n #œ
??44 b44b œœb b œœ n œn œ n œ n œ ? 44 œ n œœ # # # œœœ œ
expand in contrary motion mi-

b b œœ
nor thirds. You can keep going
until you run out of keys!

Practice Tip
“The dominant diminished scale for C7b9 can also used for Eb7b9, Gb7b9, A7b9, Dbdim7, Edim7, Gdim7, and
Bbdim7. Transpose this formula up two times in half-steps and you cover all dominant 7b9 and diminished sev-
enth chords,” advises Andy LaVerne, who has performed with Frank Sinatra, Stan Getz, and Chick Corea. His
latest projects include the book Chords in Motion and instructional videos at mymusicmasterclass.com. Find
out more at andylaverne.com.

22 Keyboard 06.2015
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KNOW

PHOTO: JOHN ZOCCO

PERSPECTIVE

The
Fretless
Keyboard
BY JORDAN RUDESS

WITH THE RIGHT APPS ON YOUR TOUCHSCREEN MOBILE DEVICE, YOU CAN Where the Continuum is flat and uses color to
do things like play four simultaneous notes while adding vibrato to two, increasing the identify notes, the Seaboard’s surface has raised
volume on the third, and bending the pitch of the fourth. If you walk into a music store, shapes that look like actual keys, giving more
you’ll be hard-pressed to find any keyboard at any price that can do that. Luckily for tactile feedback to your fingers. We refer to these
all of us, there are a handful of companies creating instruments meant to offer musi- as keywaves, hence the name Seaboard.
cians the next level of expression. Some have made a point of rejecting the piano layout One initial challenge was getting popular soft
(and in some cases even the 12-note scale), but of more interest (and immediate use) to synths to implement it fully (though Roli is de-
keyboard players are instruments that take the keyboard we’re all already familiar with— veloping their own sound engine, called Equator).
which dates back to pipe organs beginning in the 12th century—and makes it “fretless.” As of right now, a few software developers such
as Spectrasonics, U-he, and FXpansion have made
Haken Continuum On the Continuum, I love being able to slide that friendlier, and Roli is focused on working
My explorations into continuous controllers started from note to note horizontally while there’s lots of with the music community to get more compa-
with the Continuum Fingerboard, initially released room on the Y-axis of a note to express any param- nies thinking along these lines. Another growing
in 1999 by Lippold Haken. I first used it on Dream eter of the sound. It’s also very sensitive to touch pain has been that the initial units that many
Theater’s 2005 album Octavarium and then toured and recognizes pressure as well, all independently. keyboardists tried demanded a strong and precise
with it afterwards. I had always dreamed of being At first the Continuum was only a MIDI con- touch to get sound and voice the intended notes.
able to play definite pitches like on a traditional key- troller, but Haken later realized it would be much As of this writing, new sensors are in the current
board but also being able to slide from note to note. more accepted if it had built-in sounds optimized versions of the Seaboard, and the response has
The Continuum was a dream come true. for its expression features. When playing the been that it’s now much easier to play.
Basically a flat, yielding surface, the basic Continuum, it feels very organic and responsive For me, the feeling of pressing into a key-
idea is that the instrument allows a note to be in to every touch. wave is wonderful. It brings a new level of control
perfect tune on the initial point of finger contact, to polyphonic aftertouch—and polyphonic pitch-
but then even after a slide to another note, the Roli Seaboard bend. You can create vibrato and vary its speed
instrument could round (quantize) the pitch I have a personal interest in this instrument, as I’m by rocking your finger on a keywave, a motion
when your finger stopped its movement. This is a Head of Music Experience for the company, a U.K.- that almost no traditional keyboards have ever
concept that I brought into Geo Synthesizer, an based startup founded by Roland Lamb in 2009. That allowed. To date, Roli has not implemented the
iOS app that my own company Wizdom Music said, I got involved because I was impressed with it, Y-axis of the keywaves, but if I have anything to
released in 2011. and I’ll be straight with you about my thoughts. do with it (and I will), we’ll see to this.

Read more of Jordan’s thoughts

on alternative controllers.

keyboardmag.com/june2015

26 Keyboard 06.2015
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KNOW SYNTH S OLOING

THE ART OF SYNTH SOLOING

Jan Hammer’s Unique Color Notes
BY JERRY KOVARSKY

THIS MONTH, wE CONCLUdE OUR STUdY OF MASTER SYNTH SOLOIST JAN HAMMER. HIS EARLIER pLAYING, SUCH AS IN
the Mahavishnu Orchestra, was his most adventurous in terms of note choices. This was the height of the “fusion” era, before
he moved into his more signature guitar-emulation sound. Going back to those recordings affords us some good examples of
how to apply “outside” note choices and poly-chordal concepts.

Trading Solos tonal center to build tension. Hammer was a master ing technique, since you have a clear root tone
The Mahavishnu Orchestra regularly traded solos at this. Let’s explore this as captured in a live re- “drone” to move away from and back into.
between players in the band, sometimes trading cording of “One Word” (found on Unreleased Bonus Ex. 1 shows the more common scales you
eights, fours, or even smaller bar divisions. You can Tracks from Between Nothingness and Eternity). The might use, and they work fine to give you a rock/
hear the same practice in Chick Corea’s Return to song is originally from the Birds of Fire album. blues sound. But check out the phrases Jan plays
Forever, as well as the Dixie Dregs. During these in Ex. 2. They seem based on the B Locrian mode,
exchanges each player would often build on what Notes from a Master and his emphasis on the B notes (the sixth of the
the others had played, but it was also common to The solo section is a D7#9 groove. Simple one- chord) along with the F natural (the sharp ninth)
interject unique colors that strayed further from the chord jams are a great way to explore this solo- give them a wonderful exotic flair. You might
consider it based on a G Mixolyd-

#
DÞ(#9)

& œ nœ œ#œ œ œ œJ ‰ œ œ œJ ‰ œœœŒ œœœŒ

ian mode instead, as it’s the same

œ nœ#œ nœ œ œ œ œ nœ œ note choices.

Ex. 3 shows us a great exchange
minor blues Major blues Mixolydian pentatonic minor pentatonic that moves outside the tonality. In
bars 1 and 2 he’s playing a Bb7 over
Ex. 1. Common scales over a D7#9 chord. the D7; note how by first playing

œœœ œœœœœ™ œœœœœ œœœœœœœœœœ œœœœ

the low C and then leaving it out he
# DÞ(#9)
nœ plays against the time nicely with
& nœ œ œ œ
œ œœœ
the repetitions. In the middle of bar
2 he moves the figure up a minor
third to a Db7, and then moves into
#
B Locrian mode

& œ œ œ nœ œ œ œ œ œ œ œ œœœ œ
a simple ascending phrase based
nœ
‘
œ œœ˙
“
œ œœœœ
on the white notes. Call it what you
will: D Dorian, G Mixolydian, or B
Locrian. He comes out of it in bar 4
Ex. 2. Solo phrase based on the B Locrian mode. with D minor pentatonic, releasing
the tension he created earlier on.
DÞ(#9) Perfection! Finally, I offer a simple
# œ
& ≈ bœ bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ bœ œ œ bœ nœ œ œ œ œ œ œ nœ
but classic line in Ex. 4, showing
how changing one note (the use of
1 2 the C or the B) makes this descend-
œ
# œ nœ œ œ œ œ œ œ n œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
ing run interesting; it’s no simple

& nœ œ œ œ œ œ nœ arpeggio. And I love the opening mi-

3 4 œ nor third bend into the Bb, not your

ordinary note choice for a D7#9.
I can’t emphasize enough what
Ex. 3. Solo phrase with poly-chordal elements.

Œ ù
a monster player Jan Hammer

# œfij b œ nœ
œnœ œ œ œœŒ œœŒ
is—certainly as a synthesist, but

& Ó nœ œ œ Œ œnœ œ œ œnœ œ œ on piano, Rhodes, and organ as

œ well. Be sure to check out all his

recordings both as a leader and a
Ex. 4. A classic Hammer line. sideman.

28 Keyboard 06.2015
KNOW B EYOND THE M A NUAL

aDvenTuRes in

Modulation
By Craig anderton

The MoDulaTion Wheel on youR synTh Doesn’T have To conTRol vibRaTo. i oFTen use piTch-benD as vibRaTo,
which frees up the mod wheel to lead a much more interesting existence—or add an effect along with vibrato. The key to mod
wheel fun is controlling multiple parameters. For best results, your synth needs two control parameters between the mod
source and destination: level (also called depth or intensity) to adjust modulation strength, and offset to provide an initial, fixed
modulation value. Now, try these tips on for size . . .

Tone control. Particularly with bass, I like roll- Reinforce the fundamental. A variation With distortion, use offset to set a minimum
ing the mod wheel forward to reduce highs (e.g., on the above is controlling the level of a sine drive amount, and the modulation wheel to in-
by lowering a 12dB- or 6dB-per-octave filter’s wave tuned to the preset’s fundamental; bring crease the drive amount. Also, apply a little nega-
cutoff frequency) and simultaneously increas- in a hint of sine wave for a deeper, more power- tive modulation to the output level so that there’s
ing gain to compensate for the lower level. Or, ful fundamental on lower notes. Try this on a not a huge volume change when going from mini-
increase the level of a sub-octave sine wave while piano’s lower octaves if you want it to dominate mum to maximum drive.
the filter cutoff lowers, thus giving a super-bass a track, but note that a little reinforcement goes
sound (see Figure 1). Here’s a related trick: Add- a long way. Guitar-like feedback. Guitarists often sus-
ing an octave-lower sine wave to an ethereal fe- tain a note at high volume, inducing a second
male choir gives the illusion of adding some male Distortion. Some synths let you control signal tone that’s typically a couple of octaves and a
voices to the choir. processor parameters with modulation sources. fifth above the fundamental. Tune an additional
sine wave oscillator appropriately, and control its
Fig. 1. arturia’s level with the mod wheel. To be more guitar-like,
prophet-v is using MiDi add some vibrato as the “feedback” appears, and
learn so the mod wheel pull back slightly on the fundamental’s level (see
lowers the filter while Figure 2).
it’s raising the level of
oscillator b, which is Fun with melodic percussion. Pitched per-
set to a sub-octave. cussion (e.g., cowbell, clave, struck metal pipe),
can add dramatic attacks if you transpose them
up an octave or two and mix them in subtly with
Fig. 2. steinberg’s the mod wheel when appropriate. Also try tying
Retrologue sets up modulation to filter so that increasing the pitched
modulation to bring percussion’s level lowers the filter cutoff to take a
in oscillator 2’s bit of the edge off the percussion sound.
“feedback” sound,
while adding vibrato Major meets minor. Got three oscillators?
and reducing the level Create a chord with the root note and the fifth,
of oscillator 1. but use the modulation wheel to control the pitch
of the third—forward for major and back for
minor.

Fig. 3. in cakewalk Waveform/patch morphing. At its most

Rapture, volume 1 basic, this technique controls the level of two
controls a percussive oscillators so that as one goes from full off to
sound, while volumes full on, the other goes from full on to full off.
2 and 3 control a pad But there are rich possibilities, like morphing
sound. adding modula- between a cello and sawtooth wave so you can go
tion fades out volume from more realistic to more synthetic, or combin-
1, raises volumes 2 and ing the two—or even morphing between patches
3 to compensate, and pitch-modulates the lFo to animate the pads. (see Figure 3).

30 Keyboard 06.2015
18 vital organs for your keyboard
The B9 and C9 Organ Machines will give your axe of those keyboards’ sounds like percussive click,
new life. Each is packed with a collection of 9 modulation, attack/sustain, drawbar setting and
unique presets that emulate the most legendary high frequency content. Both Organ Machines offer
organs and keyboards of the ‘60s and beyond. something totally different, totally amazing. Best
Both deliver precise control over signature elements of all, no surgery is required, just plug in and play!
KNOW DA NCE
medium to high resonance setting. Add some filter
envelope and experiment with decay times. Carefully

Drums
adjust your filter’s keyboard tracking to keep the res-
onant squelch relationship to the tuned ride intact.

Wood Blocks
As PiTCheD insTRumenTs Wood blocks, claves, and even certain types of snare
rim shots have a distinct pitch, which makes them
BY FRANCIS PRÈVE perfect for top leads like the one in “Animals.” Since
these samples are extremely short, there isn’t a lot
DRum sAmPles ARe A fAnTAsTiC WAy To CReATe unique synTh PARTs ThAT of room for filters and envelopes in transforming
have real punch and presence. Martin Garrix’s hit “Animals” was based on the sound of a them into leads. Instead, try a reverb on the sound
pitched-up TR-808 conga. My own Armada Records release “Less Cowbell” employed a after you’ve tuned it appropriately. This gives it
deconstructed 808 cowbell. By turning classic drum and percussion sounds into melodic more presence in the context of a mix.
instruments, you can give them a second life as the source for musical riffs.

Toms Ride Cymbals

Toms are a fantastic While the
source for bass parts. inharmonic
Their sharp attack and meaty tone give them the characteristics
right impact and depth. Once you’ve imported the of a cymbal
drum into your preferred sampling instrument (e.g., may not seem
Ableton Simpler) you’ll need to tune it using either like the best
your ears or a tuner plug-in. From there, apply a choice for a pitched instrument, the distinct tones of
lowpass filter and lower the cutoff so that the result a ride cymbal make it a great choice for squelchy reso- Audio examples.
is a punchy boom. After that, add some filter enve- nant filter envelopes. Once you’ve tuned the cymbal
lope with a quick decay to reinforce the tom’s attack. to your keyboard, try a 12dB lowpass filter with a keyboardmag.com/june2015

“For my style and the way I play,

I like the weight, response, and
consistency of Kawai. It’s all about
feel; the feel I get from Kawai allows
me to just play.”
–Ryan Tedder, OneRepublic

KAWAIUS.COM

kawai_tedderv2.indd 1 4/6/15 3:17 PM

32 Keyboard 06.2015
 BandH.com
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B sE Munro Egg 150 Studio Monitors
C Behringer X32 40-Channel, Digital Mixer
D Neumann TLM 102 Large-Diaphragm
E Moog Minimoog Voyager Monophonic Synthesizer
F Neumann TLM 107 Multi-Pattern Large Diaphragm
G Universal Audio Apollo Quad Core
H Apple 15.4” MacBook Pro Notebook

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REVIEW M I D I CONTROLLE R

VISCOUNT

Physis K4EX and K5EX

BY JERRY KOVARSKY

THERE’S A NEW CONTENDER IN THE MASTER KEYBOARD CONTROLLER

category, and it’s a serious piece of gear. The Viscount Physis range of controller
Snap Judgment
keyboards includes the K4 (88-note weighted action), K5 (76-note semi-weighted
action) and EX versions of both models, which include a sound expansion board PROS Extremely deep MIDI
featuring physically modeled acoustic and electric pianos and more. Both units are programming possibilities.
eight-zone MIDI master keyboards with a wealth of front-panel controllers, pedal Great feeling keyboard with
inputs, MIDI I/O, and more. These are very deep and capable units, and I’ll cover as aftertouch. Eight five-pin
much as space permits. MIDI output ports and eight
pedal inputs. Expansion
Front Panel lighter and more compact than many of them. board offers physically mod-
I received a K4EX to review; the K5 (pictured Across the front panel you’ll find three as- eled sounds including great
above) differs only in the keyboard length and signable wheels (two on the K5), the first spring- Rhodes and Wurly electric
mechanism. These are substantial pieces of hard- loaded like a pitch-bend, the others free-moving. pianos.
ware, with a rugged metal case sporting recessed A volume slider controls the optional EX internal
sides to aid carrying. That’s good, since the in- sound board, but you can’t assign it to output CONS USB-to-computer
strument weighs in at 43 pounds. The Fatar TP- controller messages—why not? The main control- connection currently pro-
40L keybed contributes to that, with a great-feel- ler section provides nine each of endless encoder vides only one virtual MIDI
ing hammer action that provides for initial veloc- knobs, 45mm sliders, and buttons, which can be port (16 channels). Expan-
ity, release velocity, and channel aftertouch (the configured in four banks of message setups. Yup, sion board’s acoustic piano
K5 uses the Fatar TP-100LR, a somewhat lighter that’s 108 possible messages. But wait, there’s modeling may not be to
action). As a reality check, I looked up most of more. Each controller can send a different mes- your liking. No drum pads.
the more “pro” stage pianos and the K4EX is no sage per zone, so we’re up to 864 messages. Of Not cheap.
heavier than most (Casio PX-5S excepted), and course I’m playing “specsmanship” here—you’re

34 Keyboard 06.2015
 Fig. 1. Graphics
on the Physis’
color display go
for crisp and in-
formative over
stylish, which we
think is the right
call.

Fig. 2. Pretty
much every phys-
ical control can
be user-named in
the display.

not likely to need to do so much at one time. But Taking Control abled (not used), On (fully defined and active),
the K Series tends to over-deliver. A complete setup of the instrument is called a Perfor- Off (defined but not currently active), and Control
I liked having dedicated buttons for select- mance, and the K4/K5 offers 128 savable locations. (routes all controllers but not keyboard notes). A
ing and enabling/disabling the eight zones, with If you work only with software and a USB controller zone can be routed to any single physical output
lights to indicate on (blue), muted (red), or off you may find this new, as you probably do all your (or the internal sound board) and settings you can
(unlit). A View button toggles whether you see zoning and control assignments within your virtual define per zone include bank and program change,
a single zone’s information or all eight in the instruments or host program (e.g., Apple MainStage, various “mixing” settings, key shift, what type
display, and a single controller when moved, or Plogue Bidule, or Cantabile Performer). In those in- of MIDI message is output by aftertouch (nice!),
the complete control surface’s assignments. Nice stances the computer is the “brain” while the control- aftertouch curve, and velocity curve (21 available,
touch. ler is just hardware sending MIDI messages. plus fixed and user-defined). You can define mini-
The display is 4.3 inches, 480 x 272 pixels, and For working with hardware such as Receptors, mum and maximum values to create velocity splits,
seemingly full-color. It’s sharp and easy to read, sound modules, and MIDI-equipped analog synths and invert the response for pseudo-crossfades. Of
with vivid colors. Information is presented clearly; (or a combination of that and a computer), though, course you can define key range, and it’s nice to see
there aren’t many graphics but they’re tastefully the K4/K5 is quite the taskmaster, creating, storing, that you can use direct key entry to set that up. I
used when needed (see Figure 1). Below the dis- and recalling all the setup info. A Performance con- wish you could enter the velocity values from the
play are buttons F1–F 4, used to select parameters tains the definitions of up to eight key zones, four keys as well, but no luck.
displayed above them in many of the screens. The banks of controllers (knobs, sliders, and buttons), The controllers can send the following types of
K4 has a dedicated Transpose button, which acts the wheels and pedals, and even custom input/ messages: CC, NRPN or RPN, pitch-bend, program
globally on all setups in the unit (zones can be de- output routings plus the ability to define MIDI mes- change, and channel pressure, and their range
fined not to transpose if desired). It’s implemented sages that can set up your connected devices. Each can be defined. Many hardware synths (like Dave
nicely; press it once and it lights up and shows the Performance also contains four Scenes (parameter Smith’s products) and software applications use
current value on the display. Hold it and use the value snapshots containing everything I just men- NRPN (non-registered parameter) messages, since
data entry controls to set a value. tioned) so you actually have 512 locations. The these offer greater resolution (14-bit, 16,384 values)
Five dedicated sequencer transport controls likely thought process is to use a Performance for a than a MIDI CC message (7-bit, 128 values). You
support MIDI Machine Control or CC messages, given song and the Scenes for sections of the song if can invert these values to set up organ drawbars or
though there’s no word yet about Mackie Control needed; Scenes are labeled across the bottom of the messages that move in opposite directions (great
or DAW templates. The only thing missing are display and recalled using the F1–F4 buttons. You for volume, pan, dual filter sweeps and such), and
drum pads of some sort. While there is certainly can create custom chains of Performances, letting scale minimum and maximum values for each phys-
room on the K4 they would only add to the al- you configure set lists for your show easily. ical controller—which you’d do to, say, limit a filter
ready considerable cost. A key zone can have one of four statuses: Dis- sweep to a musically desired range.

06.2015 Keyboard 35
 Connections for Days
Two five-pin MIDI inputs and a whopping
eight outputs will be cheered by those
who have a lot of MIDI hardware. The USB
type B port connects to your computer; we were surprised that it provides only one virtual MIDI port, i.e., 16 channels. That’s not
much for computer musicians, and is the only under-spec’d part of the design. Viscount is working on a software revision to ex-
pand that to eight virtual outputs (128 channels) and two inputs—that’s more like it. Four USB host ports (the rectangular type A)
connect devices to the keyboard itself (drum pads, X/Y, or ribbon controllers) and can speak to other hardware sound sources. All
of the eight pedal inputs (!) can sense polarity and support both switches and continuous pedals. Pianists will appreciate being
able to replicate full three-pedal control (not just for the optional internal sounds but for any expander or virtual instrument) and
still have room for dedicated pedals for other purposes, such as volume and stepping through MIDI setups.

Buttons can behave as on/off, toggle, or stepped such as organ, bass, guitar, strings, and synths. It’s a Conclusions
controls, and can also even send notes. Every con- mixed bag: I liked a lot of the electric pianos, and the The K4/K5 is a monster controller keyboard, and
troller setting can be named for clear feedback from parameters provide a good deal of sonic flexibility. should be on the short list for anyone looking for a
the display (see Figure 2). Pedals sport the same Moving the pickup position on the Rhodes perfectly high-quality weighted action unit for more advanced
capabilities, with switch pedals able to step through mimicked how one would “voice” the instrument, needs. It costs pro dollars, but you’re getting über-pro
Performances and Scenes, not to mention control and being able to change the size of the tone bar, the features. There are some very fine 88-key controllers
the sequencer transport. You can create setup mes- Wurly hammer, and so on let me create a wide range from Akai, Arturia, and Roland that cost under $1,000,
sages for a device (perhaps to change from single to of sounds. The Clav provides all the rocker switch set- but they offer less in terms of zones, MIDI I/O, wheels,
multi mode, or to configure effects routings) and tings of the original, with variable hammer “aging,” and pedal inputs. Only you can know whether you
these can be any type of message, from CC to sys-ex. and the Pianet was spot-on. A selection of preamp, need the extra capabilities.
Plus you can determine whether it gets sent out just amp, and speaker simulations as well as modulation, If you only need to work with a computer and plug-
before the Performance change or after it. delay, and reverb are included. ins, the K4/K5 is surely overkill—and some of the
Less successful to my ears was the acoustic piano. other products mentioned are more computer-centric,
Surprising Depth It’s an incredible feat of engineering to create a piano with advanced preset management and control of your
This is powerful stuff, and every time I tried to do sound solely using computer code and no samples, software. But for the musician with a mix of hardware
something I found the K4 was up to the task. Want and the Physis certainly comes close. Being able to and software looking for more of everything, there
a given control to send more than one message? manipulate the hammer hardness and impact force has been a lack of well-spec’d, great-feeling, weighted-
Create a second Zone set to Control and you’re was fun—sampling doesn’t let you dig into the virtu- action master keyboards in the past decade. The Physis
there. Want to reuse an assignment from another al physics of the instrument like this. I was able to get K4 and K5 are a welcome end to that drought. I’m
Performance? A robust Copy mechanism copies a wider range of piano sounds than any multisam- obviously less enthused about the $1,000 sound add-
anything from one controller/zone to a whole pled piano could be tweaked to produce. That said, on given that there are excellent software instruments
group of them, or a custom setup message between every sound I played and edited would have good for much less—and again, anyone looking at the K4/
Performances. Want to see Programs by the names characteristics but then some range of notes that K5 likely has a lot of hardware they’re looking to tame.
your external devices use? The K4/K5 lets you cre- had imperfections: a boxy quality or metallic artifact I congratulate Viscount for coming this far and hope
ate ten “Virtual Instruments,” each of which gets that I couldn’t dial out, for example. The available they’ll continue development and voicing to bring
a name, program/bank tables, and even custom settings are actually macros controlling many more their freshman effort further along in the coming
names for their CC and NRPN messages. At first I hidden parameters, which meant I couldn’t edit pre- years. The potential is there.
thought you’d need to do all this data entry yourself, cisely enough to get the sound exactly to my liking.
but I found that these files can be saved and loaded, Viscount tells us a software editor that allows much

Bottom Line
and the unit comes with a selection of hardware finer editing on a note-by-note basis (think Roland
instruments already defined. Yes, Viscount needs to V-Piano) will soon be available. Overall, the acoustic
support even more, but the framework is in place. piano sounds would work fine in a louder band, cer-
With so much user-naming possible, using the tainly cutting through the mix. They’re less suitable If you have lots of MIDI hardware,
letters on the numeric keypad to enter names in for critical listening of exposed piano passages. this is the sort of hyper-professional
“old-school texting” fashion made me wish for sup- Don’t get me wrong. Viscount’s modeling en- master keyboard we previously
port for a USB QWERTY keyboard. Viscount says gine is good and in time might be great. I’d use the thought no one made anymore.
this is on the list for a future update. Rhodes, Wurly, and Clav sounds on a gig without
hesitation. Most of the sampled sounds also worked K4 (88 keys): $2,795 list |
Sound Expansion well, with the acoustic bass as a standout. But if $2,250 street | K4EX: $3,795 list |
You can add a sound board to the K4/K5, or purchase it’s a stellar acoustic piano sound you’re after, cur- $3,250 street
an EX model with the expansion already inside. This rently you’re better off using the K4/K5 to control a K5 (76 keys): $2,595 list |
powerful DSP engine produces physical models of software instrument like Synthogy Ivory or—if you $1,950 street | K5EX: $3,495 list |
acoustic piano, Rhodes, Wurly, Clavinet, Pianet, and want the flexibility of physical modeling—Modartt $2,990 street
mallets, as well as additional sample-based sounds Pianoteq 5.

36 Keyboard 06.2015
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REVIEW GR I D CONTR OLLER

ROGER LINN DESIGN

LinnStrument
BY STEPHEN FORTNER

I’VE NEVER FULLY WARMED UP TO ALTERNATIVES TO THE BLACK-AND-WHITE phonic aftertouch, and the Y-axis position of your
keyboard, and I suspect this is true of many people who originally learned music finger. This gives rise to the LinnStrument’s killer
on piano or organ. This is partially because there’s a heck of a lot the conventional app. With a software or hardware sound source ca-
keyboard layout got right the first time. That’s what I told Roger Linn (father of pable of interpreting all this, you can send separate
the MPC drum machine and Technical Grammy winner) when he asked if I would messages—per touch, per note—for each of those,
personally review his new LinnStrument, and he replied, “I know. That’s why I want
you to do it.” After spending three weeks with one, I found that it’s not only an ex-

Snap Judgment
tremely flexible, powerful, and programmable MIDI controller, but also quite easy to
learn and play. It’s also fun and addictive. Even though its notes are not laid out like
a piano, it’s the most keyboardist-friendly non-keyboard I’ve yet played.
PROS Chord, scale, and mel-
Overview I asked Roger Linn whether you could set the ody shapes are the same in
The LinnStrument is a controller without internal pads up to play specific scales and modes such all keys. Has polyphonic as
sounds. Its grid has 200 trigger pads arranged in that it’s impossible to hit a wrong note, as you well as channel aftertouch.
eight rows by 25 columns. Beginning with F#0 at can on grid controllers such as Ableton Push. Clever and straighforward
bottom left, notes in each row ascend chromati- Short answer: no. In the global settings, however, user interface for settings.
cally. If you look at columns, notes ascend in you can change what notes are backlit as well as Capable of splits. Incredibly
fourths by default, Roger Linn’s intent being that pick the colors (red, yellow, green, blue, light blue, expressive when paired with
each row is a “string” in a guitar-like layout. An or purple) for the scale notes, “accent” (root) the right soft synth.
advantage here is that unlike on a piano, chords notes, and played notes. This means you can il-
and scales have the same physical shape in all luminate any scale for visual reference, and even CONS Up and down pitch-
keys in terms of where you put your fingers (see set the accent color to a non-root note for modal bend ranges are not sepa-
Figure 1). LEDs under the pads denote C in blue playing. But as on a regular keyboard, you’re still rately adjustable. On a desk-
and the rest of the C major scale in green. Touch traversing a chromatic landscape and should ex- top, cable I/O placement on
a pad and it turns red, along with every other pad pect to put some effort into getting comfortable the right side might get in
that plays that same pitch—a nice visual aid that with where the notes are. the way of your mouse pad.
gets you oriented. Each note cell senses velocity, channel or poly-

38 Keyboard 06.2015
as well as polyphonic pitch-bend (more on this in
a minute). This gives rise to a degree of musical ex-
pression that’s all but impossible to achieve on tra-
ditional keyboards, and is particularly inspiring on
solo sounds such as trumpet, woodwinds, acoustic
or electric guitar, and analog synth leads. The MIDI
CCs the LinnStrument can transmit reflect the in-
tended usage: X-axis for pitch-bend, Y-axis for filter
cutoff/brightness (CC 74) or modulation (CC 1), and Fig. 1. Several chord and scale shapes on the LinnStrument’s default, untrans-
Z-axis (pressure) for expression (CC 11) or whatever posed note layout.
other parameter you set to receive poly or channel
aftertouch in your connected sound source. If you
want different destinations for these gestures, you and are indispensable for jockeying between dif- split point, hold the Split button and drag left or
can set this up in quasi-hidden settings, or remap ferent musical applications and/or connected right along the pads. Root and scale note colors
them in your software. instruments you’re controlling. for either side of the split are customizable.
How does pitch-bend work? By sliding your What can be adjusted? Too many things to
finger horizontally across multiple pads. (Y-axis Programming list. At the per-split level, highlights include the
modulation, by contrast, has to be within the When you enter one of the edit modes (via MIDI transmit mode: single-channel (the sim-
confines of a pad; slide vertically onto adjacent dedicated buttons along the left edge), the pads plest, for getting up and running with your soft
pads and and you’ll trigger other notes.) To be stop sending notes and instead become a control synths right away), channel-per-note (to take full
clear, left or right sliding is applying a pitch-bend panel. Parameters are printed on the body in little advantage of per-note bend and modulation), and
message to the note you originally struck, not vertical lists of up to four items—per-split (that channel-per-row. This last setting could let you
applying portamento between that note and the is, per side of a split) settings above the top row control a different soft synth from each row.
note the pad you landed on would play if you hit of pads and global settings below the bottom— Bend range, pitch quantization, and what
it staccato. However, if the bend range is set wide and these are aligned with columns of pads. You messages the Y-axis and aftertouch send reside at
(your options are two or three half-steps, then tap the corresponding pad in that column to ad- the per-split level as well. You can also make the
one or two octaves), this gets mapped evenly just something. So, for the top global parameter bottom row of pads do performance and modula-
across whatever “row real estate” is adjacent in a stack of four, you’d count four pads up in that tion tasks instead of playing notes. These include
to your initial note, letting you perform more column. Dealing with per-split settings up top? triggering the strum, restrike, and arpeggiator
precise bends. Pitch quantization, if turned on, Flip your perspective and count downwards. In modes, acting as a ribbon controller or expression
snaps any sloppy initial strikes to the correct some cases, multiple pads select different val- pedal, and acting as a “touchpad” where X, Y, and
note, and a useful “quantize hold” lets you add ues for the same parameter; in others, you step pressure send CCs 16, 17, and 18, respectively.
post-bend modulation gestures without deviating through options by repeatedly tapping a pad. The global settings include arpeggiator behav-
from the destination pitch. You can also execute For preset (program change) selection, you drag ior and control assignments for the switch buttons
vibrato via a rocking motion, though generally left or right as the pads display preset numbers and pedal input, as well as utilities to calibrate the
you’ll need to cover more horizontal ground in in “dot matrix printer” fashion. Frankly, writ- playing surface and update the unit’s OS.
the process than on a controller like the Continu- ten words make this interface sound much more
um or Seaboard (see page 26). My only complaint complicated than it is. When you’re hands-on, Playing Impressions
here is that you can’t set asymmetrical up and you quickly grasp the visual correspondence be- I’ve gotten more technical than I expected to,
down ranges, as for some soloing techniques I tween what’s silkscreened on the metal and what mainly because the LinnStrument is far deeper
could see wanting only a whole-step bend up but the pads do in the various edit modes, and it’s as a MIDI controller than I anticipated. But how
a Van Halen dive-bomb an octave or two down. like, duh. Maybe I’m carrying on about this too does it feel and play?
Rounding out the LinnStrument’s functional- much, but if the point of this review is whether Playing a scale is an effortless matter of your
ity are two assignable Switch buttons, two-way a non-keyboard controller can appeal to a key- fingers dancing up three rows. As on a guitar, you
split capability, an assignable dual footswitch board player, the LinnStrument interface writes could play that series of notes in other ways, but
input, a vintage synth-style arpeggiator, strum a bold checkmark in the “yes” column. The task of ascending three rows means that horizontally,
and restrike (think MPC-style drum repeat) editing parameters is usually something we just your fingers are never more than five pads apart
modes, and up to 128 preset locations which can tolerate in order to get an end result, but on the on any row. Also, hitting wide intervals that
store and send program changes—independently LinnStrument, it’s actually fun. would be difficult or impossible on a piano key-
for either side of a split if desired. Also available Tapping the Split button adds a right-hand board is quite easy here. We keyboardists tend to
when the Preset button is lit are four “all set- part and makes your (formerly) main setting the get proud about the calisthenics we can perform
tings” memories. As the name implies, these save left-hand part. A double tap gives the entire play- to execute difficult note combinations, but there’s
the entire state and setup of the LinnStrument, ing surface to the right-hand part. To adjust the a lot to be said in favor of the “reach economy”

06.2015 Keyboard 39
 Fig. 2. Both USB and five-pin on a keyboard. To maximize its ability to turn
MIDI are provided. An AC gestures and pressure into musical expression,
power adapter is optional, you’ll need to pair it with a soft synth smart
but a “low power” mode enough to fully exploit its MIDI-channel-per
(which dims the pad LEDs) note mode. Roger Linn maintains an ongoing
lets you power the unit from list of these, as well as a downloadable project
the same iPad on which file of optimized Logic instruments, in the sup-
you’re playing sounds. port section of his website. By one argument the
LinnStrument is on the expensive side, but it’s
the LinnStrument makes possible. unit like a Chapman Stick, i.e., on a diagonal considerably less so than other exotica—Con-
The global settings include three degrees of with your left hand wrapped around the top left tinuum, Seaboard, Eigenharp—that have all
pressure sensitivity, and I found myself opting quadrant and your right hand around the bot- aimed to “change the way we make music.” The
for the hardest to get the best relation between tom right. I tried this, but my left hand strained LinnStrument is so fun, friendly, and flexible
how forcefully my fingers were pressing and how to reach the bass notes in the bottom left area. that it just might actually do so.
linearly the aftertouch curve progressed—your It would help if you could flip the note layout of
mileage may vary. At that setting I achieved very the left-hand split part so that the lowest notes
fine control, negotiating the pressure axis as sub- started with the top left pad, but I could see that
tly as a horn player might vary embouchure. But steepening the learning curve as you’d need to
there’s barely any physical travel; both the Haken think about two mirror-imaged note layouts at
once. I reverted to placing it flat on a desktop
Bottom Line
Continuum and Roli Seabaord have a more sat-
isfying TempurPedic-like “squish” to sink your with my hands in “keyboard player” position. From a keyboard player’s perspec-
fingers into. Nonetheless, the LinnStrument tive, this is the hippest, most ap-
doesn’t slouch on precision when it comes to proachable, most fun-to-play “anti-
translating pressure into CC values—there just Conclusions keyboard” yet.
isn’t a lot of feel. As a keyboard snob who usually crinkles my
The LinnStrument comes with guitar strap nose at alternative controllers, I’m pleasantly $1,799 list | $1,499 street
pins that can be screwed into any of its four surprised to find myself hooked on the LinnStru- rogerlinndesign.com
corners, and Roger recommends holding the ment. Playing it gives me ideas that I don’t get

40 Keyboard 06.2015
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REVIEW DAW

CAKEWALK

Sonar Platinum
BY BRIAN HARDGROOVE

LAST YEAR I’D FINALLY HAD ENOUGH OF THE DAW I USED. THE PREDICTABLE Snap Judgment
upgrade glitches and pricing structure were unjustified, given the fact that com-
pared to lower-priced DAWs you got a minimum of truly useful plug-ins unless PROS Progressive
you paid an additional premium. So, I switched to Windows and a different DAW, membership model
but stability issues drove me crazy. I’d worked on projects with Craig Anderton— encourages loyalty by
music technology guru, longtime Cakewalk user, and now “Chief Magic Officer” building in a faster response
at Cakewalk’s parent company Gibson—and he recommended Sonar X3 Pro- to bug reports and feature
ducer. I was skeptical, but it was easy to learn and like I said in my review in the requests. Promise of new
February 2014 issue, it put the fun back into recording for me. Then Cakewalk content delivery on a regular
threw a curve. Instead of introducing a “Sonar X4” a year later, they changed basis is great. Program
the product names, the sales model, and even the method of updating. Full dis- keeps working even if
closure: I’ve worked with Craig Anderton on music projects and recorded a bass membership expires.
loop library for Sonar, but I don’t work for Cakewalk (nor any of its competitors)
and was in no way remunerated for anything connected with this review. Since I CONS Still Windows-only
now work with Sonar so extensively, I’m in a good position to detail the new fea- after all these years.
tures. Here’s the deal.

42 Keyboard 06.2015
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 Fig. 1. In VocalSync, the least to be big in Japan!
green waveform is the VocalSync. This was designed originally for
guide track and the purple syncing dialog to video that had been recorded
is the dub track, which on location, but also works great for doubling
has been copied to a third vocal tracks in a musical production. It tightens
track so you can see all timing by specifying one track as the guide.
three at once. The bottom Turning one knob stretches and shrinks parts of
track shows VocalSync the “dub” track’s audio as needed to fit the guide
stretching the dub track so (see Figure 1). The sound is lo-fi when preview-
the phrasing matches the ing, but then rendering the sound gets the qual-
guide track. ity back. VocalSync is for vocals only, but it can
be one of those session-savers. If Sonar didn’t
have this, it would cost you more than the Sonar
upgrade to get a third-party alternative.
Mix recall. I really missed having the ability
to recall mixes as on large-format SSL and Neve
Fig. 2. You can choose to consoles. Now Sonar can, with choices about
recall specific aspects of a which parameters to recall (see Figure 2). You
mix, or as shown here, the can try out different mixes (e.g., with drums or
entire mix. vocals up or down), save out the individual ver-
sions in one operation, and live with the mixes a
while to see what you like. The first two monthly
updates added even more features here. I’d bet
good money that every other DAW will eventu-
ally copy this.
Amp simulations and “Anderton Collec-
tion” effects. I’m pretty sure Craig Anderton
Overview available updates. developed four new virtual bass amps because I
There are three Sonar tiers: Artist, Profes- The CCC is clean and simple to use. You can said (in the X3 review) that there wasn’t enough
sional, and Platinum. They all have the same download updates and even roll back to previ- love for bass players. Now, over 50 effects are
basic technology (unlimited tracks, busses, ous versions in the unlikely event an update grouped for guitar, bass, DJ, drums, and more.
and effects; 64-bit audio engine; multitouch “breaks” a project you’re working on. The CCC Console view improvements. Now you can
support; and more), but this review is about makes default installations painless, and that’s see all your stacks of effects and sends at once—
Platinum, the flagship with additional features what I use. There are a couple of inconvenienc- no more scrolling. Effects are now visualized like
and plug-ins. There are no more version num- es to watch out for, though. Those with custom a rack; you can enable/disable them, and turn
bers or yearly updates, because Cakewalk has installations, like not putting the program on them into effects chains where you can create
created a “membership” model where every the C drive, need to download the files and in- macro controls to adjust multiple parameters of
month, there’s a new release with new features, stall them manually. Also, CCC won’t recognize the group of effects with one twist.
fixes, and content. This is so much hipper. I anything installed before Platinum, so for ex- MIDI improvements. The most obvious
expect bug fixes will be addressed faster simply ample if Melodyne is already installed, CCC will addition is the MIDI Paintbrush tool, where
because there is no “version release date” to not show it as installed. You can ignore this, you can copy data and “paint” it in place instead
hide behind. but it’s confusing. of doing the usual cut-and-paste. Also, the
First-time Sonar purchasers can pay up MIDI view’s look has been revamped and there
front or commit to paying once a month for a What’s New have been a lot of tweaks, like making it easier
year; either way you get the program in its cur- Sonar X3 was about big foundational additions to adjust velocities on groups of notes, time-
rent state at the time you buy it, plus a year’s such as VST3, ARA integration, and speed comp- stretching, and VST3 MIDI input busses, which
worth of releases. When the year is up, you ing, as well as plug-ins like Melodyne, XLN Ad- composers who use big orchestral libraries will
can renew and continue to get the monthly dictive Drums, and Blue Tubes effects. The new find very useful.
releases, or stop and keep what you have—un- Sonar is about new features and the Member- XLN Audio Addictive Drums 2. In Sonar
like other “subscription” plans, nothing dies ship program that keeps delivering then, as well Platinum, you get Addictive Drums 2 and three
or breaks if you don’t renew. If you have Sonar as a lot of under-the-hood fixes that nail down MIDI packs of sounds. I’d rather play real drums
already, you can sign up for the monthly up- stability. Some highlights include: than program virtual ones, but if you don’t have
dates at a reduced price. DSD import/export. One-bit DSD is gain- a kit and enough mics to record it handy, AD is
Cakewalk claims several advantages for ing traction in Japan, and TASCAM collaborated one of the best software drum modules, and it’s
monthly releases: features are available when on the implementation. Between this and stan- included.
ready, testing is simpler, and it’s easier to make dard PCM up to 64-bit/384kHz (given audio REmatrix Solo. This convolution reverb
fixes. Updating requires going online and us- interface hardware that also supports these for Cakewalk’s proprietary ProChannel strip is
ing the Cakewalk Command Center (CCC for specs), Sonar can truly claim to handle high- a single-layer version of Overloud’s REmatrix,
short), which keeps track of what you have and resolution audio. I’m ready for the future—or at but it doesn’t sound “lite” at all. It’s a really good

44 Keyboard 06.2015
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 Fig. 3. The REmatrix Solo reverb, the two Boz Digital Labs ProChannel
plug-ins added in the February and March 2015 updates, and the
stackable sends and FX bins where the height varies so you can see
them all.

Fig. 4. By choosing small, medium, large, or collapsed sizes, all

control bar modules can fit on a single screen. Hovering the mouse
over a collapsed module drops down the full control set.

hefty investment in plug-ins and hardware were not sooner. Considering Cakewalk needed to
always potentially on the chopping block. overhaul everything from the web site to billing
There has been a lot of skepticism about to installation, not to mention recode the Sonar
whether Cakewalk could pull this off, but it looks software itself and create the updates, it turns
like the first two monthly releases (“Braintree” and out the fans pretty much got it right. People like
“Cambridge” in February and March 2015, respec- the idea of a program that evolves and improves
tively) are setting the pace. The results are very every month, along with regular infusions of new
promising—a varied collection of features, fixes, sound content that would otherwise cost some
workflow enhancements, content, and effects. In pretty serious bucks.
addition to the features above, an onscreen piano Now that I’ve had a year to think about it,
reverb and one of the new Sonar’s sleeper hits (see keyboard is touchscreen-enabled and also displays switching to a Sonar Platinum membership was
Figure 3). mappings for your QWERTY keyboard—very the right decision. I could’ve stuck with Sonar X3
AudioSnap. AudioSnap never got much love. handy if you’re working on your laptop in a hotel and been quite happy. But the new Sonar is better
It still doesn’t cuddle up to you, but better beat room and don’t have a MIDI controller. on all levels: features, stability, and content. The
detection and a simpler interface make it friend- Additional features in the first two updates are updates are sort of like a mini-Christmas every
lier. Bottom line: It’s a very useful tool, particularly two new ProChannel modules (Boz Digital Labs month, and the core program just keeps getting
with percussive sounds (including bass), but you “Bark of Dog” and “Panipulator”), 126 impulse tighter. I’m in.
need to climb its learning curve. responses for REmatrix Solo from a famous New
Customizable Control Bar. This is one of York City studio, a new CA-X amp for acoustic Producer and multi-instrumentalist Brian
those little things that you realize is a big deal guitars, 15 ProChannel presets for acoustic guitar, Hardgroove is best known as bassist
after working with it for a couple of weeks. The a “Phasor Constructor” effect, and the VoxTools and bandleader of legendary rap group
Control Bar has gone from being a glorified toolbar effect chain, which is six vocal effects arranged like Public Enemy, and was also music super-
to something that can improve your workflow by a 500-series lunchbox. There have also been over visor for Bootsy Collins’ tour in tribute to
putting all the stuff you need in one place. You 70 significant bug fixes. Cakewalk is also promis- James Brown.
can maximize a module’s size for easy access to a ing a drum replacer module “soon” and something
particular set of tools, or shrink to a more compact called “QuickFX,” though I don’t know what that
version. One of X3’s annoyances was that you refers to yet.

Bottom Line
needed a dual-display setup to see all the control
bar modules—no more. You can now condense Conclusions
modules down to a sliver and have all the controls When Cakewalk first announced the membership
drop down upon mouse-over (see Figure 4). model, the Sonar forum lit up like glow sticks at This could be the model for the
a rave. The haters said, “I’ll never buy subscrip- way music production software
Membership and More tion software!” then largely chilled after finding should be sold and supported
Updating or buying Sonar takes you from X3 to out that everything you have still works even if from now on.
Platinum, but also provides updates for the next your membership lapses. There were the fans who
year. So, the question is whether what you get dur- thought, “New stuff every month? Cool!” In be- Platinum: $499 or $49.99 per
ing that time is going to persuade you to renew for tween were the “wait and see” skeptics. month | Professional: $199 or
another year after that, thus keeping Sonar’s de- The skeptics got some traction: Some have $19.99 per month | Artist: $99 or
velopment machine lubricated. This is big. It tells reported hiccups with the installation process $9.99 per month | all prices street
me that Cakewalk is willing to take a risk to inspire (for the record, my own experience was one-click cakewalk.com
its users. For economic reasons, I always feared painless) and a few bugs—although now these
Pro Tools updates and version releases because my tend to get fixed in the next monthly update if

46 Keyboard 06.2015
REVIEW A PP

NATIVE INSTRUMENTS Snap Judgment

iMaschine
BY FRANCIS PRÈVE
PROS Four tracks can be
configured as any combina-
tion of drum machines, sam-
plers, or audio tracks. Inte-
WHEN NATIVE INSTRUMENTS FIRST INTRODUCED IMASCHINE AWHILE BACK, grated sampling from iTunes
I found it compelling, but wanted to see how the product evolved before render- library or microphone. In-
ing a verdict. Now that version 1.2 is out, a slew of feature requests have been ad- tuitive interface. Real-time
dressed and the app has really come into its own as both a standalone product and X/Y effects for individual
companion to NI’s full Maschine software/hardware package. tracks. Can Export data to
your desktop for use with
The idea behind iMaschine is that of a 21st- pan, and a nifty extra which can add glide to any Maschine or as discrete au-
century groove-based four-track. Each of iMachine’s sample. But that’s it, as there are no envelopes or dio tracks. Compatible with
tracks can be configured as either a 16-pad drum synth-style filters. both iPad and iPhone (iOS 7
machine, a two-octave sampler, or an audio record- Making grooves with iMaschine is a breeze. Pat- or higher).
er. If you want to use it like an old-school cassette tern length can range from one to 32 measures and
four-track to record live instruments and overdubs, quantization is baked right in, as long as you work CONS No synthesizer-like
you can. If you’re creating hip-hop and want a pair in 4/4 time. Once a sequence is recorded, there’s not ttools other than sample ed-
of MPC-style drum machines plus two tracks for much editing, though. It would’ve been nice to have iting and effects. No song
vocals, that’s also possible. This approach makes even simple event editing, but hey, that’s what ver- construction tools. Time sig-
iMaschine quite flexible for a variety of mobile pro- sion 2.0 is for, right? nature is 4/4 only.
duction tasks. Version 1.2 now includes a lot of essential iOS
The app’s engine is strictly sample-based, with
no synthesis tools beyond its DJ-style mixer effects,
amenities, like Inter-app audio, Audiobus integra-
tion and of course, SoundCloud uploading. An espe- Bottom Line
which include filtering, lo-fi, delay, chorus, and cially nice touch is the ability to export your grooves A must-have for current Maschine
flanging. The included sample library covers a fair to the desktop in both Maschine-compatible format users.
amount of ground, with modern and relevant sam- and discrete audio tracks for use in other DAWs.
ples throughout. These can be used with either the Another impressive feature is full compatibility $4.99
sampler or the drum machine, which makes both with both iPhone and iPad devices in a single app. native-instruments.com
instrument types more powerful than you might This means that iMaschine works beautifully on
expect. What’s more, you can record original audio either iOS platform, with intelligent user interface
into the sampler, as well as grab samples from your tweaks to make it equally intuitive and useful—
iTunes music library (lawyer sold separately). even on my small and aging iPhone 4S. to pass the time on the bus, it’s another quintessen-
Sample editing is strictly basic, with param- All in all, iMaschine is a bargain for a mere five tial iOS addition. And if you’re already a Maschine
eters for sample start, end, tuning, volume, bucks. If you’re looking for an on-the-go sketchbook user, it’s an absolute must-have.

48 Keyboard 06.2015
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06.2015 Keyboard 49
CODA

5
T
THINGS
II’VE
LEARNED
L
ABOUT
A

Mastering Music
Grammy-winning mastering engineer
BY BRAD BLACKWOOD Brad Blackwood operates Euphonic
Masters in Memphis, Tennessee, where
he has mastered records for artists
I STARTED MASTERING RECORDS WHILE WORKING AT ARDENT STUDIOS, including Maroon 5, Alison Krauss
learning how to listen from great producers and engineers like John Hampton, and Union Station, Everclear, Korn,
John Fry, Jim Dickinson, Skidd Mills, and Jim Gaines. I also learned about organiza- and Sara Bareilles. Find out more at
tion and clear communication—things that help all sessions run smoothly. Here are euphonicmasters.com.
five things I’ve learned about mastering that I’m convinced will help you in your
musical endeavors.
containing your thoughts goes a long way toward

1. Fix Your Mix!

As production tools have improved over
the years, they’ve made procrastination easier
completely different. Sometimes you have to let
the music go where it wants to go.
helping the mastering engineer get on the same
page as you.

and easier to the point that mastering engineers

are often asked to fix issues that are better han-
dled in the mix room—things like vocal levels,
3. Label It
Years ago, every mix came in with an
audio slate at the top of the track, where the engi-
5. Listen
Make sure you listen to both the mixes
and the mastered reference tracks on a variety
overall vibe of the tracks, and so on. Everything neer would record the date, artist, track title, mix of playback systems. Even though many people
we do in mastering has a negative attached to it, version, and more. All the information needed to only listen to music on phones or laptops, there
so while we can pull the apparent vocal levels up identify the mix was there. In the digital age, slat- are still plenty of listeners who have full-range
with EQ, we’re also boosting anything else that ing has all but disappeared, but it’s easy enough audio systems. All too often, a client will request
shares that frequency range in the mix, such as to label track titles with all the necessary informa- something like “more bottom end” when it’s al-
the snare drum. In the mix room, you can adjust tion. Text is cheap, so make sure you include all ready huge, simply because they cannot hear it on
these things with no negative impact. Careful the needed info in the track title. Time wasted their laptop. A good mastering engineer works in
monitoring of levels in a variety of listening chasing down information (like correlating “work- a finely tuned acoustic space with a killer moni-
environments will help you make sure your mix ing” titles with final titles) can cost you money toring system, so it’s likely they’re hearing more
levels and overall vibe are what you are looking and be an archival nightmare in the long term. than you do. If you reference on a variety of dif-
for. Spending the time on the mix is worth it. ferent playback systems, you’ll get a much better

2. Let It Go
Music is art and it captures a moment
4. Communicate
This seems obvious, but communication
is incredibly important, especially if you aren’t
picture of how your music will translate across
different systems.

in time. While it’s often tough pronounce some- going to attend your mastering session. Whether
thing “finished” and let things go (what artist is it’s about the overall sound of the track, how loud
ever fully satisfied with his or her work?), the re- you want it, or whatever your sonic goals may be, Watch Brad Blackwood
on Pensado’s Place.
ality is, we’re creating something to move people. the mastering engineer can help you achieve your
It’s not uncommon for an artist to try to emulate vision for your art if he or she understands the
a certain vibe, but then end up with something desired outcome. Sending a document or e-mail keyboardmag.com/june2015

50 Keyboard 06.2015
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