montage sound library „phat analog iii“

41 Pages·2017·11.29 MB·English

M U S I C P R O D U C T I O N G U I D E
OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS
07|2017
Contents
Soundcheck:
MONTAGE Sound Library
„Phat Analog III“ 3
MOTIF / MOXF Sound Library
„Phat Analog III“ 7
Interview:
Richard P. James
Sound Designer 9
reface series System Editor
MONTAGE
for iPad & iPhone 12
SOUND LIBRARY
MONTAGE Performance Recording
Part 2 17
„PHAT ANALOG III“
Sounds & Goodies 23
Imprint 40

MUSIC PRODUCTION GUIDE 07|2017
SOUNDCHECK:
MONTAGE SOUND LIBRARY
„PHAT ANALOG III“
The analogue classics from the pre-MIDI for MONTAGE is now available, which features a very
era are fully in line with the trend. Their popular synthesizer from the early 1980s.
incomparable unique sound still occupies
First of all, you surely want to know what the coveted "cult
many musicians and lovers today. With
object" Roland Juno-60 is all about. Well, real flagships
the sound library "Phat Analog III" EASY
like the Roland Jupiter-8 or Oberheim OBX were only
SOUNDS focuses the Roland Juno-60, a
affordable for better earning studio musicians. Due to their
six-voice analog synthesizer with a lot
dimensions and considerable weight, they are not really as
of charm, and prepares its sounds in the
transportable as you would wish for a tour. So Japanese
Yamaha MONTAGE. This new library is just
manufacturers have introduced polyphonic synthesizers
as exciting for retro fans as it is for producers
for the consumer class. Two candidates competed here:
and live keyboarders who are interested in
Korg Polysix, which appeared in 1981, and Roland Juno-
contemporary electronic music.
60, which was a smash just a year later. Both synthesizers
All good things come in threes. After the first two Phat are actually pleasantly unspectacular. By the way, I was
Analog productions of EASY SOUNDS, which concentrate able to play both instruments in the early 1980s, got along
on the Moog Minimoog and Roland Jupiter-8 (Phat well at first go and liked their warm sound, which can be
Analog 1) and on Oberheim synthesizers such as OBX, shaped very clearly and can be smoothly changed in live
OB8 or Matrix 12 (Phat Analog 2), a third Sound Library operation.
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THE ORIGINAL - THE However, it is of no use for effect sounds and, of course,
GODFATHER OF THIS for all complex tones based on sophisticated modulations.
The Juno-60 is a nice example of how good synthesizers
PRODUCTION
are usually simply structured and have a certain
The Roland Juno-60 offers only one single Oscillator
characteristic sound and intuitive usability. In the pop
(DCO) per voice, a Sub Oscillator and Noise Generator.
music of the 1980s, this enormously practical machine
With the help of an internal Chorus module (adjustable in
played out its tonal strengths. It can be heard on Howard
two intensity levels) a very warm and voluminous overall
Jones, Vince Clark, Enya, The Cure, Eurythmics, and other
sound can be achieved. The modulation of the Pulse
acts and artists.
Width via LFO also helps to create floating sounds. With
In the meantime, there are several copies of the Juno-60,
the Filter (VCF) consisting of Frequency and Resonance
both as current hardware and software. Roland himself
control, the basic sound can be shaped very effectively
developed the Juno-106 including MIDI as a successor,
and pleasantly. With this simple line-up, many typical
but it doesn't quite match the sound of the Juno-60 and
analog synth sounds are created (according to the model
lacks some punch.
of wind instruments, strings, organs, etc.), which can be
used very musically due to their simplicity. The fact that For a sound project there is new potential. The sound of the
the Chorus effect doesn't work with very low noise does Juno-60 can be reproduced true to the original, for which
not affect the organic sound image of the Juno-60 at sampling is naturally the first choice. But it doesn't have
all. Lead synths and basses work very well. The Juno-60 to remain too puristic. With the Yamaha MONTAGE, the
also masters chords and typical sequencer sounds with Samples can be used extensively and surprisingly staged
concise Filter Decay, especially in combination with the in Multi-Part Performances. Expectations are high: A good
Arpeggiator - a nice musical extra. soundware is not only characterized by an authentic sound,
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but also by a certain artistic innovation to show the Juno A total of 51 User Waveforms, corresponding to 128 MB of
sounds in a new context - and of course to be able to enjoy Samples, are assembled. There are some Oscillator details
them as a musician. MONTAGE has great potential for such as the simultaneous activation of Sawtooth and Pulse
this undertaking. Of course, I expect that these technical Waveforms or the Sub Oscillator for deep powerful bass.
possibilities will be used more intensively and that a "new The eight optional Drum Kits and the 48 User Arpeggios
Juno-60" will be created within the MONTAGE. Otherwise, are not exclusively produced for the collection. They are
you could work with a mere software Juno-copy or, much from the set "Phat Analog II".
better, play directly with the Juno-60.
After the sound file is copied onto a USB stick, subsequently
What have the two experienced MONTAGE programmers loaded into the MONTAGE, the practical part can begin.
Richard James and Peter Krischker come up with? Let the
facts and figures speak for themselves. SOUND EXAMPLES
IN VIDEO FORMAT
THE CONTENTS
Of course, I found some favourites in the 184
AT A GLANCE
Performances. Some of them can be seen in the two
As a fan of analog synthesizers, you will be served YouTube videos "MONTAGE Phat Analog III - Played Live,
generously: As with the first two "Phat Analog" sets, you will by EASY SOUNDS" and "MONTAGE Phat Analog III -
find a lot of new sounds, which can be played without any Arranged, by EASY SOUNDS".
great practical knowledge and can be refreshingly easily
https://www.youtube.com/watch?v=YvZ2EcHMLTo
altered by the Super Knob. The chosen term "Performance
The first Performance in the Live video (Intro), "Sensitive
and Sample Library" thus already covers the core of this
Dream ", with its eight Parts and Scenes each, makes it
collection. The lion's share is made up of the 128 Single-
clear that you can conjure up an appealing synth-pop
Part Performances, with numerous pads, synth compings,
arrangement with a soft retro touch in no time at all. I
basses, synth leads, and a small selection of musical FX
would hate to speak of an "automatic accompaniment",
sounds. The first 24 Single-Part Performances convey the
but played chord sequences can be converted very quickly
unique "retro flair" of the Juno-60 without any hesitation.
into an accompaniment.
It doesn't have to be that pure, you can add Reverb and
Delay via AF1/2.
Whoever needs excitement, action or at least complete
arrangement structures can dive into a beautiful world:
The first 20 Multi-Part Performances contain stylishly
coordinated Parts, which can be animated by the
Arpeggiator to become song templates and can also
be played dynamically by changing Scenes. You will be
able to spend hours or even have to spend hours with
these templates, because only after a few attempts you
will be able to determine the direction where the journey From the next Performance on, my impression becomes
can go. It is a lot of fun to go into the depths of each stronger that "Phat Analog III" moves very nicely in the
arrangement. I have never experienced the Roland classic downbeat sector with an individual mix of lounge and
in this dimension before. chillout. You can also call it a "Slow Trancer", that's another
The Juno-60 has been recorded in "Phat Analog III" in Performance which is presented in the video and which I
minute detail - partly including Filter, LFO, and Envelopes. like very much.
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"The Epitome" is led by the soft and chordally playable
brass sound, which can be clearly altered by a change
of Scene (here from Scene 8 to 7). In the background,
the Arpeggio sounds tickle and fill up the arrangement
transparently or "airily and obtrusively" - as with many of
the Multi-Part Performances in this Library.
"Analog Xperience" allows the Noise Generator to be fully
enjoyed as a powerful spherical sound surface that can be
spontaneously controlled by the Super Knob. As you can
Later on, you will hear pad sounds created with PWM (Pus
see, playing only a few notes is often better than going
Width Modulation) as well as monophonic sounds that
straight to the top with both hands. Ideally, you should
make the Filter shine. The individual patches are really
start with a single line and listen to the sound and rhythm
simple, but this is especially advantageous with regard
of the Performance. So, be careful and try the Scenes one
to their musical use. They can be easily and convincingly
after the other.
integrated into the context of a band or MIDI arrangement.
Like most of the first 20 Performances, "Easy Filters"
Also take a look at the second video titled "MONTAGE
contains several Parts that differ in sound character,
Phat Analog III - Arranged, by EASY SOUNDS". These
frequency range, and function and form a unit. A change
are screen videos. The recordings were recorded
of Scene also changes the drum groove from simple beat
to double time feeling. Another clou is that the Super Knob spontaneously live at the MONTAGE and recorded in a
is controlled by Motion Sequence (Knob Auto). You don't DAW and then extensively arranged. Each example shows
have to do it yourself, but experience automated sound the vintage charm of this collection in a different way.
sequences. Watch out for the many fast movements and
https://www.youtube.com/watch?v=IHfDsg_5Lqw
the play of colours of the Super Knob in the video.
The video starts with a complex 8-Part Performance that
All Single-Part Performances are suitable for live playing
represents the style of 80s synthpop.
in cover bands. You probably like to take a rich pad sound
like the "Envelope Pad" with a nice clear sweep. Unlike
the original Juno-60, you can play opulent chords with
more than six notes. "Bright Poly", another typical retro
sound, allows you to easily vary the Filter Attack with the
Super Knob. Or you can vary the Effect intensity (keyword:
Chorus module of the Roland Juno-60) using the Super
Knob, as shown in the video example "Juicy Juno Sub".
It's always good that the sounds sound quite like Roland
CONCLUSION:
Juno, but can be edited more extensively. A crisp Filter
A LIBRARY WITH AT LEAST
Envelope as keyclick for organ sounds - even simple organ
TWO FACES
patches are part of the analogue synthesizer's repertoire.
The typical basic sound of the Juno-60 comes into its
All in all, "Phat Analog III" expands the MONTAGE
own in the Performance "Classic Poly Arp", no matter
meaningfully and joins the "Phat Analog" series
how strongly you modulate the Filter with the Super Knob. qualitatively. It clearly lives up to my expectations that
Here, just one key on the keyboard is all it takes for an the Juno-60's direct retro sound will not only be captured
assertive Arpeggio. digitally, but also interpreted in breathtaking Multi-Part
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Performances. When you play some Performances you Further information and
will surely come up with new song ideas. The factor of demos can be found in
inspiration is certainly true. the EASY SOUNDS Shop:
www.easysounds.de
Hopefully, the concept of "Phat Analog" will not end with
this high-quality Sound Library. Until the release of a
possible next episode of Phat Analog, I hope you enjoy
discovering the special retro sounds and the wonderful
re-interpretation thanks to many of the features of the
MONTAGE.
Matthias Sauer
MOTIF / MOXF SOUND LIBRARY
„PHAT ANALOG III“
Simultaneously with the release of the The fact that the hybrid concept even included the MOTIF
MONTAGE Sound Library of the same XS, which has been on the market for 10 years now, is
name, "Phat Analog III" is also offered for particularly remarkable.
the synthesizers of the MOTIF family.
The production effort was not insignificant, as extensive
The Sound Library can be bought for the following adaptations were necessary for each of the instruments.
Yamaha synthesizers: How does the MOTIF/MOXF version differ from the
• MOTIF XF / MOTIF XS MONTAGE version presented by Matthias Sauer?
• MOXF • In many areas the versions are almost identical
• The 51 User Waveforms are absolutely the same for
The Sound Library "Phat Analog III" is the first MOTIF /
MONTAGE/MOTIF/MOXF
MONTAGE hybrid product. This means that when you
purchase a version, you have free access to all available • The 128 MOTIF/MOXF Voices correspond to the
versions. For example, if MOTIF or MOXF users are 128 Single-Part Performances of the MONTAGE version
considering purchasing a MONTAGE in the near or • There are also no differences between the 48 User
distant future, the MONTAGE version can be downloaded Arpeggios taken over from the Sound Library
now without extra charge. Phat Analog II
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The decisive differences logically exist between the Multi- The first 12 Performances of "Phat Analog III" are perfectly
Part Performances of MONTAGE and the Performances suited for expansion in Song or Pattern mode. Part 1 is
of MOTIF/MOXF, because the technical prerequisites are
a "Play Part" (without Arpeggio), while Parts 2 - 4 form a
fundamentally different.
complex Arpeggio arrangement.
While MOTIF/MOXF Performances can be realised
After the Performance Recording has been completed,
with a maximum of 4 Parts and 5 Arpeggio variations,
further Voices can be selected and additional Tracks can
MONTAGE offers a maximum of 8 Performance Parts and
be recorded in the Mixing for Parts 5 - 16.
8 Scenes, which can be assigned to Arpeggio variations,
among other things. Consequently, the MONTAGE Multi-
The notes played during Performance Recording or those
Part Performances of Phat Analog III are significantly
created by the Arpeggiator can also be copied to the Tracks
"bigger" and more complex than the MOTIF/MOXF
5 - 16 using the Song Job "Copy Track". Track 01 can be
Performances.
used to copy played notes or chord sequences. If you want
to duplicate the notes created by the Arpeggiator, one of
the Tracks 2 - 4 is selected as Copy Source.
See the Phat Analog III product detail page at
www.easysounds.de for the "Extended Performances"
demonstration. There you will learn how the extended
Performances described here can sound. Usually two
more Parts have been added.
The Extended Performance Demo "Sensitive Dream" is
outstanding, it is based on the Performance of the same
name and has been supplemented with four additional
Voices in the Mixing Mode. This demo is also used as an
However, easily manageable 4-Part Performances also
intro of the video "MOTIF / MOXF Phat Analog III by EASY
have their own charm. And if you as a MOTIF/MOXF
SOUNDS".
user want to make it more complex, you can expand your
https://www.youtube.com/watch?v=JdFvngMAPho
Performances in Mixing Mode. This can be done very
easily with the "Direct Performances Recording" function.
First, the four Parts of the Performance are recorded. The
recording is done in Performance mode. The result is then
available as Song or Pattern, depending on the settings.
Additional Parts can now be added to the Song or Pattern
Mixing.
Press the RECORD button for a Performance Recording
to access the "Performance Rec Setup". Select a Song or
Pattern for the recording. Then press START. The recording
Peter Krischker
starts with the first note played on the keyboard while the
Further information and
click guides you.
demos can be found in
All sound settings are automatically transferred to the
the EASY SOUNDS Shop:
Mixing. www.easysounds.de
The notes created by the Arpeggiators are written dirtekt
into the Song Tracks.
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INTERVIEW:
RICHARD P. JAMES
SOUND DESIGNER
For some years now, Richard P James has controlled analogue oscillators (DCOs), the tuning of each
been a member of the International Yamaha and every sampled note was checked before recording.
Voicing Team. He is English and currently
Each recorded note was then exported and named. Once
lives with his family in Prague. We asked
Peter had taken care of all the detailed looping, I was then
him about his work for the Phat Analog III
able to start programming my Performances.
Soundlibrary and his work on the extensive
MONTAGE Factory Voicing project. Do you like Synthpop of the 80s? Many of your
performances and demos seem to be influenced by this
Richard, congratulations on your great work for the Phat
music style, right?
Analog III project in conjunction with Peter Krischker.
How did the idea for this project come about?
It would be impossible to accurately present Performances
As Peter had successfully produced two previous Phat based on the Juno 60 without reference to the 80s.
Analog titles, we discussed the possibility of expanding The Juno series of keyboards were really the first truly
the series with another release, again focusing on quality affordable polysynths of the 80s and they can be heard
analogue sounds, and in particular the classic Juno 60
on countless hit records. Hopefully, my Performances
synth. I was fortunate to acquire a Juno 60 some years
have captured the essence of that period.
ago and the sound is just fantastic.
Did you compare the final MONTAGE Performances
You used your own Juno-60 for the sample production.
with your original Juno-60 patches? What is your
How did you proceed?
estimation?
Usually when sampling hardware synths, you want no
filters, no effects, and no envelopes. This approach makes During the recording phase, I did actually load up the
it much easier when creating multi-samples, but the Juno raw sample data and compare it to the Juno sound I'd
60 has a really great filter with razor-sharp resonance, just recorded. Note-for-note, it was absolutely spot on. Of
nice envelopes and an extremely distinctive chorus. So, in course, the Performances have to create the feel of the real
order to truly capture the sound on this iconic synthesizer,
instrument in terms of the envelopes and filtering. Again,
the multi-samples had to also include these features.
it's about as close as possible without actually having the
What was your part in the complete work? real synth in your studio. The final programming did, of
The first stage was meticulous recording of the Juno 60 at course, go much further by adding multiple layers and
my studio in Prague. Although the Juno 60 has digitally filters with various on-board effects.
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The Juno-60 Soundlibrary is not
your first work. You have been
a member of the International
Yamaha Voicing Team for some
some years. How did that come
about?
I had been producing samples,
doing music production, remixing
and sound design work for some
time, and I was fortunate to make
contact with Yamaha at the early
stages of the MONTAGE project.
How did your work for Yamaha
start?
A key part of MONTAGE is the
I was very impressed with the final production unit.
inclusion of the 8-Operator FM-X synth engine. As this is
Yamaha have so much experience with synthesizers and
a core component of the system, I was sent to Bergedorf
workstations that it's no surprise it's such a great product.
in Hamburg for some initial FM training. Coincidentally
Have you already used MONTAGE for music production?
enough, I had been to Bergedorf many times over the
last 20 years as it so happens that my father-in-law is I was able to create some deeply textured Performances
with MONTAGE and I am definitely going to use these
an astrophysicist at the observatory operated by the
in some ambient / cinematic compositions. I don't think
University of Hamburg.
it would be possible to recreate these sounds using any
How long did you work on the MONTAGE Factory other system.
Voicing project?
Did you plan more MONTAGE projects in the near
My involvement in the project was around 18-24 months, future?
from initial training through to various new Performances Many players enjoy using FM sounds but are reluctant
when the operating system was last updated. to do any programming. It's not untypical as terms like
Algorithms, Modulators, and Carriers seem rather
You also joined the International Voicing Sessions in
daunting and perhaps too mathematical. Consequently,
Hamamastsu (Japan) at the Yamaha Corporation
we are now underway with a new FM-X Soundlibrary that
headquarters. Please tell us something about this
will put the user creatively in control by assigning key 'Easy
experience.
Edit' sound-shaping parameters to the front panel knobs
and sliders.
Those content meetings were absolutely vital to how I
approached my programming. Not only could I speak to Richard, thanks for the interview!
the system designers, but I also got to meet other members
of the team, each of whom brought something different to
the project. And of paramount importance was to always
imagine how my Performances would be played by the
end user.
What is your estimation of MONTAGE after working
with the prototypes for years and then receiving the
final unit?
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