Korg IMS-20 Tutorial 3:  Sequencing for Synth and Drum tracks

In Tutorial 1, we struck a glancing blow at the step sequencer by showing where it is and how to change the length of a sequence’s loop, and then waving our arms vaguely and mumbling “and then you just turn some knobs and you’re done.”  We also claimed that the difference between drum and synth sequencing is “pretty much ‘nothing,’” but promised to get into it later.

Now it is later.  The Future.  And indeed we get into it.  This time we learn just what all those knobs do, except for the ‘voltage’ knobs, which got some of our famous hand-waving this time, and we promise to address on Patch Bay Day, which is now the New Future. 

And in this tutorial we explore the differences between synth and drum channels, which pretty much comes down to this:

Larry Carlton Markets Recording Sessions as Though They Were Japanese Action Figures.

Background

It used to be that high setup costs and low unit costs meant that a widget for sale had to appeal to a lot of people in order to generate enough sales to make a profit.  In recent years, technology has allowed the manufacture of small quantities of widgets even one-offs, at pretty reasonable prices.  As a result, Japanese marketing of toys has shifted considerably.  Anime and Manga (cartoons and comic books) are no longer all developed and marketed in such a way as to appeal to the widest possible audience.  Instead, more and more unique and oddball characters and situations are developed aimed at creating a small, but rabid fan base that feels compelled to buy absolutely anything having to do with their three or four favorite characters.

The Deal

Now, instead of trying to sell lots of cheap things (CD’s) to millions of people, most of whom couldn’t care less what a 335 is, Larry Carlton (Mr. 335) is selling a few expensive things to a small, foamy-mouthed fan base.  This reflects the same radical shift in marketing, made possible by new technology, that has led to recent massive success in the Japanese character-related toy market.

Could this really be a viable new way in which a recording session could pay off???

What Microphone Should I Use?

This surprising video illustrates a tiny piece of The Fat Man’s Laws of Studio Setup:

1. Knowledge trumps ignorance. 
2. Experience trumps knowledge. 
3. What you hear that day in the control room trumps experience. 
4. How it fits in the arrangement trumps what you hear that day. 
5. What the whole thing makes you feel in your heart trumps all.

Korg IMS-20 Tutorial 2A: Basics of Modular Analog Synthesis

More of a Big Picture than a Shortcut:  Using the Korg IMS-20 on iPad as a playground, we delve into the basics of Modular Analog Synthesis.  This video touches upon

—Voltage oscillations, and how their shape affects how they are used as audio signals or as input to control various voltage-controlled thingummies. 

—We get a taste for high-pass and low-pass filters, and what “resonance” or “peak” controls do. 

—We are introduced to the LFO or, as Korg calls it, the “Modulation Generator.” 

—And we get the basics of the evelope generator.

Korg IMS-20 Tutorial 1A: Analog Powerhouse for $15 on the iPad

Shortcut:  This software costs fifteen bucks.  Fif. Teen. Bucks.

Shortcut:  The video tutorial shows an ultra-quick, low-effort, high-reward method of creating your own tune based on the demos that shipped with the software.

Big Picture:  This is a “consumer item” that can be used in professional audio production in place of thousands and thousands of dollars worth of vintage stuff. 

Big Picture:  This video contains a nice overview of how step sequencers are and how they work, in case you didn’t know and/or were wondering.

The smartest fifteen bucks I’ve spent in years got me thousands of dollars worth of modular analog synth fun—and with it’s smart interface and that glowing tone typical of Korg, it’s way useful for professional audio productions.  I feel like everything I do on it makes a sound I can use for a gig, and that is the sign of a good instrument.

iPad, you Pad, we all Pad for iPad

I do love my iPad, and it’s a serious workhorse for me.  But that’s not what this article is about.  It’s about something far more important—the effect having an iPad has had on my mind. 

Rooms, Racks, and Dumb-Asses

Very few game audio houses have a room big enough to comfortably house a mid-sized musical ensemble and the equipment necessary to record them. To play well, people must be happy. A room is big enough for a band and its equipment if, and only if, you can throw a good beer party in it. If you are fortunate enough to be able to use such a room for your audio production, Team Fat recommends constantly monitoring any deviations in the room size by periodically calibrating it with such a party.

Okay:  Equipment

George and his entire “Reel Mobile” studio in 1980 Los Angeles.

OK, boys and girls, we’re going to talk about equipment now. Are you excited? Sure you are! Talking about equipment can be fun—but it can also be very, very dangerous, can’t it? We can lose track of our… our… anybody?

That’s right, Timmy, our Art.

Anything else?

That’s right, Omar, schedule.

Anything else?

Oh yeah, our fundamental humanity, that’s good, Suzie. But kids, if you know how to do it the Fat Man Way, talking about equipment can be perfectly safe—and really fun!

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