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StarshipArticle from Music Technology, March 1991 |
Back in the '60s it was Jefferson Airplane, then it was Jefferson Starship, then it was simply Starship. Brad Leigh Benjamin compares notes with the Synclavier king of one of rock's institutions.
Starship's keyboard virtuoso Mark Morgan began playing organ before playing with Chaka Khan; right now he's playing with a new album on his home Synclavier system...
"What's hip about technology is that I've got entire sampled orchestras at my disposal - tones ranging from analogue, to digital, FM, additive, LA, you name it."
I enquire about the type of sequencing used for Love Among The Cannibals. Morgan replies: "A lot of the record was sequenced on an Atari with C-Lab Notator software, and of course the Synclavier sequencer was used also. Synclavier is really the ultimate sequencer; it's totally accurate and quantises perfectly without sacrificing performance and 'feel'. It locks right in on the groove. Given its orientation toward motion picture work, it operates in 'song' mode relying on its cues from SMPTE, so there's no pattern mode. This means you can't work on a song section-bv-section and then piece it together, you've got to play it all the way through from start to end. In some cases, where you want a live feel that's great, but in other cases, say, on an R&B tune where you want to just work on one section of a groove, I find 'pattern mode' preferable. That's where C-Lab comes in."
Love Among The Cannibals contains tracks from several songwriters, and is the combined effort of various producers, including Larry Klein (Joni Mitchell), Mutt Lange (Def Leppard), Tom Lord-Alge (Orchestral Manoeuvres in the Dark) and Starship members Mickey Thomas, Craig Chaquico and Morgan. The varied methods of production amongst this cast of characters presents us with a wide and dazzling array of music technology utilised in the production of the album. Morgan is quickly becoming acclimatised to his Synclavier and welcomed the opportunity to use Synclavier technology on the album tracks produced by Starship.
"The cuts that the band produced, 'Love Among The Cannibals', 'Dream Sequence' and 'We Dream in Colors' were tracked entirely on the Synclavier in Studio 01 at The Plant. We used it for everything - drums, bass, percussion, even guitar stuff like Craig's power chords - we'd sample into the Synclavier, and move around with the digital editor. On 'Love Among The Cannibals' there's a lot of African stuff, so we used tons of percussion hits from the Synclavier library along with kick, snare, all the cymbals and this really happening R&B slap-type bass. We did all Mick's vocals direct-to-digital, and if he was pushing or rushing, we'd just pull him back in the track with the digital editor. If Mick had any questions about his pitch in particular spots, we'd raise or lower it to his satisfaction. It's great to have that kind of control and flexibility, although you don't need to do much of that with Mick because he's a great singer. We sampled all the background vocals on both Synclavier tunes. We'd do one chorus and fly them around wherever we needed them with the digital editor. They sounded great.
"On most of the other cuts we used my keyboard rig consisting of two TX racks, a Jupiter 6, a pair of Emaxes, Minimoog, and PPG 2.3. The PPG was one of the first hybrids of analogue and digital technology; you have digital filters in an analogue-based machine. The first time I heard it was on an old Thomas Dolby album. It can get really grainy and metallic, but it can be real warm because of the filters. I use it for metallic sounds or bells. Most of my bells are blended TX and PPG. The PPG adds that dimension to a bell that you just can't get from a TX or any FM technology.
"I really like working with the Emaxes also. We used them for vocal oohs and ahhs, blended with some kind of analogue Jupiter pad. They're really user-friendly and I like all the sample processing parameters, the analogue filters and all that. The Emax actually offers more sample post-processing and modification than the Synclavier.
"My main effects for keyboards are a Yamaha Rev7 and a Lexicon PCM70. I like the Rev for the graininess of the chorusing, and some of the gated effects. The PCM I use for all the longer, warmer reverbs. I always have my keys running through at least one of these.
"On the Tom Lord-Alge cuts, we supplemented my rig with an Akai S1000 and sampled some of his drum sounds from DAT. Tom's an engineer so he's really into the technology aspect of things. He'll do whatever it takes to get the sound he wants, whether it's massive EQ, or blending a drum sample with a vocal sample. No rules. He goes on his instincts; I admire that.
"On the Mutt Lange, Larry Klein cuts, we used the Akai S1000 for sampled Yamaha bass as well. Larry Klein also contributed his skills on a Fairlight Series III. All these cuts were sequenced on an Atari using Notator software."
MORGAN'S LOVE AFFAIR WITH HIS Synclavier knows no bounds. Its contribution to Love Among The Cannibals is only the beginning of what he expects to accomplish using Synclavier technology.
"The Synclavier directly locks to SMPTE, no interface or boxes necessary, and its features are all onboard. It's the ultimate workstation with massive storage and a ton of RAM. You can store on optical disk or HD. Mine is 32-voice, 32Meg, with a 160Meg HD and an optical disk. It samples at somewhere close to 100kHz which can severely limit your sample time, but if you've got Direct-to-Disk, it doesn't matter because that's giving you memory for days. The sequencer never drifts more than a hundredth of a millisecond. The computer is so precise and the resolution goes beyond description. I'm not into music that's robotic but the sequencer locks on without sacrificing the 'feel'. Anyone who questions the accuracy of this sequencer should examine their samples. How much air is in front of them? Are they truncated for optimum attack? That's a big part of it.
"What's really hip about all this technology is that as a singular artist, I've got entire sampled orchestras at my disposal, along with a vast palette of tones ranging from analogue synthesis, to digital, FM, additive, LA, you name it. Combine that with good sequencing software, outboard and all the rest, and an artist can become a one-person orchestra, a one-person band. I like that. This technology' helps me get things done right here, right now, at home."
But isn't it all getting out of hand? Especially in the domain of rock 'n' roll?
"There was a time when keyboard/MIDI technology was totally new and people were experimenting", comments Morgan. "Keys tended to be a little overdone and obtrusive. Now I think artists and producers are striking a balance and using the technology to enhance the basic elements of rock 'n' roll. Some styles don't require heavy keyboard orchestration or technology - I won't put a synth in a song just to have a synth in the song."
"Listen to a recorded acoustic piano on a rock ballad: it's EQ'd to cut across the power chords. In the mix it sounds great, but it's nothing like the original sound."
Doesn't it influence songwriting? Don't modern songwriters get distracted by tones and sounds, at the expense of melody and harmony?
"Some may be", he agrees, "but you've to change with the times. On R&B tunes, for instance, I'll find sounds, or textures, build grooves around them, and then write a tune from that. 'Send A Message' from the album, is a good example of a song which emerged from my experimentation with a synth-bass patch. For thematic music, I might compose around a string tremolo that I like, the modulation presenting a rhythmic quality of its own. Many composers begin with the colours of the orchestra before they've developed any harmonic or melodic ideas. Sometimes, however, I sketch out a tune on the acoustic piano and then develop its arrangement through samplers and synthesisers. The approach really depends on the idea."
Then what is Morgan's overall approach to music and technology?
Running one hand through his long black ponytail, he ponders, then responds: "To be as organic as possible, and create patches that aren't too synth-sounding. A lot of my textures have that pluckness or mallet feel because that's the organic part of the sound. Where a pad is needed under an initial attack tone, I'll substitute a human breath underneath it instead, make it as organic as possible. These days I like to blend percussive, wooden sounds with TX attacks, or take a marimba sample from the Synclavier, and combine it with a TX click or pluck. On the record, Tom Lord-Alge had me use plucks and clicks even under synth pads to give them a strong entrance. I like approaching pop music that way, especially rock. It's so guitar-oriented that keyboards need strong attacks to carve out a space. Unfortunately, sometimes my keys are subject to massive EQ so they'll jump out of the track, creating a slight buzziness which detracts from their original organic quality. It's a necessary evil relative to keyboards on rock recordings - overlapping frequencies and all that. Just listen to a recorded acoustic piano on a rock ballad. Generally, it's heavily EQ'd to cut across the power chords. In the mix it sounds great, but if you solo the piano track and listen, it's brash and bright - nothing like the original sound. That's one of the reasons why I'd like to work on more thematic and cinematic music. It affords one the opportunity to work with more natural sounds, free of the constrictions of rock band instrumentation. I'm getting more and more into composing for films. The passion involved in that kind of music is so inspiring. Pop music can be kind of cut and dried. In film, you can take it a little outside, and that's what I'm after."
He continues, "I listen to film scores all the time. One of my favourite composers is Ennio Morricone. He has an extremely organic approach to orchestration, lots of pan pipes, and strings blended with acoustic guitar. Peter Gabriel's score for The Last Temptation of Christ is another great one. He's a great example of a successful pop artist whose film scores are incredible and defy the parameters of pop/rock music."
I ask Morgan to elaborate on his overall perspective and philosophy in regards to music. Adjusting his black framed glasses he reflects a moment: "I'm into architectural design, so my music is rooted in that concept. I look at notes and rests the way an architect looks at form and space. I like things to be very spacious and uncluttered. I don't like overly ornate, lavish buildings or musical compositions. Simplicity presents a minimalistic beauty. When you employ a small quantity of sound sources, each one exerts a greater impact. The fewer the sources, the more presence each one has. You could say the same about the composition itself, and the number of notes you play. Peter Gabriel is great at that. He knows how to make just a couple of notes really speak.
"I embrace a Japanese approach to design and lifestyle, blending the organically simplistic, with newer, more contemporary motifs. Bamboo pavilions and glass high-rises, side by side; rice paper on polished steel; shakuhachi and TX tones, blended, contemporary, yet uncomplicated."
Wendy's footfall on the stairs captures our attention.
"Here Toto", I call out to the dog. Instantly, he's up on his hind legs, sword drawn high above his head between his front paws. Rage is in his eyes.
"That's Koto", says Wendy. "You shouldn't ever call him Toto. He hates the Wizard Of Oz. He's ruined every pair of ruby slippers I ever owned."
"That's quite a dog", I reply nervously. "Sorry, Koto".
He exhales slowly, resheathes his sword, and settles back down in front of the TV, muttering to himself like Toshiro Mifune on a bad day.
"Guess I better take off", I offer awkwardly. Picking up my coat and some newly-bought CDs, I head for the front door.
"New CDs?", asks Morgan.
"Yeah", I reply.
"Who's the band?"
"Toto."
Whooosh - the sound of an angry dog's sword.
The Drive behind the Starship (Craig Chaquico) |
Interview by Brad Leigh Benjamin
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