The Three-headed Gear Pile
- by Darwin Grosse

Andre Stordeur, DAC Crowell and Terry Decker have all talked about the selection and use of musical gear in a creative environment. Since I've been churning through gear for some time now, I thought I'd pass on some of thing I've learned during the journey.

First, I'll be honest and say that I love new gear. I like breaking open a box, tossing the manual aside and banging on presets. I like the first time I break into the editing system and create my first patch. I also enjoy checking the Web for other people's opinion on a machine, and seeing if there is anything I have to say about it.

However, some recent changes in my economic position have caused me to pay much closer attention to the gear I get, and the amount of time I'll keep a unit. I've come to realize the high cost of gear churn, and the big "hit" I take every time I get a unit that disappoints me.

The Supernova - a major part of my writing and performing rig.

So, I've found myself paying closer attention to my work habits and how it affects my gear use. I've come to realize that I work differently based on what I'm trying to accomplish. I've found that I have three primary work modes: composition (writing), production (recording/mixing) and performance (live work). An interesting thing is that I have different processes for each activity, and I find different gear useful for each.

Composition Mode: When I'm in the mood to write music, I have a few special requirements:

• I need to have table space for notes and manuscript paper.
• I want my writing devices to have plenty of great presets - I don't want to have to lapse into "synth programming" mode.
• I don't want to use a computer - it's too easy to fall into "tech weenie" mode.
• I want to be able to turn on the system instantly, and begin capturing ideas immediately.

In other words, I want stuff to come up quick, not present me with a bunch of technical options and allow me to have maximum flexibility with minimal distraction. How has this affected my gear purchases?

Specifically, I have machines that contain presets (many of which I've created at other times). I also have machines that have built-in "helpers", such as arpeggiators and mini-sequencers. I also want inspiring sound - therefore my writing tools tend to be "high end" gear.

For the record, my writing system is: Novation Supernova II (a recent addition, after doing my review...), Emu E4XT Ultra, Nord Modular Keyboard and Akai MPC-2000XL. Using the MPC as my writing sequencer, I'm able to get a lot of writing done with a minimum of hassle and pain. A little setup (especially setting up the default bank of the Emu Sampler) has made this an immediate and painless setup.

Production Mode: Once I have material prepared for action, I'll go into production mode. A few of my criteria for Production:

• I want to feel like I have "unlimited" resources.
• I want to be able to easily mix audio, MIDI, and effects.
• I never want to have to dive too deeply into a device's "menu" system - I want immediate control.
• I want a computer-based system with access to a lot of tools.

In other words, I want it all - and I want it easily accessible. Frankly, many of my writing tools also work well here. However, I now include a Mac-based recording system, Cubase VST with a ton of effects and VST instruments, a Nord Modular and Studio Electronics SE-1 and a bunch of inexpensive devices (like the Korg ER-1 and Novation Bassstation). I will also generally use a more visual sampler (like the Bitheadz DS-1) for sample playback and tweaking.

The Korg ER-1 : a necessary unit for both production and performance.

The greatest thing I need for production is time. Time will allow me to hear the mix in several environments (and therefore have more confidence in my work). Time allows me to nail down the song structure. Time allows me the opportunity to make patches "just right" instead of "close enough". In short, time is the most critical part of the production process.

One thing I don't use for production work is a "workstation" machine. I don't like the built-in limitations inherent when using a workstation for multiple tracks. Nor do I like the fact that you have to dig through tons of menus on these do-it-all machines. A workstation makes for a great writing tool, but the only time I use on for production is if one of the sounds is critical to the song.

Performance Mode: Another admission - I suffer from incredible stage fright. I will literally start jerking and flop-sweating during any live gig. However, I've been doing dozens of live gig each year. How? I have a live rig that is so comfortable that I can feel totally at home.

What makes a good live system?

• Every unit has a keyboard or controller. No rack-based MIDI headaches.
• Everything works off of a MIDI Beat Clock feed.
• I steer clear of sampling (except for the MPC, on which I use a single sample set), so I don't have to sweat load-time.
• I have plenty of sequences and tunes ready to kick off in case I freak out…

My live rig is really a wonderful home - I'm surrounded by my favorite keyboards (Supernova II, JD-800, Nord Modular) and drum machines (Korg ER-1 and MPC-2000XL). I set it up on low tables, make sure I have a nice chair and spend time going through relaxation techniques before the gig starts. You know what? It's been a long time since I had an on-stage spaz.

You can see that I've actually created three different systems out of a relatively few pieces of great gear. While I'm not necessarily advocating these particular synths, I would suggest that you think about the different tasks at hand, the "working modes" that you find yourself in - then get gear that matches your needs.

- Darwin Grosse
- 09/22/2000