Tech talk
Ok, this is for the geeks and musicians out there. If you’re neither, this post may be of limited interest! (Ironically, I’ve got time to do this today because my main computer’s down–Darin is cloning the hard drive on to a 2nd machine so we have a backup for the road.)
My live show is running primarily in Logic Pro 7.2 on a Power Mac G5 dual 2.0Ghz running OSX 10.4. I have a rack containing an uninteruptable power supply, Firepod audio interface, MOTU MIDI interface, and a Nord 3 rack synth. My three keyboard controllers are a CME 7, a Novation SL25 ReMOTE, and a Virus TI Polar (below). This is the only one of the keyboards that actually generates its own sounds–it’s a new kind of hybrid, as it has its own plug-in/editor in Logic so you get all those advantages without the CPU load or latency. The others don’t make sound, they’re just used as MIDI controllers.
I have an M-Audio TriggerFinger for samples, drum input, and switching tracks on and off. I also have various pieces of vintage field equipment, including 3 oscilloscopes and 3 signal generators (one below, a Simpson) that have been gutted and retrofitted for MIDI so that I can assign any knob or switch to any parameter in any softsynth.
Each song is a Logic ‘project’, and I pre-load all the songs before each show. I switch between songs from the Novation, where I’ve programmed 12 buttons to select each song by name. This makes it pretty easy to play the songs in any order, though in practice I don’t mess around much with the set list from gig to gig.
I run a custom MAX application called ZoneOut which I designed with Peter Nyboer. This allows me to map the various keyboards in zones, so that different parts of the keyboard can output their own MIDI channels and therefore play different softsynths in Logic. This is something I probably could have done within Logic’s Environment, but the advatange of ZoneOut is that I have a visual representation of each keyboard and can draw in the zones I want, transpose by a a given number of semitones, turn each zone’s sustain of pitchbend on and off, limit velocities and so on. To do that in the Environment would be very laborious. I store each setup as a patch in ZoneOut and Logic sends it a program change message. So each song might have 3 to 8 different mappings, according to what parts I need to play and where. All 3 keyboards are more or less interchangeable, except that for 2-handed piano type parts I prefer the CME. For some parts where my lousy fingering is not up to it, I cheat by transposing the key or even moving notes around–so if you’re a keyboard player and you’re watching my fingers on the headcam, you might be a bit confused.
Most of the songs have some number of parts pre-sequenced, while I play a lot of the parts live over the top, still sending MIDI through Logic. Some of them I start off in ‘cycle record’ mode, so that I can play in each part until I have the groove built up, creating a kind of extended intro; then I pop it out of cycle mode using a button on one of my keyboards, and continue into the song. This method has two things going for it: (a) the audience knows they’re seeing something get built in real-time, I’m not just hitting ‘play’ on a tape machine (b) they hear each part in isolation, so they recognize it when it comes back in later in the song.
But it’s risky because it can all go horribly wrong. The first few times I attempted this I was terrified I’d trip up and it would all come to a grinding halt. A couple of nights at the beginning of ‘Hyperactive‘, that’s exactly what happened, much to my embarassment. And you know what? Afterwards several people said they thought I made it stop on purpose, because it was funny. Well, that loosened me up a lot, and since then I just adopt an attitude of que sera, sera. We’re all grownups. If I screw up and have to restart, you can wait a few seconds, then you’ll get to hear the intro again!
On ‘Airhead’ I go a stage further. I recently bought a plug-in called Stylus RMX. It’s basically a drum machine that plays REX loops. But it plays them in time with the host sequencer, like Ableton or Acid, except that when you trigger multiple loops with multiple keys on your keyboard or pads, it will wait until the next beat or 16th to trigger them. This means that you can load up a bunch of loops, and hold down any combination of keys to get different combinations. You don’t have to be very accurate, just hit the key a fraction ahead of the beat. So in ‘Airhead’ I just lay down a funky bass and guitar riff in cycle/record mode, then start jamming with loops over the top. The song can end up any length, I can sing the vocal or not, and add in, say, a piano solo over any groove texture that takes my fancy.
This technique would not be appropriate for many of my songs that have complicated chord sequences, peculiar structures and phrases with unusual numbers of measures in. Most of my songs are not ‘chunk’-based, unlike a lot of modern dance/electronica music where everything is in neat 4s and 8s. That’s the main reason I work in Logic, which is a linear sequencer (left to right!) versus something like Ableton Live which is great for DJs, remixers and freestylers.
Some other favorite plug-ins: I think Logic’s native ones are pretty good, I especially like Sculpture, Space Designer, the Vocoder, and the ES2 synth. Most of my samples are in EXSP24. From third parties I use Arturia’s MiniMoog (below), RMIV drums, Slayer2 guitars, UltraFocus, and a nifty gating effect called Camelspace. I put the whole caboodle through the T-RackS mastering module (see above) for overall EQ, limiting, and warmth. I am looking forward to when all these are ported to Mac’s new Universal mode, so I’ll be able to run the whole show on a MacBook laptop. Then I’ll have something to occupy all those hours on tour when you’re sitting around a hotel room or airport lounge.
Finally, my vocals: the EQ, effects, mix, and compression are really important to me, so they’re all programmed into the sequences. My Crown headset mic goes into an Art pre-amp thence via SPDIF into a Muse Receptor, which is basically a cage for plug-ins, so I don’t have to overload my CPU. I set up a patch for each section of a song–some songs have as many as 7 or 8 patches. Logic sends the Muse a program change. The mic feed is split back into Logic’s EVOC vocoder for ‘live’ backing vocals.
I use in-ear monitors (earphones) made by Sensaphonics, a company that has a network of audiologists around the country that squirt hot silicon into your ears to take a precise mold. They block out 90% of all sound, though at a gig I still feel the vibration. That means I can have my own cue mix, including dry vocals, click track to count in to a song, etc. The only downside is now the audience is completely silent–so I have an ambient mic pointing at them and I mix a little bit in. (Occasionally I hear private conversations in graphic detail so watch what you say!) I have a litte Shure mixer in my rack for the cue mix elements and ambient mic.
I have never calculated the cost of all this gear. If someone is feeling industrious, please add it up and post it here. I’ll tell you what though, it’s a lot of kit for the money when you consider my first Fairlight cost $120,000 in 1982 and did a hell of a lot less.
That’s probably as much detail as you need unless you’re some kind of FREAK 
April 2nd, 2006 at 7:04 am
Thomas, you startle me again and again.
It is so exciting to read stuff that partly is totally incomprehensible to me (I’m not a musician), but nevertheless partly is so insightful in your way of working!
Go on enjoying and making great music with this -que sera, sera- attitude. I’m sure this tour will be great.
Take care, Anton.
April 2nd, 2006 at 10:50 am
Just wondered to myself, Tom, whatever happened to ‘Henry’?
April 2nd, 2006 at 12:16 pm
Thanks for the insight into your rig. I would think you might be a Reaktor geek, but there’s only so much time….
This whole thing of performing with computers makes for fascinating opportunities and pitfalls.
I recently saw Jack Dangers with his techno-rig. He’s flying up video clips linked to audio in Ableton-type live-mixing fashion. Also has a live drummer on a midi-kit, which helps keep things human-looking. And a live-cam that scans the rig and does close-ups of Jack rapping and yelling, etc., with visual fx for extra fun. The crowd just kinda bobbed up and down and kept their eyes glued to the double video screen mostly.
I wish you’d attempt the southern U.S. so I could maybe catch a show. Best of it all getting back to your true love.
April 2nd, 2006 at 12:42 pm
‘Henry’ mysteriously fell down an elevator shaft in Atlanta, Georgia, in about 1984.
(Did he fall, or was he pushed??)
Here I am pictured with him:
http://version.thomasdolby.com/gallery/images/ph_press_withhenr.gif
April 2nd, 2006 at 6:11 pm
Thomas, my traveling companions and I were among those at HOB/WeHo who initially thought you were just pulling our legs us by stopping Hyperactive to build a little more tension. After the big crowd “Awwww!” people went nuts when it all came back to life.
Technology gives you lemons? Turn it into a kickin’ big lemonade of an encore!
(It was the next morning when one of my friends said, “You know, I don’t think that thing with Hyperactive was really supposed to happen…”)
April 3rd, 2006 at 7:56 am
Thomas, I was able to follow it all, but my head still exploded.
I had inquired earlier not knowing your full set-up at that point, if you would be recording any part of the tour for later release on CD. Since it seems like you have every aspect of a live performance accounted for through this particular set-up, (including ambient audience sounds), are you inclined to record any of the shows? (Or do you prefer not to for other reasons?)
Thanks.
April 3rd, 2006 at 11:10 am
The amount of equipment you use is incredible. The logistics of keeping everything running smoothly must be nightmare at times. In my past I helped some band friends move their equipment around from gig-to-gig, and I can’t imagine all of the cases you must have to keep track of and how fragile some of the equipment must be. Moving drums and guitars seems easy by comparison.
MiniCoopGuy
April 4th, 2006 at 6:47 pm
I am that FREAK that Thomas alludes to at the end of his post! Me and my ilk want to know EVERY detail (and thanks to Clif Brigden for some of that detail.) I saw the Hollywood and Anaheim shows in January, and took a stab at guessing the gear list in Alloy. Didn’t get it all exactly right, but I was close. It’s true too, that a computer and a small rack full of modules pack a powerful whallop these days. I recently read that New England Digital’s Synclavier was being resurrected, and my only thought was–why? I would submit that a reasonably-appointed laptop with Native Instruments’ Kontakt 2 and a nice wave editor like Bias Peak is far more powerful at a sliver of the price. I guess it must be nostalgia. I reviewed Seven Woods Audio’s Ursa Major SST-282 Space Station reverb for Mix magazine a few years ago, and as much as I liked the little sandwich-sized unit, I would have preferred the big grey heavy rack-mount version–pure nostalgia. I haven’t used Stylus RMX, but I have reviewed both of Eric Persing’s other products, Atmosphere (a suite of easily-used synth sounds) and Trilogy (a suite of bass instruments of all kinds,) and they are both amazing. Thomas, I must say that I truly appreciate that you are not just “pressing play” on tour. I saw Kraftwerk at the Warfield in 98, and if I didn’t know any better, I’d say that they were literally just “going through the motions.” More recently, they’re touring with laptops, and frankly, it seems like there’s not much point in touring if you’re just going to program sequences at home and select chunks whilst standing stiffly on stage. No diss intended–they’re among my faves, but put on a SHOW, for Pete’s sake!! Take a page from the book of Dolby, man!
April 5th, 2006 at 12:51 pm
Working a bunch of tunes in Logic right now myself, and I’ve read your posts at the Apple boards. Glad to hear you say you dig the pre-sets. I favor the ES2 as well. Do you manipulate the envelopes, or use sounds “as is”?
April 6th, 2006 at 10:32 am
Personally I love the geek talk, being one myself.. and attempting to be a musician also. Ah, hopefully one day…
April 6th, 2006 at 8:17 pm
Blinding Me With Science…
Found via The Professor, Thomas Dolby reveals his current musical arsenal:I have never calculated the cost of all this gear. If someone is feeling industrious, please add it up and post it here. IÂ’ll tell you what though, itÂ’s a……
April 7th, 2006 at 2:21 pm
Hey Thomas,
Excellent site and I’m happy to hear that you are back into music again.
I was a lesser known “rival” of yours back in the 80′s, as I was one of the main Synclavier programmers at that time, and I created some of the better sound effects that have come to be associated with that machine. I too took a litteral sabbatical of seven years off and away from the music business, but have returned as a solo guitarist minus the Synclavier.
Isn’t it amazing what we can do with our equipment these days? My settup is so simple I can run it on a Mac Mini with a Micronet MiniMate 250GB HD/USB-Firewire hub: The largest and heaviest piece of computer gear I have now is my 23″ Cinema HD Display!
Today’s tech really is remarkable. Even my guitar gear has shrunk; from two Boogie stacks with a twelve space effects rack, to a six space rack with a Bryston 3B, Lexicon MPX-G2, and Furman AR-1215 running a pair of (tiny!) Turbosound TXD-081′s.
I can’t believe I schlepped the Synclavier and all that other gear around for so many years. Today everything I take to a gig will fit on a single hand truck and in the trunk of a compact car.
George Pepper
April 8th, 2006 at 8:11 am
Hi Thomas.
Glad to hear you’re gonna hit the road again. I was quite disheartened when i read your comments about you not doing music anymore (publicly, that is) a while ago.
I must admit i understand everything you layed out in the tech article, guess that makes me a FREAK, but that also makes me appreciate it even more.
If you ever tire of Logical Environment-Plumbingâ„¢, don’t hesitate to ask.
Christian
April 8th, 2006 at 11:49 am
Really interesting to see your Kit here, thanks! I’m curious as to the choice of Logic. I use MOTU Performer because I’ve been using it since it ran off a 3.5 inch floppy on my Mac+
And I wonder if thats why you use logic, or if there are some specific technical differences that made it the better choice for you.
I am still toying with the idea of flying up to Virginia to see you there, but realistically it’s not going to happen. If you ever play any further south like Atlanta though, I’ll be there! I’m just hoping that this tour means that you’re getting back into it and more music and concerts will follow! That is a happy thought to me
April 8th, 2006 at 11:58 am
I was a StudioVision user for years. With Opcode gone, I checked out several sequencers–Cubase, Motu DP, Live, ProTools, even Traktion. I decided that though Logic is frustrating at times, it had a sense of accuracy about it that the others lacked. I put this down to being part of Apple and therefore closer to the iron’ as we say in Silicon Valley. It has gotten steadily more Apple-like in the last couple of years, but it still has a ways to go. With the amount of live looping I’m doing onstage, I sometimes wonder if Live would have been a better way to go, as Logic is not really designed for that. My biggest gripe is that with multiple songs loaded it behaves strangely. It’s also no ProTools when it comes to audio editing. But its native plug-ins are pretty good, and everything *is* possible, though there are usually multiple ways to skin a cat.
April 8th, 2006 at 1:24 pm
Live 5 is cool though because it can work linear with locators which you can trigger on the fly.
I’d to hear you live though. Am a big fan… I am 37 now, you know
April 8th, 2006 at 8:50 pm
I saw a pic of your tour where there is a piece of Doepfer gear there in the back, I’m somewhat familiar with thier gear ecspecailly since they designed alot of Kraftwerk’s stuff. Is that the big analogue sequencer they came out with a while back? Just curious my old synth mate down in Jacksonville has some of thier stuff and loves it. I’m rather surprised you didn’t go with Live actually. I just finally got my head around how it works now that version 5 actually does what I thought could do when I bought V1.0! It really is a perfomance sequencer in every sense I can imagine and is rock solid, like Reason it’s never crashed on me.
April 9th, 2006 at 4:51 am
That’s the digital stuff – but what about the signal generators, ‘scope and bakelite headphones? Are they really SG Browns?
Archaic minds need to know!
BL
April 11th, 2006 at 4:03 pm
If ‘cycle-record mode’ doesn’t already have a way of letting you erase the most recently recorded layer (if, say, you hit a wrong note…or were not happy with the timing of a part you just played), then perhaps the software manufucterer could be talked into adding that feature.
JY
April 12th, 2006 at 7:45 am
Hi Thomas, I just discovered your blog and look forward to digging in. As for Tech talk and synthy geekness, take a look at http://matrixsynth.blogspot.com. It’s my blog and it’s all about synths. I put up a lot of content, but I try to keep posts short with links to more info. That way you can quickly parse the posts and dig deeper only if you want to. For example this post on your blog when I discovered it: http://matrixsynth.blogspot.com/2006/04/thomas-dolby-has-blog.html.
Anyway, glad your are still going. I am a huge fan. I remember seeing you live at an amuzement park called Magic Mountain back in the day. It was probably the best and most elaborate performance I’ve seen there with the big video screens (at the time), etc. It was great. Thanks for that.
cheers,
matrix
April 12th, 2006 at 8:21 am
Thomas Dolby has a Blog!…
Thanks to Matrixsynth, I’ve learned that Thomas Dolby has a blog. Cool stuff (and if you don’t know his music, find some and listen!), and it’s great to get some behind-the-scenes info. Also nice to know we have similar taste in con…
April 12th, 2006 at 10:00 am
God that’s hardcore.
I’m a logic-user myself but I’m absolutely *terrified* of using it or in fact any laptop for playback onstage. Granted, I’m usually playing smoky clubs with a guitarist that leaps around a lot, so there’s that whole smoke/beer/lummox damage issue that you probably don’t have.
How do soundguys react to you having essentially a complicated submix happening onstage? I would imagine that since the monitoring is in your domain entirely that doesn’t bother them, but what about the other stuff? Do you let the FOH guys handle your master mix or do you do most of that yourself?
April 13th, 2006 at 4:51 am
Very impressive setup! I appreciate hearing how you do all of that. Very effective application of the technology. It’s indeed an amazing age we live in.
I’ve been a Thomas Dolby fan since the beginning, and it’s had a big effect on my life. I’m still a techno-nerd electronic musician. I too build my own instruments/equipment/ midi controllers. I was inspired by the greats: Kraftwerk/ Thomas Dolby/ others. I cant wait to catch you when you come to the Philadelphia area. Thanks!
April 13th, 2006 at 6:55 am
[...] Thomas Dolby is on the road again after 15 years. And how times have changed: unlike the year 1991, the year 2006 means he can blog the whole tour. For starters, he’s posted the gory details of his performance rig “for the geeks and musicians out there.” (You called?) [...]
April 13th, 2006 at 1:36 pm
[...] Original Blog Where Dolby talks about his gear. Create Digital Music’s Coverage: they talk about getting a similar rig on the cheap (4K USD for the whole package) Gizmodo’s Coverage: What led me on the chase – so they deserve props. This entry is filed under Teh Hotness, Technology. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site. Leave a Reply [...]
April 13th, 2006 at 2:40 pm
I tried Live for Live Looping and found it to be kind of “stiff” when compared to some of the other looping software out there. Check out Sooperlooper. It’s free and there’s now an AU version. When it comes right down to it, there’s still no substitute for looping hardware. Check out the Echoplex (the modern one made by Gibson) or the Looperlative. You’ll have a LOT more fun looping with these hardware devices than using Live.
April 13th, 2006 at 2:46 pm
I hope that everyone finds as much amusement as I do in the round-trip appearance of the Virus Pølar in this gear list; if not at once then perhaps moreso after learning this fact: as one of the principal sound designers for Access, I have long found inspiration in the very music that this instrument is now perchance used to perform. Some programs could be in fact be thought of as private tributes — it’s round trip sound… a patch homecoming. Humbly, I’m delighted!
April 16th, 2006 at 4:01 pm
[...] His site also has a wonderful blog in which he writes about some of the gear he’s touring with. He also writes: [...]
April 16th, 2006 at 5:46 pm
[...] about his set / gear [...]
April 17th, 2006 at 8:25 pm
All this gear talk reminds me of a story about gear. It’s a bit offbeat, but here goes…
I have Reason and Cubase now, but back in January of 1993 I was a bit on the poor side and I had a choice between a vacation or buying a drum machine. I wanted both.
I had just picked up “Astronauts and Heretics” and decided the best solution for this dilemma would be to drive to Atlantic City, NJ for a vacation and do some gambling, something I had never done. The way I figured it was, if I won enough money, I could have a vacation *and* the drum machine, but if I didn’t win I would at least have gotten a vacation out of the whole experience. I only brought like $200 to gamble with.
Before I left, I bought a (cheap) book about blackjack, the only gambling game I was familiar with and read it. Then I threw my suitcase in the trunk and took off by myself to Atlantic City.
I unwrapped the CD in the car and stuck it in. It took four hours to drive to NJ and I listened to that CD the whole way up and all the way back. I’ll never forget it. That CD was beauty as I traveled. I listened to that CD and nothing else for four days.
I knew something was going right when some middle-aged woman at the blackjack table commented to me “there’s always someone like you at the table, ruining it for the rest of us.” But she had a big smile on her face when she said it.
Driving back, I had 150 more dollars than what I left with. Not much, but it was enough extra money to buy an Alesis D4 drum machine and I still got to have my vacation, which ended up costing me nothing. So I ended up with both things I wanted. I always think about that trip whenever I listen to Astronauts and Heretics now.
I’ll be there at the Birchmere show, drinking in your performance. It’s coming up fast, and just as fast it will pass into just a pleasant memory, like my trip back in 1993, but that’s OK. I’m bringing Bob Marley with me to your concert. I have been friends with Bob since we were kids. He mostly likes country music, but he has a very open mind. I think he will like your concert.
Thanks for all your music and not just Astronauts and Heretics.
April 30th, 2006 at 1:35 pm
Thomas, good to see you back in action and looking forward to the Scala gig in London. It occurred to me what a difference time has made to music gear. I owned a battered Korg MS10 and some cruddy 4 track when I first listened to the Golden Age of Wireless (and saw you on that strange Sat night BBC thing with Dave Lee Travis?). Drooled over Jupiter 8 etc. Don’t even mention the Fairlight (you probably don’t). Now I also have Logic 7.2, CamelSpace, Slayer 2, etc. Gear democracy means now I can write bad songs that sound great! It’s only when you have the kit that you realise that it’s not really about the kit at all… Write us some more songs, please, Mr D.
May 4th, 2006 at 5:23 pm
Hey I was just wondering the chances of that MAX patch showing up somewhere. I’d love to check it out. And thanks for sharing, you’ve really inspired me to build out my own live rig.
May 12th, 2006 at 3:42 pm
I would like to ask Thomas about the future of MIDI, as I understand there have been some rumblings from the MMA about “HD MIDI”. What can MIDI not do that you wish it could? Will Beatnik-like technology be involved?
The show at Joe’s pub was bliss, thank you! Haven’t seen you since the Flat Earth tour at the Tower Theater in Phila.
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November 17th, 2006 at 4:07 pm
Great reading this! My Sweetwater sales rep thanks you in advance
I’ve been using digital performer for years…but I’m going to switch to Logic when I do the next big upgrade. I’m going to get MAX, too…(hoping their Intel/Mac issue is fixed so I can run on both computers). When I was helping Pamela Z in soundchecks a few months ago, that gave me the MAX bug after a whole day of watching her set up…now I’m totally infested after reading your blog.
LOVED the Cerritos show.
Cheers!
Pam
November 18th, 2006 at 11:59 pm
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May 12th, 2008 at 8:43 pm
Mr. Dolby,
I am wondering where you found that vintage-looking headmic that you’ve been wearing on your recent outtings? Very steampunk, I must say. I am currently modding out an old Beltone hearing accessment machine and headphones that I found at a thrift store for $2.00. Anywho, you are the original steampunk, sir.
Sean
May 14th, 2008 at 12:53 pm
So Thomas, my question is, how do you get Logic to switch between songs if they are “hidden” as other windows? With Ableton, it’s moving thru clips of scenes. With Logic, what controller does it and how is it mapped?
Thanks in advance!
Les
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August 31st, 2008 at 12:08 am
thomas, i`m sorry for the off topic. my question is about aun oldie. i`m looking for a drum machine. it is the one in the golde age of wireless.. and i think is the same in depeche mode`s “a broken frame”.. i love tha fuzzy sound.. can you tell me anything
about it??
thanks!