Computer Music

The thing that I like most about computer music is that a computer allows substituting time for motor skill. While pianists spend hours practicing I spend hours clicking. Computers and patience compensates my imperfections. Skill is the enemy of art as it stands as a barrier between the canvas and the inspiration.

My studio is built around Intel Q9550 Quad Core computer running Windows XP. For maximum performance I have installed two 300GB 15,000 rpm Seagate Cheetah SCSI hard drives in RAID0 configuration, which is  at least four times as fast and immeasurably quieter than a single SATA drive. Boosting raw CPU power is useful only when you are running a lot of software effects or synthesizers, but real performance increase comes from these SCSI disks.

When designing my PC I paid special attention to minimizing noise. For that purpose I obtained Antec Sonata II enclosure, which is whisper-quiet and easily the quietest enclosure on the market. Then I installed Thermaltake SonicTower CPU cooler, which due to the absence of fan is completely quiet. I also purchased a motherboard without a chipset fan as well as fanless video cards. I also had to pad my secondary hard disk with synthetic foam material to eliminate resonance arising in the enclosure due to the rigid mounting of the disk (Antec's included hard drive rubber mounts are too rigid to do much good). Then when I powered up my workstation I didn't hear any noise. Silence is golden.

For video output I employ three 21" Samsung 201B flat screen LCD monitors connected to two dual-head ATI X1300 video cards. I would really like to add the fourth monitor to the system to minimize page flipping when producing music.

Sonic Core Platform

Inside my PC hosts two chain-linked Sonic Core (formerly Creamware) sound cards - huge 15-DSP SCOPE and compact 3-DSP Luna, both powered by Creameare's Sonic Core Platform software (SCP). Sonic Core Platform is a close equivalent of DigiDesign ProTools. All the sound processing is performed by sound cards without the need for main CPU power. Although now considered outdated this platform is absolutely wonderful and costs mere pennies (under $1,000 USD) when compared with other tools on the market. Unfortunately Sonic Core's new platform, SCOPE XITE, is just as expensive as the competition and retails for 3,198 Euros. So do not believe anyone advocating all-software host-based processing with VST plugins and software synth, these will never match the ultralow latencies that I get using Sonic Core's hardware. Try achieving 3ms on your VSTs.

All of my external equipment is plugged in in these SCP cards thanks to an impressive collection of analog, SPDIF, ADAT and MIDI connections these cards provide. Using SCP one can design by means of connecting virtual gear - mixers, compressors, equalizers, effects, etc. - a studio configuration that best suits the project at hand.

Novation Supernova II and Access Virus TI

Until recently for my synthesizer I have been using Novation Supernova II Pro, which is an incredibly powerful analog modeling synthesizer. I have used this synth on Digital Bliss, Technamericana and TechnoClassica albums. Numerous artists used it in their production for deep basses, eerie pads and high-pitch screeching filtered and richly modulated acid sounds.

In 2009 I have upgraded to Access Virus TI keyboard. More expensive than Supernova, this keyboard is de-facto standard for all modern acid / techno / trance productions, even Depeche Mode uses it. The sounds Virus produces are second to none and beat Supernova hands down. As far as technology goes, Virus' Total Integration (TI) is a very welcome feature that allows you dropping a VST controller in your studioware to control your synthesizer seamlessly and effortlessly. Unfortunately, this is where Virus' troubles begin; the quality of embedded software is poor. Where Supernova never had a problem Virus cannot play appreciator patterns rhythmically, engages in indeterministic note stealing and tries to go into a fit of irreproducible randomness or flat out freeze. Being a professor of computer science and software engineering expert I cannot help but wonder how such a marvel could have been so poorly designed?

Kurzweil K2500XS

On my very first productions (Resurrection, EnTrance, and Dark Horizons) I used to employ good old Kurzweil K2500XS V.A.S.T. synthesizer / keyboard, which (being a piano player) I cherish for its full-size 88-note fully weighted keyboard that feels just like real grand piano. I actually bought my K2500XS keyboard from a Grammy-winning jazz producer who was cleaning out his attic. I do not use this keyboard for production anymore, only for playing and performing (Ryan DeNardis was playing on my K2500XS during the TechnoClassica Concert).

Recording

For recording live instruments and vocals I use SHURE KSM27 microphone connected to ART DPS tube dual-channel preamplifier, which I particularly like for its digital (SPDIF & ADAT) outputs.

Surround Monitors

When I was starting production I employed a pair of Event PS8 monitors that I somewhat disliked: the bass was always too heavy coming out from this heavy and bulky beasts. While the bass response from PS8s was good it is the tiny (120 sq. ft.) studio space that was contributing to low frequency resonance and thus creating overloaded with bass sound.

So when I switched into surround sound production (especially for TechnoClassica Concert DVD) I had to pick different speakers and 5 of them. So I went with smaller and more compact Roland DS-50A powered monitors, which have both analog and digital inputs (coaxial and optical) and are easy to fit into limited studio space. These smaller speakers naturally have less powerful base and my bass resonance problem was completely cured. I keep three speakers in front of me and two directly behind in a classic 5.1 Surround Sound configuration. For stereo playback I learned that I enjoy output from my rear speakers better than from the front ones: after a while you forget that the sound is coming from behind and the result is a more immersive audio experience. And I also enjoy massive airflow that blows at my head through the monitors' front vent holes when the base kicks in!

Korg Kaoss Pad

For inspirational modulation and effects I employ the original Korg KAOSS pad. Now in version KP3 this effect processor has earned a solid reputation among DJs for its easy hands-on operation that is built for improvisation. The effects are truly awesome, although MIDI controls are somewhat convoluted. I also occasionally use Tascam US-428 MIDI control surface to automate sequencer operation.

GigaStudio

For acoustic samples I rely on Tascam GigaStudio 3 software sampler, which is incredibly powerful and too reads AKAI samples. This sampler comes with astonishingly natural surround convolution reverb and precisely sampled and accurately modeled orchestral instruments. So my sample collection keeps growing.

Sonar Producer Edition

Finally, I assemble my tracks using Cakewalk SONAR 6 Producer Edition, which is an unquestionable centerpiece of all my projects. SONAR may not be the best sequencer around, but it is the devil I know. The sequencer works well for the most part although VST support is sometimes patchy. Roland's V-vocal plug-in is a nice feature for re-tuning or correcting vocals and samples. Unfortunately, this is the most buggy piece of software that crashes Sonar every other time I use it, even on simple playback.

Upgrades? Not for me

I usually resent upgrading to the new version of any software that I use unless there is a maintenance upgrade or a patch. For one thing, major upgrades rarely introduce the killer features that are worthwhile and in all probability will cause those pesky compatibility issues. So why spend money on features that you do not need while purchasing the problems that you do not want? If only Cakewalk fixed the V-vocal problems...

PC vs. Mac

You may have notices that most producers use Macs, but I am a PC guy! To me the whole 'think different' paradigm feels more like 'be different - take the long route'. I own iPhone, which I love due to its appealing interface. Yet it crashes on me frequently, iTunes drives me nuts and there is no way to delete a song that you do not like without connecting your iPod to your computer. The same things can be said for Macs. I have developed Gems 3D Puzzle Game for Mac and iPhone and when the development environment did not crash it demanded that I push four (!) keys at once to invoke this shortcut or that.

The simple truth is that Microsoft gets the blame not because it produces poor software, but because its software is used so much that all the bugs and grievances seem to come from Microsoft products. It is nonsense that Macs are more secure - they are not. It is just hackers are too busy cracking 99% of the market - Windows - and the remaining 1% - Macs - are simply neglected.

As far as music production software goes Sonar for PC is still an underdog. Apple's Logic Pro and Steinberg Cubase VST rule the market. The only problem with Logic is that it costs arm and leg and requires a Mac...

Germany, the Land of Music!

As a final note I would like to draw your attention to the fact that majority of musical hardware and software comes from Germany. No wonder they have the best techno music and the liveliest music scene. Besides, all the best composers (except for Russian of course) are German as well: Bach, Beethoven, Mozart, Paul van Dyk (just kidding). Heck, even Erich Kunzel, the conductor of Cincinnati Pops, who is going to perform TehnoClassica in 2009-2010 is also German!