ARP

Masayasu Tzboguchi

SOUNDS: Masayasu Tzboguchi

2015.06.30

Masayasu Tzboguchi (Tokyo Zawinul Bach): Combining contrasting elements such as jazz and electronics; the pastoral and the urban; the avant-garde and the orthodox; the calm and the bold; his work achieves a rare sense of balance. Masayasu Tzboguchi has been involved in a broad range of live performances and recordings, and he is currently active as a member of the electro-jazz unit "Tokyo Zawinul Bach," "DCPRG," and the "Naruyoshi Kikuchi Dub Septet." He has also published numerous columns and articles in music journals. Tzboguchi is an associate professor in the Jazz department of the Shobi University graduate school.
http://tzboguchi.com/

　　　　　　

Hamlet On The Highway

　　

Music by Masayasu Tzboguchi
Performed at G-ROKS, 2015/2/20
All parts were a real time performance and were not quantized.

Lead Synth

For the VCF Type, I used the same II (Rev.2) as my beloved vintage instrument. VCO 1 is set to a sawtooth wave, VCO 2 is a square wave, and OSC Sync is On. I added a bit of RING MOD. On the EG, I raised R to maintain a little release. The VCO1 LFO is set to square wave, and used separately from the sine wave that controls the pitch. To add some S/H (Sample & Hold), I raised the Noise Gen and sawtooth wave in the S/H Mixer and use this at the climax. The LFO Freq (vibrato speed) is about 75.

Lead-Synth

Kick

To get the most fatness, the VCF Type is set to type I. The VCF Freq (filter cutoff) is set to 0 and Resonance is maximized, causing the filter to self-oscillate so it can be used as an audio source. Transpose is set 2 Octaves Down.

Kick

Snare

The audio source is Pink Noise, which provides more lower-frequency components, and tiny bits of VCO1 and 2 have also been added to provide some solidity. The sound relies on the interaction of the VCF Freq & Resonance, Decay, and Sustain. The VCF Type is I. The key is to use a fairly low pitch.

Snare

HiHat

This uses White Noise, a high VCF Freq, and the Resonance is set to 0. Then I maximized the high-pass filter HPF Cutoff Freq to leave only the high-frequency portion. Varying the EG Decay conveys the impression of an open hi-hat; raising the Attack produces a reverse-like effect.

HiHat

Cymbal SE

White Noise is the audio source. The VCF Resonance is set fairly high, and the HPF Cutoff Freq is set to about the middle. For the EG, I used a high Release. To get some S/H, I raised the Noise Gen and sawtooth wave in the S/H Mixer, and maximized the S/H assignment in the Voltage Controlled Filter section. In this state, moving the VCF Freq adds variation.

Cymbal

Synth Bass

Although this is similar to Lead Synth, VCF Type I is selected for maximum fatness. The EG Decay is low and Sustain is high. Portamento is slightly raised, and a patch cord connects the rear panel Gate Out and Trigger In, allowing legato playing. Transpose is set 2 Octaves Down.

Synth-Bass

Scale SEQ

This sound uses only the VCO1 sawtooth wave. The VCF Freq is high, the Resonance is 0, and the high-pass filter HPF Cutoff Freq is maximized to preserve the high-frequency portion. For the EG, I set a fast Decay and raised the Release. In the Voltage Controlled Filter section, I used KBD CV to adjust the brightness of the high notes. The VCF Type can be set to your taste.

Scale-SEQ