Sander Roscoe Wolff

Thanks to some online music groups, I discovered an annual effort where musicians record 10 to 15 songs during the month of February, with the intention of releasing them as an ‘album.’ After some careful thought in January, I decided to join in, but with a slightly modified vision. I decided to compose and record 1 new original music track every day. Before I started I knew that I’d work ‘inside the box.’ Everything would be created in Cubase (on my PC) or in Korg Gadget (iPad) using software synthesizers and mostly original sounds.

There was another challenge that is reflected in some of the tracks. It is the ‘A Synth – A Song’ challenge, where all parts in a track are created using just one synth. The idea, of course, is to push the capabilities of the synth AND one’s own programming skills to create something interesting.

Some of these are completely realized recordings, and others are sketches. Overall, I’m fairly happy with what I created. I didn’t end up meeting my challenge. I really only recorded 26 tracks. Also, I’m still working on one that I started in toward the end of the challenge. That will be a full fledged song, played with some ‘real’ instruments, and will have me singing.

Below, you will find a player that has all 26 tracks (and one alternate version) in alphabetical order. Below that, you’ll find individual players for each track. Also, you can download a playlist of all the tracks. It should open in your favorite music player.

You can also view the site where the challenge originated.

 

 

 

 

Produced in Cubase using a variety of virtual synths.

 
 
 

Produced in Cubase, this track has an ever shifting time signature, which gives it a floaty sort of feel. All of the synth patches were created by me, using a variety of inbuilt and free VST instruments.
 
 
 
Here’s a tune to dance to as you skip and stroll along the river Seine. Watch your step, though, as it is in 7/8.
 
 
 
This is a simple song that evokes a feeling of nostalgia… Created using one Steinberg VST, HAlion, in Cubase.
 
 
 
Another track created in Cubase, using just one synth: the free Eclipsis VST.
 
 
 
Music to make sleeping children dream of ghostly apparitions. This track was created entirely on the iPad, using Korg Gadget.
 
 
 
Produced in Cubase using just one synth, the free VST, Eclipsis.
 
 
 
Produced entirely in Cubase, using just one synth, the free VST, Matrix 6000.
 
 
 
Here’s a dance number for people with two left feet.
 
 
 
Produced entirely on iPad, using just one synth: Korg Gadget’s Changmai.
 
 
 
This is a recording of a live looping performance on the iPad using just one synth, Wolfgang Palm’s amazing Wavemapper inside Michael Tyson’s AudioBus3 and using his LoopyHD for Frippertronics style looping. All sounds were created by me in Wavemapper, using samples that I recorded. No editing or effects were added after the fact.
 
 
 
This song was produced on the iPad, using Korg Gadget, and inspired the following lyrics:

“The empty mirror reflects a sadness I cannot see. It politely refuses to let me be.
It asks me to look but nothing is there. It’s hidden the last of me.”
 
 
 

An imagined landscape of reds and browns, with swirling winds and plucked strings.
 
 
 
This is an allegorical piece, telling the story of how love brought me out of chaos and into peace and joy. It was composed on Valentine’s Day, for my beloved wife, life partner, and friend. It was produced entirely on the iPad using Korg Gadget.
 
 
 
As one moves lower, into the deep, the last glimmers of light from the surface begin to fade, and darkness becomes blinding.
 
 
 
This is a musical thought experiment using a systems-based composition technique. No effects, other than reverb on the master mix, were used. No dynamics were manipulated. This track was created using Cubase, and one synth, am early virtual analog synths made by Steinberg. Best heard on speakers.
 
 
 
This one is is kinda groovy in a vaguely latin way, when the band has had one too many to drink, perhaps.
 
 
 
A spin-off of the systems-based approach of Discadance, with a much more relaxed, languid feel and a bit more variety in the tones.
 

It inspired a brief poem:

The horn howls like Ginsberg,
cold as the light-knife cuts through
the darkness.
A cloud blanket softens the night,
dampens the forgotten spirits
that haunt Angel’s Gate,
forever waiting for imagined
invaders.
I ache for that softness,
breathe it in,
but the edge remains.
 
 
 

This is a recording of a live performance, made entirely on the iPad, using Korg Module and Loopy HD running in Audiobus 3.
 
 
 
The Flemish Cap is an underwater ocean area East of the Grand Banks of Newfoundland. It is best known because of the collapse of previously abundant sea life due to over-fishing by EU member states in the 1990s.
 
 
 
The creation of this track proved to be surprising. A friend was discussing the value of watching the footage of the evacuation and rescue that took place in Florida after the recent shooting. I found myself responding rather passionately and, immediately after, recording tonight’s track. Here’s what I wrote.

When I was 12, my Hebrew School showed all of the students at least three big reels of 16mm Nazi death camp footage. Most of it was filmed by the Nazis before the liberation. It had no sound. It was just silent b/w moving images of horrors that, as a child, I could not previously imagine.

There’s a part of me that feels injured by that experience. There’s another part of me that cherishes it. I think we can too easily look away from the horrors of the world and, in doing so, believe that we are disconnected from them.

As we know, though, safety is an illusion. We know that none of us are immune from the pain and suffering that others feel. We are not separate from each other. Your pain is my pain, and we need to see the truth so we can understand the problem and work together toward a new paradigm.

Gun control is one small part of the problem. We’ve allowed ourselves to isolate the others, those who make us uncomfortable, when we should be reaching out to them and bringing them closer. We have a systemic cultural problem, and there is no easy fix for it.

BTW, ‘Kaddish’ is the Jewish prayer of remembrance for the dead.

Translation:

May His great name be exalted and sanctified in the world which He created according to His will! May He establish His kingdom and may His salvation blossom and His anointed be near during your lifetime and during your days and during the lifetimes of all the House of Israel, speedily and very soon! And say, Amen. May His great name be blessed for ever, and to all eternity! Blessed and praised, glorified and exalted, extolled and honored, adored and lauded be the name of the Holy One, blessed be He, above and beyond all the blessings, hymns, praises and consolations that are uttered in the world! And say, Amen.
 
 
 

This piece was created in Cubase using one synth, the free VST, Sonigen Modular.

Lyrics:

What’s so great about a wall?
What is their beef, those Mongol hoards?
With beards and swards
Sweeping the steppes
With dissonant chords.
Why do they install
This monumental wall?

Strong fences make good neighbors
but the hooves and neighs of foaming steeds
bear no quarter but those hung and drawn.

These effortless sketches stretch South and West,
but I’ve forgotten all the rest.
 
 
 

This tune is really just an excuse for a tune, rather formulaic and sad, except that I like it, kinda. It was fun creating the beat, and I quite like some of the patches. Some are stock and others more custom.

Lyrics:

Head your bang, your bang diddy bang bang.
Head your thang, your thang diddy thang thang.
 
 
 

Here’s another fun odd time signature for all the counters out there. Also, this track used just one synth for all of the sounds, the free VST Sonigen Modular. The track was created in Cubase. The title refers to one of my favorite musicians.
 
 
 
This is a recording of a Frippertronics-style live looping iPad performance using an app called Yonac Steel Guitar.
 
 
 
Dance, everybody! Everybody dance!
 
 
 
A song about the struggle to embrace love. Recorded in Cubase with virtual drums and organ, real guitar courtesy of the Sandblaster, the Industrial Guitars Indy Rail lap steel, and my Japanese Fender Fretless Jazz bass with custom humbucking Seymour Duncan pickups and Aguilar preamp.

Lyrics:

Worthy
by Sander Roscoe Wolff

I’m not too bad. I’m not too good.
I’ve not done all the things I should.
This road is rocky. I stumble and fall.
I can’t get up, so I just crawl.

The darkness calls. It knows my name.
My forgotten goodness is hidden by shame.
I look to the depths and decide to go.
But you tell me one thing that I did not know.

You say, “You’re worthy. Worthy of my love.”
You say, “You’re worthy. Worthy of my love.”

Your words, they shake me. I start to cry.
I feel unready to live or die.
I turn to leave but I’m caught by surprise.
I see the truth in your blue eyes.

I said, “I’m worthy. Worthy of your love.”
I said, “I’m worthy. Worthy of your love.”

Some days are dark, and some are sad.
Now, through it all, my heart is glad.
Some days are dark, and some are sad.
Now through it all, my heart is glad.

I said, “I’m worthy. Worthy of my love.”
I said, “I’m worthy. Worthy of my love.”
 
 
 

– This track uses the same note information as the original, but is realized entirely with one synth, Arturia’s Moog Modular VST in Cubase. Some of the sounds are stock patches, some were tweaked, and some completely original.
 
 
 

I’ve been fascinated by modular synthesis ever since I discovered what it was. Back in the mid 80s I had the good fortune to have nearly unlimited access to a massive Moog 35, two Moog 15 racks, a Moog sequencer, and a keyboard. These massive racks contained discreet purpose built modules that shared a common power source but, other than that, were completely independent of each other. One connected them with a series of 1/4″ audio plugs, sort of like one of those old fashioned telephone switchboards. While you were limited to the modules and patch cords on hand, there was a nearly limitless set of connection possibilities, some of which were never intended by the designers.

Without delving too deeply into synthesis, I’ll explain the four main tools: VCO, VCA, VCF, and Envelope Generator.

A voltage controlled oscillator creates the sound one hears. It usually can create a number of different wave forms, each with a specific and distinctive timbre. The pitch of the tone is controlled by knobs for gross and fine tuning, but can also be controlled by a voltage (+/- 5v, for example). The keyboard connects to the input of the oscillator and sends a specific voltage for each note that is depressed. It is also possible to send the signal of another VCO, or even an Envelope Generator, to the VCO to alter the pitch.

A voltage controlled amplifier is a simple tool to control the amplitude of a sound. As the voltage drops, the loudness decreases, and visa versa. Often, the VCA is modulated with a VCO to create an effect similar to a tremolo on a guitar amplifier. It can also be controlled by the EG.

The voltage controlled filter helps to shape the tone or timbre. It can do this by removing or boosting specific frequencies, or sets of frequencies, from the sound. Because the filter is voltage controlled, the amount of filtering and set of frequencies can be modulated independently, creating, for example, a ‘wah wah’ sound.

The envelope generator was not intended to directly affect the sound created by an oscillator but, rather, to produce a control voltage that can be used to alter the way other modules behave. The typical EG has four controls: Attack, Decay, Sustain, and Release. These relate to how many acoustic instruments produce sounds. For example, if you pluck a violin string, the sound starts immediately. The attack is short, and sharp. If you bow it, though, the sound grows gradually. With a plucked note, there is no sustain, so the sound decays quickly and the string soon is back to rest. With a bowed string, though, the sound can sustain indefinitely and, when you stop bowing, the sound fades out. The EG helps to create these kinds of dynamics artificially, when triggered by pressing a note on the keyboard, or through other means.

One last thing about EG: If you listen carefully to a plucked note, you will notice a few other things. 1st, the pitch goes slightly sharp for just a moment, because the player is pulling on the string. Also, the set of frequencies, the harmonic content or timbre of the sound, changes very quickly, from bright to dull. One can use the EG to control both the VCO and the VCF to simulate these variations, and create amazingly realistic sounds. That, though, has never been my interest.

Clavia is a Swedish company that was at the forefront of Virtual Analog Synthesis. VAS uses computer processing to create models of electronic circuits. Their Modular synths are similar to the massive Moog synth, above, but benefit from having a larger set of modules, and the hardware being about the same size as a paperback book. The modules are laid out and connected on one’s computer, then transferred to the unit for performance. Not only can it be used to create sounds, but also to process or effect sounds, something I intend to explore further in the future.

In preparation for an upcoming performance I spent about a month creating patches from scratch and, in some cases, heavily modifying existing patches. I used a Korg Kaossilator Pro as the primary controller for the Nord Micro Modular. This device sends midi note and controller info to the Nord, much like a keyboard, but instead it uses a touch screen with assignable key and scale settings. Although the number of control signals, via midi, is vast, I chose no more than three for each patch, because that’s how many the Pro can manage easily.

Here are some screen shots of the patches, audio demos for each, and a brief description of the other controls. [Note: The controls are as follows: y=up and down movement on the touch controller; 93=a slider next to the touch screen; 94=a knob above the slider. Each is assignable to a single, or many, parameters in each patch.]

Hear 4-8-16. Control: y=Filter, 93=Bits, 94=OD

Hear Diso Deep Mod. Control: Y=Filter, 93=Phaser Depth, 94=Clip

Hear Diso Harm.

Hear Fat Triangle. Control: Y=Filter, 93=Chorus, 94=A/R

Hear Fat Triangle 2. Control: Y=Filter, 93=Chorus, 94=ModSpeed

Hear Filt Seq. Control: Y=Filter, 93=FReso, 94=Speed

Hear Orbitron. Control: Y=Filter, 93=Bits

Hear Pedal Steel Strum, and a slightly different version. Control: Y=Filter, 93=Speed/A/R, 94=Detune

Hear Space Race. Control: Y=Filter, 93=OD, 94=ModSpeed

Hear Spitty Grit. Control: 93=A/D

Hear Sweepy Time, and a slightly different version. Control: Y=Filter, 93=OD/CH, 94=ModSpeed/FM

Hear VocoLead Control: y=Filter, 93=Octave, 94=Vibrato

You can also hear a rather thoughtlessly constructed demo that features about two thirds of these patches.

Please feel free to ask me any pertinent questions, and I’ll do my best to answer them.

The Arts Council for Long Beach was given a space at the Long Beach Marathon’s Health & Fitness Expo, and they contracted my Toaster Music cohort, Sumako, to curate it. He gathered a talented group of local artists to body-paint lovely bikini-clad models while I performed my unique brand of lap steel & synth based live looping. There was also a muralist working directly behind me. All in all, it was a really enjoyable experience, with everyone working at a high level, and sharing a sense of collective comraderie.

On Friday, I performed for just shy of 5 hours, and on Saturday I performed for 6. It was, ironically, a musical marathon of sorts.

I used two main sound sources: 1) My custom built Indy Rail Lap Steel Guitar, and 2) My beloved Novation Nova Digital Modeling Analog Synth.

The guitar runs through a series of effects: MXR El Grande Bass Fuzz -> Marshall Vibratrem -> Home Brew Electronics Psilocybe Phaser -> Danelectro Surf & Turf Compressor -> Ernie Ball Volume Pedal Jr -> Digital delay. On Saturday, just for variety’s sake, I swapped the El Grande for my cherished ZVex Wooly Mammoth. It was tasty.

The Nova is a great synthesizer, made by a company called Novation in the late 90’s. It is a computer based synth that simulates analog circuitry. It doesn’t have a keyboard, so it was being controlled via MIDI by a Korg Kaossilator Pro. This is a musical instrument in its own right but, in this case, I was using it as a ‘keyboard.’ The Kaossilator Pro can be programmed with both scale and key settings and, when I move my finger across the touch screen horizontally, it sends only those notes to the Nova.

Both instruments go into a GigaDelay, set for 8 seconds, via a Mackie mixer, where I do lots of stereo panning. You can see a photo of the rig, more or less, below.

Anyway, before I blather any further, here are excerpts from both days:

Craniundulant – Part 1

Craniundulant – Part 2

Part one consists of excerpts from Friday’s performance. I selected several complete movements and strung them together. It reflects more accurately what I do.

Part two was created differently. I divided the 6 hour performance into 10 minute segments and, from each segment, took a two minute chunk. These chunks have a 30 second overlap, where they fade into each other. Thus, you get a brief snapshot of the evolving performance without ever hearing a complete movement.

Here’s a crappy photo of my rig:

And here’s a photo, taken by Gertrude Erin Grayson IV, who is the talented artist that is painting the mural behind me:

Here’s a shot of the Saturday crew:

Here’s a shot of the Friday crew:

Here are other photos, posted on facebook, and a bunch more posted by Sumako.

I must say that everyone really stepped up, and brought their ‘A’ game to the event. Everyone was really kind and supportive, and it was a real joy to be a part of the event. Mad props and kudos to Sumako for pulling this together with very little time. It was great.

I was unhappy with the photos I took a while back of the completed Sandblaster guitar, so I gave it another go:

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Some time ago my dear friend Mike gave me a non-functional Kalamazoo Series 2 Amp. It is a small thing, just 8 watts, made by Gibson in 1965. It was a low-end, entry level, guitar amp that used a British style tube design, and was made with the cheapest materials available. The box was particle board, the covering was a paper thin tolex-like material, and the speaker was probably made by CMI.

I handed it off to Mark Cox of Anything Audio and he rebuilt it, making a number of modifications I requested along the way.

After I got it back, and began to realize just how much of a wee screamer it was, I decided that living in it’s cheap and disintegrating particle-board home was just too sad. I knew a fellow, Larry Bott, whose artistic wood creations I’d greatly admired. I asked him if he’d be willing to fabricate a cabinet from scratch, and he said yes!

It’s not quite done yet, but it’s very close. He used beautiful African Mahogany, and is finishing it with a classic French shellac. I took a few pictures just so I could show it off, and here they are:

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Some time ago I acquired a hand-made custom bowed psaltery. Recently, I recorded

with it. The tracks were recorded in Cubase SX3, and all the processing was done on the computer. I recorded the psaltery part first then, using an old Brian Eno trick, reversed the track so that it was playing backward, and recorded delay with it. The original track, with the delay, were then both re-reversed so that the original track is now playing forward, but the delay is reversed, fading in rather than fading out. All this was then run through the same delay so it has delay coming and going. I then added the two guitar parts.

Ever since, or perhaps even before, I completed the guitar project I’d dreamed of creating a custom bass. Encouraged by the results of the Sandblaster, I decided to undertake a 2nd instrument-building project: A bass.

I originally hoped to create an instrument using similar African Mahogany but, much to my dismay, large pieces of highly figured African Mahogany are becoming harder and harder to find. Old growth trees are now almost entirely gone, sadly.

Anyway, I began to expand my search to include other woods, and even several woods in combination. ( I just had this idea that one solid piece is somehow better… I don’t know if that’s true, though.) Anyway, I have a Taylor acoustic guitar with Sapele sides and back. Sapele is similar to African Mahogany, but it is heavier, darker, and more expensive. Also, like most popular woods, large highly figured pieces are hard to find. So, after many weeks of patience, John of West Penn Hardwoods selected some pieces that, ultimately, will end up as the body of my next bass.

There are three ‘sections’: The top, which is made of book-matched sapele, the middle, which is made of flame maple (soft), and

The book-matched top:

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This instrument was given to me by a friend who got it from another friend who found it collecting dust in her house. According to trusted sources, it is a Hofner Galaxie. There are a number of different models in that line, however, so more specific info would be most welcome.

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This first one is my favorite, so far:

This one is a bit of an homage to the Fender Telecaster logo:

Personally, I don’t think the 2nd one will fit nicely on the headstock. The first one would, though…

All I know is that this instrument belonged to my mom, and that it was bought a long time ago, and probably for very little money. The neck is fat and thick, bowed, with frets that are super thin. It is difficult to play, and the intonation goes to hell if you wander above the 5th fret. It was intended to be a ‘classical’ nylon string guitar but when I replaced the frozen tuners, I strang (stringed) it up with phosphor bronze strings instead.