Getting reaquainted with an old friend

In 2006 I bought a second hand Casio CZ3000 from eBay for the princely sum of £100. However, I didn't really get chance to use the synth before life changes forced me to put it into storage. 

Fast forward to 2011 and I resurrected my plucky old Casio CZ3000 and put it back into my new studio set up. Whilst I had every intention of finally digging into this thing, life got in the way once again and this board was stacked up in my garage for another twelve years.

A couple of weeks ago I was walking past my unused gear when I noticed there was a battery compartment on the bottom of this synth. "That's weird," I thought. "I have never noticed that before." 

At this point the penny dropped. 

When the CZ3000 was in my set up I used to find it frustrating that it couldn't hold any of my patches. A quick Google search confirmed the battery for the SRAM of the CZ3000 is not a CR3032 buried in the innards like most synths, but three AAs in a compartment underneath the board. I looked through the user manuals but found no mention of a battery compartment in any of them.

Having pulled the Casio out I plugged it in and prayed it still worked. Happily the LCD screen flickered into life and all of the lights were illuminated. As Jean Michel Jarre used the first preset "BRASS ENS.1" on his track "Fourth Rendez-Vous" (albeit from a CZ5000) it was compulsory to play it at this point.

Duly set up I decided to read the manual and give this synth the attention it deserves. The first thing I noticed in the manual is that this unit is described as a "CosmoSynthesizer". Casio tell us the synth is "totally digital" and is, "designed using the same principles that apply to analog synthesizers, thus eliminating the frequently heard complaint about digital synthesizers that they are too complex." I wonder which contemporary digital synthesizer they could be talking about? I'm sure there will be a 7 in there somewhere.

Personally, I'm still trying to get my head around phase distortion synthesis and despite what the manual might say, I don't find it as intuitive as analogue subtractive methods. Yet as I jab at the various buttons on the synth, I can't help but think that it is the interface that is the issue rather than the approach to sound creation.

Another revelation came as I read through the operation manual. On the penultimate page there is a box titled, "Use as a multi-timbral expander". Reading this flawed me. I have owned this synth since 2006 and had no idea it was multi-timbral (I know right). Once I rigged it up to MIDI it would indeed sound multiple presets simultaneously (all be it monophonically). Bizarrely the manual tells users to connect the MIDI out directly to the MIDI In and manually assign patches to channels rather than sending program change data.

So what of the patch memory? Well, once I placed the required batteries in the compartment the Casio did indeed retain my changes and I was free to edit sounds with confidence. Strangely, the only memory the manuals seem to mention is the RA-3 RAM cartridge and I used to use one of these to store patches when the keyboard was in use. It turns out that these cartridges are relatively hard to find now so I was determined to find mine. After an hour of rooting around in the loft I found the cartridge complete with box. I changed the battery on this a few years ago so it still had some old sounds on it (be careful when replacing the battery in one of these, the screws that hold it together are very soft). Storage in the synth is limited to 32 presets and 32 user sounds. The RA-3 RAM can also store 32 sounds but they need to be imported into the user memory before they can be accessed.

As for the sound, you'll be unsurprised to hear it is reminiscent of FM synthesis and remains quite thin (there's even a built in stereo chorus effect to help combat this). Like most synths of the time, it can sound a bit dull when dry, but some outboard effects add some sparkle. The Digital Controlled Wave (DCW) function is a direct attempt to mimic the filter of subtractive synthesis but it takes some getting used to. When it comes to creating patches I find I'm mainly creating bass sounds or weird effects. The noise and ring modulators can add some new ingredients that take sounds in a whole new direction. One of the manuals included with the synth is a "Sound data book" that lists the parameters for all of the presets along with another 50 sounds. There's even blank charts to record your own creations; how very 1980's.

The keyboard action is quite light and is not velocity sensitive. Judging by my own experience and the listings for these synths on eBay, the keys are very prone to breakage too.

There are eccentric touches such as a button to turn the modulation wheel on or off and the write protection for the memory is engaged using a switch on the back of the keyboard. I have always found it strange that the power button for this unit is on the right of the keys too - I've put my hand down to rest and turned the synth off more than once. The MIDI implementation on this thing is pretty basic as it only seems to respond to programme change data and some SysEx commands - it ignores velocity, aftertouch and volume commands.

My recent Google searches have also made me grateful that the cover for the battery compartment was present on my keyboard as these seem to go missing quite a lot. As part of this mini-overhaul I have also bought a 3D printed cap for the volume slider as this had been missing since I bought it. One surprise survivor is the original dust cover which I will endeavour to use going forward.

Today the Casio sits in splendid isolation as the only hardware in my set up which should mean it finally gets some attention, seventeen years after I bought it. The fact that I do not plan on moving house or enduring any other traumatic life events also counts in its favour.

One record at a time: 160. The Grid - One Way Traffic

The Moog Sound Lab was a large mobile studio that also operated as a record label. The lab was equipped with various Moog synthesizers and made available to recording artists by invitation. The Grid were the first to use the new facility in 2015 and "One Way Traffic" is the result of that session.

As these sessions were rather short, they tend to produce improvised pieces rather than be used to record in a more conventional way.  

I'll be upfront and say I'm not a fan of improvised music. Improvisation equates to either extreme repetition or droning nonsense, and this album contains plenty of both. It's not only the quality of the music that annoys me, but it also irks me that the music cannot be replicated.

I have been tinkering with keyboards and synthesisers since I was a child and my dream was always to own an instrument or system that offered total recall. I always longed for the ability to pull up a track in exactly the same form as it was recorded and for it to be fully editable. For whatever reason, the idea of music being unrepeatable is an anathema to me. The fact that improvised music is also dull and often repetitive seals the deal.

The title track that starts the LP is an edited version of the 26 minute behemoth that features on the digital release. Whilst the repeating sequence is pleasing for the first four minutes it gets a bit grating as times go on. There is some progression and manipulation of the synths but nothing to justify the run time. "Test One" is just a minute of noise and "Distrubia" is a faintly intimidating ambient piece that end side one.

"Goldenfilter" is the first track that sounds like consideration was given to structure and variation. There are some really interesting rhythms and sounds on this track that make it the standout. "ECG" and "DPM" are more abstract and experimental and don't hold my interest. 1/5

Resurrecting the orange beast

Many years ago I bought a secondhand Waldorf XTK synth. I blogged about receiving the orange beast and setting it up on this website but I never really used it much. About six years ago a change in family circumstances meant that the Waldorf was placed into storage and was only occasionally glimpsed on a loft visit or a root around the garage.

This was a shame as the synth is very good and it cost me quite a lot of money. Happily the XTK has held its value and understandably, seems to be even harder to come by eleven years later.

Having pulled the keyboard out of the garage to protect it from some building work at Bleep HQ a few weeks ago, I noticed the rotary knobs were looking a bit strange. I had previously seen a few knobs on the synth had become discoloured and I kept having to clean them up, but this was no longer just an issue with aesthetics; the knobs now seemed to be crumbling and falling off. 

Having fretted for a short while and begun panic sampling the synth in case it was about to expire, I finally calmed down and asked Google what was going on. At this point I found out that knob degeneration comes to all XT synths and I was not alone. In fact many people seemed to view this occurrence as an opportunity to improve the synth and make their own mark on the design. I found many forum posts with ideas and images of other people's solutions to the issue and whilst many were interesting, they didn't quite work for me.

With trepidation, I began my search for replacement parts on eBay. Initially I found the choice of standard 6mm rotary 'D' fit knobs a bit limited and uninspiring. However, I did eventually find a seller who seemed to offer a variety of colours that I thought might work. I ordered the 2 red knobs simply to check the fit and judge the look. If everything was OK I would order the other knobs at a later date.

Once the red knobs arrived I satisfied myself that these would work and I tried to order the forty two (yes, forty two) orange knobs I would need. I say 'tried' as once I made my selection the seller's webshop said "Out of stock". Bugger. Time for a rethink.

I looked at the synth and though,"What other colours are on this giant orange plank that I could match to?" Then I noticed the blue highlights around the display and the blue lines around the numerical buttons and thought the light blue knobs the seller did have in stock could work.

Having spent an hour or so carefully prizing off the old crumbling knobs I fitted the new ones and stood back. I was very impressed with the transformation and if you compare the look of the synth in my original posts of 2009 to how it looks now I think it looks even better than it did before. Not only are the knobs easier to manipulate but they are now all uniform as one of them was a replacement right from day one of owning the unit.

For a total cost of about £25, I think this a great way to improve this synth. I now plan on continuing to sample this beast and
work it into some of my tunes. The temptation to cash in on its rarity and stick this synth on eBay is great, but I haven't used it much and feel like I owe it some time and consideration.

I came across ANOTHER cache of old synthesizers...

My 'Barn Fresh' SY85

So, about 10 years ago, family life got in the way of making music and I dismantled my set up and put it into storage. As the children grew money became tight and I sold off a good chunk of my gear about 6 years ago. I didn't think too much about the situation at the time and didn't lament the loss.

Just before we moved house a couple of years later, I noticed my remaining gear had suffered whilst unattended and had developed various faults. My old Yamaha SY85 seemed to have suffered especially badly with a flat battery, a broken floppy (not a surprise) and the case was cracked at one end. On the day before we moved I was going to put it in the car to take to the rubbish dump, but the removal men had picked it up and packed it already. Thus the SY85 had a stay of execution and 'accidental' moved house. The broken keyboard lay forgotten in the garage for a few more years...until lockdown started.

Bored one day I began tidying the garage and came across the dead, smashed up SY85. On opening up the beast I remembered it had a rather splendid SYEMB06 memory unit from Sector101.co.uk and it might be worth a closer look. Having hacked through a few forum posts and a YouTube video or two I decided I'd have a go at resurrecting it.

My nemesis: "Disk Not Ready !"

So far I've replaced the battery with the usual battery holder swap out and, after a bit of tinkering, I managed to reinstate all of the presents via a SYSEX dump. Hearing those present sounds again was magic! I've fixed up the case so it is solid and given it a really good clean.

Unfortunately, despite a new belt the floppy seems toast (how I hate seeing the "Disk Not Ready !" error message). No amount of cleaning seems to help breathe life into it. Will look into some replacement disk options as I have also found a pile of old disks without labels that might contain treasure. I also have some official Yamaha sound bank disks that I seem to remember were quite useful. Having said that, I am sure I could read the disks in my PC and dump them in as SYSEX, but that's missing the point.  I want the vintage experience (complete with compromises and annoyances). I don't want to install an emulator but am weighing up options regarding replacement floppies.

Presets restored via a SYSEX dump

Currently thinking that I will invest in another non-volatile memory module (*checks Sector101 still going* yes! phew) and some additional RAM. I'm not going to fully pimp this board out, but simply expand it so it can hold its head high once again.

Just so happy to hear the old board going again and looking forward to using it to make some music for the first time in 10 years.