![]() ![]() So it really is critical for the band to trigger those samples exactly when they're supposed to start. Some of these samples last for entire sections of a song, and if they come in at the wrong time, it could be a train wreck. While you might think this sounds pretty easy, remember that if the sample is played late or early, it sounds (for its duration) out of time with the band. It's a matter of learning the part like any other musical part in a song - something that has to be done with either the hands or feet. Take, for example, a synth part that needs to come in at the chorus of a song: the band is responsible for making that sample happen at the correct time. It's not like there is a sequencer going with a click, events happen and the band has to follow them. These samples are triggered by the band members in real time. ![]() Using the second MIDI system (which is basically a sample playback system), the band uses samples to augment their performances. Right now there are no sequences being played, just real-time triggering done in two ways: either as one-shot (you hit a key once and the sample plays through its length), or you have to hold down a key (or keys) in order to play the sample. All of the sequences then became samples. Or - if it was a sequence that required a changing passage - there was enough memory in the S770 to record the entire passage. When we started using the Roland S770 samplers, we discovered that we could record and loop sequences and trigger them in real time. In past years, we used sequencers for the sequenced parts in songs like "New World Man" or "Spirit of Radio". This system is routed via a passive MIDI switching matrix and two JL Cooper 1620's (more on this in a minute). Geddy talks to these synths using the D50's MIDI out to call up the various programs he needs for different songs in the show. One is a more traditional synth-type system with a Roland D50 as the master controller, a Roland JD800, two Prophet VS's, and a Roland JV1080 synth module. We actually use two dedicated MIDI systems, which share some of the routing equipment, but have separate MIDI controllers and slaves. And I have built in quite u bit of redundancy just in case a MIDI device should fail. One of the most important considerations in our MIDI system is the reliability factor, and I believe that we have refined it to a point where, night after night, we know it is going to work without any problems. Over the years, our keyboard setup has evolved to reflect that philosophy and has gone through many revisions from the pre-MIDI days up to the current system. Their whole technique was to accomplish a very full sound and yet still have enough freedom to maximize their performance of the song - all within the guidelines of reproducing live what they had created in the studio. When I joined them as guitar and keyboard tech (back around 1977), they were already using Moog Taurus pedals to augment the bass, drums, and guitar. Rush has always had the reputation of being a hand that sounded like a lot more than three people. ![]() The secret is in the MIDI rack, as is revealed here by the band's guitar and keyboard tech. How does a three-man act like Rush sound like so much more? A Clever Midi System Helps The Three-Man Act Sound Like Much More ![]()
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