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Designed and built in California www.davesmithinstruments.com

DAVE SMITHInstrument DesignerCo-Creator of MIDIGrammy Winner

OVER THE PAST 40 YEARS Dave Smith has designed more ground-

breaking synths than anyone ever. And Daves award-winning, American-made line of analog and analog/digital hybrid instruments includes the right tool for

every musical need and budget.

Whether its the newall-analog Prophet-6,our flagship 12-voice Prophet 12, our ultra-

powerful 4-voice paraphonic Pro 2, or

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Keyboard 04.20154

APRIL 2015CONTENTS

10 The 2015 Winter NAMM Show was the most synthesizer- and keyboard-heavy show we can recall going to in many years. We proudly present our full, hands-on report.

38 SOFT SYNTHiZotope Iris 2

40 GROOVEBOXKorg Volca Sample

44 VIRTUAL VINTAGEArturia Solina V

46 AUDIO INTERFACEUniversal Audio Apollo Twin Duo

50 Keyboardist and composer Andy Ezrin shares five things he has learned about being a virtual orchestra.

KEYBOARD (ISSN 0730-0158) is published monthly by NewBay Media, LLC 1111 Bayhill Drive, Suite 440, San Bruno, CA 94066. All material published in KEYBOARD is copyrighted 2013 by NewBay Media. All rights reserved. Re-production of material appearing in KEYBOARD is forbidden without permission. KEYBOARD is a registered trade-mark of NewBay Media. Periodicals Postage Paid at San Bruno, CA and at additional mailing ofces. POSTMASTER: Send address changes to KEYBOARD P.O. Box 9158, Lowell, MA 01853. Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2.

8 Voices, tips, and breaking news from the Keyboard community.

32 SYNTH SOLOINGDig even deeper into the sounds of Jan Hammer.

34 BEYOND THE MANUALAdd a natural, human quality to your tracks.

36 DANCEThe return of the Korg M1.

Online Now!Tons of videos to go with this issues NAMM report!

COVER PHOTO BY ABBY GENNET

18 ROAD WARRIORSPop band Maroon 5, led by singer and style icon Adam Levine, has evolved to include three keyboardists who create different parts and sounds on the road. PJ Morton, Jesse Carmichael, and Sam Farrar take us inside sessions for their new album, V, and reveal how the studio sounds are realized in concert.

24 LEGENDSBill Payne looks back on his long career playing with Little Feat and accompanying James Taylor, Stevie Nicks, and other superstars; and ahead to his new gig with jam band Leftover Salmon.

28 SESSIONFive ways to play like E Street Band member and session ace David Sancious.

30 BEGINNERIn the fourth installment of our Key of One series, learn ways to build a chord foundation.

keyboardmag.com/april2015

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VOICES FROM THE KEYBOARD COMMUNITYTALK

8 Keyboard 04.2015 8

As I write this Ive just returned from another NAMM Showonly this was anything but just another show. True, there is the Groundhog Day effect: Most of the exhibitors are exactly where they were in previous years, the post-travel bug NAMMthrax reliably strikes upon my return, and my eyes are always bigger than my stomach when it comes to my appointment schedule.

However, any predictability was eclipsed by the fact that there were more new synths at this show than at any in the 13 years Ive been attending. And by synths, I mean instruments that were (a) more often than not real analog and (b) covered in knobs that invite real-time sonic exploration. On top of this was a decidedly retro angle: Highlights included Dave Smith introducing the Prophet-6 under the Sequen-tial name, Korgs remaking of the ARP Odyssey, and

Moog Music bringing large modular systems back to the marketplace.

It wasnt all retro, as forward-looking ma-chines like Rolands surprisingly powerful JD-Xi mini-synth showcased the potential of the analog-digital hybrid approach, the physically modeled (and amazing sounding) Physis Pianos made their U.S. runway debut, and a seeming army of small but mighty developers continued to push Euro-rack and other modular formats in new directions. It was definitely a hard show to squeeze into just a few pages, but starting on page 10, Ill do my best!

Stephen Fortner Editor

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My First Full-Band Jam Session Paul ShafferThough hes widely known as the New York City keyboardist and bandleader for The Late Show With David Letterman, Paul Shaffers journey to musical stardom began decades earlierand hundreds of miles north. I was brought up in Thunder Bay in Canada and, as a kid, I began to play rock n roll and pop tunes, just from listening to the radio, Shaffer says. Id come home from school and bash out Hes a Rebel or One Fine Day on the piano for a couple of hours, instead of working on what Id learned in my classical lessons. At age 12, Shaffer brought his budding rock chops into play during an annual New Years Day gathering. My parents would take me to this big, stuffy dinner at a formal hotel ballroom with lots of other families, and the kids would have to perform, year after year, he says. Id have to get up and play a little piece from my music studies, maybe a little Mozart that I hadnt really practiced. But this year, I did something different. Instead of Mozart, Shaffer pulled out Mecca by Gene Pitney. It was the most

dramatic, rocking thing on the radio at the time and even had some Middle Eastern scales in it, he says. I was just playing on a piano, but feeling every word of the songs story at the same time. There was a trio on stage of older players, he continues, a woman with pink hair and a pink poodle who played organ [the woman played, not the poodle], her guitarist who had a big electric hollow-body, and a drummer, and after I started playing a bit, they joined in. Shaffer felt an electric charge upon locking in with his impromptu and unexpected bandmates, who jammed along despite not knowing the tune he was playing. It was a great feeling, playing the rock tempo that was so important to me at the time, he says. It was a feeling I wanted to experience again. For more, visit paulshaffersdayinrock.com. Michael Gallant

Editors Note

Polls rotate every two weeks, and can be found at the bottom of our homepage.

THE POLLQ: WHAT WAS THE MOST EXCITING NEW SYNTHESIZER THAT DEBUTED AT WINTER NAMM 2015?

SEQUENTIAL PROPHET-6

52%KORG ARP ODYSSEY RE-ISSUE

18%

MOOGS NEW MODULAR SYSTEMS

14%

MODAL ELECTRONICS 002

2%

ROLAND JD-XI

8%STUDIOLOGIC SLEDGE 2

6%

904.2015 Keyboard

When youre scoring a movie, you know exactly when the music needs to change: On a specific frame, the hero stumbles into the dead-end alley filled with bloodthirsty zombies, and Zrangg!, you hit a huge minor chord. But in video games, the player may enter the alley at any time, so composers devised clever ways to make transitions interactive, such as audio triggers as denoted by the red zones in the maze shown here. In The Essential Guide to Game Audio (focalpress.com, $68.95), Steve Horowitz and Scott Looney describe numerous strategies, such as crossfading, playing sting-ers, and switching layers in and out. Their free companion iOS app lets you hear these in actionand will give you ideas for spicing up your linear compositions and jams. David Battino

Key Secrets Get Your Game On

Daryl Hall was our smiling, well-coiffed cover artist in the April 1985 issue. He told Keyboard readers about Hall and Oates ascent from their native Philly to the top of the national charts, and shared insights about his rig, techniques, and ways to assert stage presence from behind the keys. Suzanne Ciani talked about her synth work for TV ads. Dick Hyman illustrated examples of Bix Beiderbeckes piano music, and Jim Aikin detailed two different ways to perform Round Midnight: one method from Richie Beirach, and the other in the style of Thelonious Monk. Keyboard Report included a review of the Yamaha CX5M Music Computer. On the advertising side, Soundcraft consoles were endorsed by Herbie Hancock, and Oberheims coveted Matrix-12 synth was on the inside back cover. Barbara Schultz

30 YEARS AGO TODAY

+

captions

Keyboard 04.2015 10

BACK TO THE FUTUREARP ODYSSEYSpeaking of unapologetically retro, Korg teamed up with ARP co-founder David Friend (now CEO of cloud-backup rm Carbonite) on a redux of the ARP Odyssey solo synth. Like its forbear, its real analog and duophonic. The original was intended to compete with the Minimoog, and if youre used to the fairly simple signal path for which the Mini became the de facto template for decades to come, the ARP is quite a different paradigm to get your head around. Thats what gives it a cutting and wormy sound all its own, though, and Korg has duplicated both the layout and the sonics with slavish devotion. Highlights include pressure-sensitive pads for pitch-bend and modulation; CV and gate I/O; selectable lters that mimic those in the Mk. I, II, and III Odysseys;

and more sliders than a sports bar at happy hour. The 86-percent size keys have generated some mixed feelings, but we found them pretty easy to get used to. Look for our full review in the May 2015 issue! $1,400 list | $999 street | arpsynth.com

BY STEPHEN FORTNER

NEW GEAR AT NAMM 2015

BUZZ OF THE SHOWSEQUENTIAL PROPHET-6Heres the backstory. One ne day, Roland founder Ikutaro Kakehashiwho collaborated with iconic synth designer Dave Smith on developing MIDIcalled up Yamaha president Takuya Nakata and said something like, Hey, you guys own the Sequential brand name, right? Wouldnt it be cool if you just, like, gave it back to Dave? Nakata essentially responded, Yeah, great idea! The rst new synth to re-hoist the Sequential ag boasts six dual-oscillator voices of discrete analog circuitry and an industrial design thats more than a little reminiscent of the Prophet-5, which was the rst polyphonic synth that had preset memory and a slab form factor that just begged to be put on top of your Rhodes. The only digital elements in the Prophet-6 are the effects (delay, reverb, chorus, and phaser) at the tail end of the signal chain. How does it sound? Like everything you want from a Prophet-5 and nothing you dont. Some have criticized it for being unapologetically retro, but we dont think thats going to stop people who want funky Prince-style comping stabs, squawky Cars hard-sync, aggro EDM sounds, or anything in between from lining up to buy it. $2,799 street | davesmithinstruments.com

BACK TO THE FUTURE IIMOOG MUSIC SYSTEMS 15, 35, AND 55With the Prophet-6 and Odyssey covering the poly and solo historical bases for synths, where is left for the wayback machine to go? Moogs answer: Circuit-for-circuit reproductions of the large modular systems that were once the exclusive purview of rock stars, lm composers, and music departments of hipper universities. All three systems were on display at the Moog booth, which was so crowded that you could barely get near it during all four days of the NAMM show. Synth legends like Malcolm Cecil and Suzanne Ciani showed up to play them, and we got some hands-on time as well. Our verdict: Theyre awesome, but the price puts them squarely in because you can territory. That said, every system Moog builds is ying out the door as soon as the solder cools. Synthesists on more earthly budgets are instead turning to the growing world of small-company Eurorack modulars, whose visibility is increasing precisely because there are lots of people who want to feel like Keith Emerson or Wendy Carlos but cant afford a Moog modular. So its a win-win for synth geeks all around. Model 15: $10,000 | System 35: $22,000 | System 55: $35,000 | moogmusic.com

WE WENT. WE SAW. AND IF YOU ASK OUR FEET, WE WERE CONQUERED. Heres our take on the most exciting gear from NAMM, the nations biggest musical instrument and pro audio trade show. As always, our promise to you is that were not regurgitating press releases: If you read about it here, we played it long enough to form an initial opinion.

SPECTACULAR SYNTHS

All prices are manufacturers suggested retail (list) unless otherwise noted. Follow keyboardmag.com/gear and @keyboardmag on Twitter for up-to-the-minute gear news.

1104.2015 Keyboard

All prices are manufacturers suggested retail (list) unless otherwise noted. Follow keyboardmag.com/geary g /g and @keyboardmag on Twitter for up-to-the-minute gear news.

BANG-FOR-BUCK STANDOUTSTUDIOLOGIC SLEDGE 2In the 1990s, the appeal of virtual analog synths was clear: They brought back the hands-on, knob-twiddling control over your sound that took a back seat in the DX7 and early workstation heyday. But with real analog having made such a huge comeback, whats the value proposition of imitation analog today? In short, its polyphony for the money, followed by the fact that complex modulation routings are easier to do in the digital domain. We were lukewarm on the original Sledge when we rst reviewed it in 2013 because it didnt offer much of either for the roughly $1,600 street price. The Sledge 2 may still pack simplied Waldorf Q guts into what looks like an overgrown yellow Minimoog, but now it crams 24 voices worth of themincluding PPG-style wavetables and sample playback in addition to the expected virtual analog waveformsinto that package for under a grand. Factor in the three oscillators per voice, and overnight the Sledge 2 becomes a no-brainer if you want a synthy synth to put on the tier above your stage piano. You can then leave your new $2,800 Prophet-6 in the studio where no one will spill a vodka Red Bull on it. $999 street | studiologic-music.com

MOST PLEASANT SURPRISEROLAND JD-XIAt rst glance, our reaction to the JD-Xi was, Oh, another mini-keys synth for the DJ crowd. But this analog-digital hybrid is surprisingly powerful and genre-exible, and reads like like proof of concept for a direction wed like to see Roland develop further. You get four multitimbral parts: a monophonic real analog synth; two polyphonic, PCM-based, SuperNatural sections (128 voices total); and a dedicated drum track. You can record any or all of these using a four-track pattern sequencer, and though its 808-style step interface speaks to EDM and hip-hop, playing in parts in a more pianist-like linear fashion is supported as well. An included mic lets you use the onboard vocoder. Yes, the tiny keys are cheesy, but complaining about that seems churlish when you realize what youre getting here: two layers worth of a baby Jupiter-80, plus an SH-101, plus a TR-8 kind of groovebox thing, plus an idea-capturing environment, for 500 bucks, in a size small enough to sit on your toilet tank. Because you never know when inspiration might strike. $599 list | $499 street | rolandus.com

NEW KID ON THE BLOCK MODAL ELECTRONICS 002We rst reported on this high-end poly in the October 2014 New Gear section, when it was the Modulus 002. (Presumably they renamed as Modal to avoid confusion with a well-known bass guitar maker called Modulus.) NAMM 2015 was our rst opportunity to play it. Under the hood its a hybrid in that it routes digital oscillators into analog lters. From the drivers seat, it sounds huge and stunning. Remember Vangelis opening theme to Blade Runner as Holdens skimmer is ying to his ill-fated interview with Leon? Thats about a hundredth of its sonic breadth. Designer Paul Maddox also demonstrated some jagged and self-consciously digital sounds that reminded us of early attempts to push FM and wavetable synthesis to their limits, but the 002 serves up analog lushness just as generously. It has to be said that the 002 is close in design philosophy to Dave Smiths Prophet 12 (reviewed Oct. 13) and also (but a bit less) to John Bowens Solaris. We want to get the three of them in a room together to determine which most deserves your money, but somebody will need to check in once a day and remind us to eat. Approx. $5,200 U.S. | modalelectronics.com

crcramamss 2424 v voioicecess wowortrthh ofof t thehemmn to the expected virtual r in the three oscillatorsyou want a synthy eave your new Red Bull

Keyboard 04.2015 12

KORG KRONOS (2015)Korg gives their agship workstation a mid-cycle refresh with wooden end blocks, a new 9GB Berlin piano sample with sympathetic string resonance, and improved Set List mode that references setups for common tunes you may be called upon to play in your cover band. The most popular, advanced, and muscular do-it-all stage and studio synth currently manufactured just did a few more bench presses. 61 keys: $2,999 street | 73 keys: $3,399 | 88 keys: $3,999 | korg.com

SAMSON CONSPIRACYYears ago, affordable wireless mic technology was what put Samson on the map. Since then, theyve developed a knack for distilling the features people want into solid and inexpensive pieces of equipment. And they put their own spin on it instead of merely Xeroxing other companies designs. Witness a grid controller with a 25-pad matrix, seven faders, 14 knobs, and a willingness to talk to whatever software you use to make booties shake in the club. This is one conspiracy theory we think is true. $199 street | samsontech.com

KEYS AND CONTROLLERS

NOVATION LAUNCHPAD PROIn the grid controller realm, the players are Push if you want a sophisticated interface for Ableton Live; Livid if youre a DIY-er who loves garage-boutique craftsmanship; the Akai APC series if you want lots of knobs, faders, and buttons; and a Launchpad if you want immediacy and simplicity. Novation adds some sophistication to the simplicity with the Launchpad Pro, whose virtues include color-changing pads that match the onscreen colors of your clips as well as no-computer control of MIDI devices if you so choose. $399 list | $299 street | novationmusic.com

CASIO TRACKFORMERSYoure a keyboard player carefully hiding your inner 50 shades of DJ. Casios XW-DJ1 and XW-PD1 will usher you into this world in a way thats safe, sane, and consensual. The DJ1 is for controlling audio tracks from your iOS gadget or other personal music player, and it sports a vinyl-textured scratch platter thats pleasantly precise. The PD1 is a drum machine with effects. You can sync the two, and apply great-sounding time and pitch

manipulation. Plus, either can make the Kessel run in less than 12 parsecs. XW-DJ1: $249 street | XW-PD1: $299 street | casiomusicgear.com

1304.2015 Keyboard

AKAI PROFESSIONAL ADVANCESo, Akai did something pretty smart. They asked themselves, What if we made a MIDI controller thats sort of like Native Instruments Komplete Kontrol, but works with the whole wide world of plug-ins in terms of giving players a degree of dont look at your computer control over them? Then they did something really smart: They put Jennifer Hruska (of Sonivox and Sonic Implants) in charge of the whole project. The Advance is the result, and it just may be the MIDI mistress keyboard to beat in 2015.25 keys: $399 street | 49 keys: $499 street | 61 keys: $599 street | akaipro.com

AKAI PROFESSIONAL TIMBRE WOLFNot to go off on a total Akai kick here, but this real cheap, real analog synth couldnt escape our attention. With four oscillators that you can use in monophonic or four-voice polyphonic mode, it reminds us of the Korg Mono/Poly just a little. As with the Rhythm Wolf drum machine, tuning stability was a bit sketchy, but the Akai reps we talked to said they were working on that. But a $500 analog poly with this kind of beef is no joke, even if the tuning makes it a bit too authentically retro. Next, Akai needs to make something in police-box blue (Cf. Novation UltraNova) and call it Bad Wolf. $599 list | $499 street | akaipro.com

CLAVIA NORD ELECTRO 5The Swedish-made Electro has earned a well-deserved reputation for accurate reproductions of tonewheel organs, Rhodes and Wurlitzer electric pianos, Clavinets, and even acoustic pianos. But heres the thing: An Electro couldnt combine drawbar organ and something else at the same time. Hammond SK keyboards could, and therefore have been nibbling at Nords lunch. With split and layer capability, the Electro 5 remedies that and includes a crisp OLED display to let you know exactly whats up. Its available in 61-key, 73-key, and 73-key weighted congurations. $TBD | nordkeyboards.com

PHYSIS PIANOSThese high-end stage pianos use physical modeling to create acoustic and electric piano sounds and Clavsand esh out the sound set with sample-based strings, marimbas, harpsichords, and all that kind of thing. With their knobs and sliders, the K4 and K5 models double as very capable MIDI master keyboards. The H-series have the same innards, but their backlit touch panels evoke two things from 1987: the Picard Enterprise and a Bang & Olufsen stereo receiver. But no foolin, the piano sounds are gorgeous, and the Rhodes sounds just may be the best weve ever played in a hardware instrument. Make it so. physispiano.com

Keyboard 04.2015 14

PSP LOTARYIf you care about Leslie simulations, you probably have a good organ clone plus maybe a stompbox such as the Neo Ventilator or Hammond Digital Leslie Pedal. But if you need a stand-alone plug-in to use in your DAW, look no further. Virtually every physical aspect of the treble and bass rotors of a real Leslie is broken out into its own parameter, and overall speed is continuously variable in gas pedal fashion. Most importantly, the sound quality and authenticity are the best weve heard in any format, hardware or software. Seriously. $99 direct | pspaudioware.com

SPECTRASONICS OMNISPHERE 2Sound design mad scientist Eric Persing has been working on this long-awaited update for a few years now, and it was worth the wait. In addition to innumerable new patches and enough sample content to choke the NSA data center in Utah, theres now audio import, wavetable synthesis, and myriad improvements to the sound browser and user interface. The gold standard in soft synths just went platinum. $499 list | $479 street | spectrasonics.net

WAVES CODEXCalling this a wavetable soft synth sounds dry and academic, and Codex is anything but. Instead, imagine if you could digitize yourself like in Tron, go inside a PPG Wave (that ate a Synclavier), manipulate and modulate the waveforms however you want, and ride your lightcycle to create patterns in the 16-step sequencer. Works in stand-alone mode or in the Master Control Programum, DAWof your choice. $200 street | waves.com

APPLIED ACOUSTICS STRUM ACOUSTIC GS-2Long at the forefront of using physical modeling to emulate analog, acoustic, and electro-mechanical musical instruments, Applied Acoustics really brings it with Strum GS-2. There

are enough parameters to let you get as realistic or surrealistic as you please when designing your own sounds, but the important thing is that this is the best attempt weve ever heard at making your computers CPU sound like an acoustic guitar. $199 list | $185 street | ilio.com

SOFTWARE SYMPHONY

1504.2015 Keyboard

UNIVERSAL AUDIO APOLLO EXPANDEDThis software upgrade for UAs line of DSP-powered, plug-in-running audio interfaces has three main benets: First, you can mix and match up to four Apollo boxes of any type and your computer will see them as one big interface. Second, new Powered Plug-Ins include Auto-Tune and a Wood Works modeler that makes any crappy piezo pickup sound like you pointed expensive mics at your acoustic guitar. Third, the Console 2.0 software is optimized for Apple Retina displays, and shows plug-in chains as vertical stacks, ending the What mixer channel does this window go with? confusion thats endemic to computer recording. uaudio.com

ACOUSTICA MIXCRAFT PRO STUDIO 7A Windows-only DAW priced for the entry level is hardly news, right? Wrong! The big talking point here is the number of included virtual instrumentsand how great they sound. Emulations of the Memorymoog, Prophet-5, and Yamaha CS-80, plus the Pianissimo grand piano, are just a smidgeon of whats on offer. Were not saying you should buy an off-the-shelf Windows laptop just so you can run this. But were not not saying that either. $164.95 direct | acoustica.com

LITTLE LIFESAVERS

MELLOTRON M4000D RACKWeve given favorable reviews to the Mellotron M4000D keyboard and its Mini counterpart, in part because company principal Markus Resch is so conscientious about preserving, curating, and digitizing sounds from classic Mellotron master tapes. If you dont need keys, all that breathy vintage goodness is now available in a 19-inch rackmount module. If youre in the U.S., look up Big City Music and ask for Stephi. $1,599 street | mellotron.com

RADIAL ENGINEERING JDI STEREOIf you carry your own direct box, you dont have to worry. So you might as well carry the best. Nightclub sound technicianswhose demeanor normally makes Grumpy Cat seem like Deepak Oprahwill make eye contact with you and maybe even smile. Got ground buzz? Hit the lift button and its gone. Radials new stereo JDI model features Jensen transformers and their famous tank-like build quality. $299 | radialeng.com

Keyboard 04.2015 16

ICONNECTIVITY ICONNECT AUDIO 4+Why is this little audio interface such a big deal? Not only is it the one box weve ever seen that can work with multiple computers at the same time, but it also can route audio uidly between connected Macs, iOS devices such as iPhones and iPads, and ve-pin MIDI synths. Add solid-sounding preamps and converters, and you have a recording Swiss Army knife that can t in a messenger bag. $349 list | $299 street | iconnectivity.com

MOTU 112DIf you visit MOTU, you can almost literally pahk ya cah in Hahvad Yahd. And the big-brain boys from Cambridge have been at the forefront of the Thunderbolt trend with such audio interfaces as the 1248 and 8M. If lots and lots of line-level and ADAT inputs for a Zimmer-like studio workgroup is what you need, the 112D packs those, MADI, and Ethernet-based Audio-Video Bridge into one rack space. $1,495 street | motu.com

LITTLE LIFESAVERS

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ROAD WARRIORSHEAR

BY ROBBIE GENNET

MAROON 5

1904.2015 Keyboard

Jesse CarmiChael and PJ morton on the Keys Behind the hits

When Jesse CarmiChael Was in high sChool, he Played in a little band called Karas Flowers. After a short run in the 90s and subsequent hia-tus, the band reformed in 2000 and became the pop juggernaut now known the world over as Maroon 5. Their 2002 album Songs About Jane catapulted them to the top of the charts, where theyve pretty much resided ever since.

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PJ morton

Jesse Carmichael

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PJ Morton came onboard as touring keyboardist in 2010 and took over the main chair when Carmi-chael took a hiatus from the band in 2012. Morton is a pastors son from New Orleans, and was raised playing music in church. His soulful style fit the modern R&B/pop flavors of Maroon 5s music so well that when Carmichael returned to the group to record their new album V, he decided to stick to mostly guitar and let Morton man the main keyboard rig. Complementing them both on tour is Sam Farrar, who commands samplers, turntables, and special effects, plus the occasional synth.

Keyboard caught up with Carmichael and Morton while the band members were wrapping up sessions for V in Conway Recording Studios, Hollywood.

What made you decide to hire an additional touring keyboard player?

Jesse Carmichael: Wed been touring for a long time with a huge number of keyboards sur-rounding me, and I was trying to juggle all the parts that we put on the records. I just needed help, a little lift. PJ came along like an angel.

Before PJ came on, were you running a lot of tracks or samples before you decided you needed another keyboardist?

JC: At the very beginning on our first album and most of our second album touring, it was all live. Then as we started playing bigger places we started thinking our sound needed some more backing-track fullness, so we put some string pads in choruses so that I could be playing other parts.

Who operates the tracks?JC: We have an Ableton rig behind our drum-

mer, Matt Flynn. He has pads that start each

track and stop it, and then we play along to that. There are two computers side by side and theres a whole switching system.

Tell us about when you came into the mix, PJ?PJ Morton: I came in at the completion of

the Hands All Over album. When I initially came in, Jesse and I still had pretty big rigs. I came in for the tour of that album and then was involved in Overexposed and V. But I think sonically things changed because Hands All Over was a little more organic, so we were playing more organic things. As the record started to change, as they always do, and grow, I think the needs became different and weve adjusted to that onstage.

Whats your musical background?PJM: I grew up playing gospel music. Im from

New Orleans, so jazz was always around and I just went into soul. Then I started as a producer and a songwriter and a solo artist. These guys reached out to me as I was doing my solo thing.

Was it a challenging transition, to move into the pop realm from jazz and gospel?

PJM: Not at all. I think part of what Ive always loved about this band, even before I was a part of it, was that its always been a good mesh of pop sensibility with some old-school soul. Theres al-ways been that layer there, and live, it allows us to slip that stuff in. Ive had a B-3 since Ive been play-ing with the band, and a Rhodes and a Wurly, and Jesse has always had Clavinets onstage.

Also, I think people dont truly know Maroon 5 until they see us play live, because theres that edge where we show that we can play, and its not the same language as on the records.

Which songs do you get to stretch out on a little more live?

PJM: There are songs that these guys have been playing for 15 years, like This Love or something where Im playing keyboard bass; then we add stuff thats not there on the record.

JC: You come alive a lot on Sunday Morning. You put new flavors to those chords.

PJM: That was also where I found my space. For a lot of the back catalog, we were looking for something fresh. Even with a song like Moves Like Jagger, we rock stuff out a little more.

Out of all the keyboards in your rig, which do you play the most?

PJM: The core of it all is definitely the [Yama-ha] Motif XF8, because thats where Im playing a lot of the piano parts. After that is probably the organ. The main synth board is the Nord that we always use. Weve got specific Maroon 5 sounds, which are on almost every song on the album. Jesses dialed some things in there that will travel through whatever Nord we use.

JC: I like you on that MicroKorg too.PJM: Oh yeah, the XL. I dont play it as much

as the others, but thats fun for me liveadding in the key bass.

Jesse, tell us about your transition to play-ing mainly guitar on tour.

JC: I started playing guitar in the band when we started in high school. I didnt really shift into keys until we graduated high school and changed our name to Maroon 5. Over the years, whenever weve made records, there have always been multi-ple guitar parts with Adam and James playing gui-tars. But Adam didnt want to play guitar as much, so I became the missing piece of the puzzle.

On the original Maroon 5 tours, you used a lot of vintage gear. Was there a standard rig, or did it morph a lot in those days?

JC: It morphed a lot from the beginning before we had PJ to the point where it was at its largest. We had an Korg OASYS and a B-3 with a Clav on top, and a Nord Lead 3, and a MicroKorg, and the Open Labs Neko, which is a Windows PC built into a keyboard with soft synths inside.

What soft synths were you using in that?JC: There were a lot of Kontakt libraries and

some Omnisphere patches. Then we had a Rhodes with a Wurlitzer sitting on top of that, and then the Nord on top of that.

What changed when PJ came in?PJM: The B-3 organ was a big part of it. Jesse

was holding down a lot of the piano and the core stuff. So I did more little touches with synths,

THE THIRD MANMy current setup is a bit up in the air as of right now, simply because we havent fully settled on the set, says Sam Farrar, Maroon 5s turntablist and sample wrangler for live shows. On the digital side of things, Im using a MacBook Pro with Ableton Live 9

going out to an Apogee Duet 2. This may change for the upcoming tour, perhaps to a Quartet for more output options. For controllers and synths, Im using a Native Instruments Maschine Mk. II, a Novation Launchkey, and a Novation Bass Station through a pedal or two. Software-wise, theres Maschine 2, Kontakt, a couple of Arturia plug-ins, and [Lennar Digital] Sylenth. Im also doing some small percussion like congas, tambourine, and shaker, plus acoustic guitar, and background vocals. Ive cut up a bunch of samples from the records and I play them on the Maschine pads. These include unique synth parts, vocal samples, horn hitsanything thats vital but thats impractical to play using the instruments onstage."

Creating music fulfi lls me.

It gives me purpose.

It connects me with the world.

I couldnt imagine my life without it.

COLBIE CAILLAT AT GUITAR CENTER

22 Keyboard 04.2015 22

but mainly it was the B-3 for meand I had the MicroKorg XL.

PJ, your rig on the road is going to be the Motif XF8?

PJM: Yesand the Nord Wave. And now weve gone to the Nord C2D, which I think is the closest anybodys gotten to a B-3. And Ive gone through every single keyboard out there. The Rhodes will be out with us, tooa 73 Suitcase.

Do you use the Nords internal rotary effect or a real Leslie?

PJM: Were talking about bringing a Leslie out with us on this tour, but until now weve been doing it internally. But I think it would just take it to the next level if we used an external Leslie.

Whats left for Sam Farrar to play?JC: Sam triggers a lot of sounds that are on the

records with pads from one of his Akai-run things. And he plays some synth pads coming from a laptop.

PJM: Sometimes, instead of having something in the track, he plays it naturally; that gives a natu-ral groove to certain things. Its more like some-bodys singing it. His rhythm is great. Its tricky for keyboard players, because theres a lot of stuff we can do that can be programmed, that can be se-quenced, but nothing beats a human element.

On the new record, V, there are a couple of songs where there is some prominent piano: Leaving California, Feelings, and My Heart Is Open.

PJM: Leaving California, thats the one writ-ten with Nate [Ruess] from Fun.

JC: His contribution to that song was from a voice memo!

PJM: He just sang the melody of the chorus and we built the whole thing around that.

JC: The way a lot of these songs came together in the studio was from demos that the external song-writers had started. They were pretty established

tracks because all these guys were working in great studios. Theyd send in tracks that were pretty much ready for us just to add little touches on top of.

When you were recording, did you use mostly digital instruments or was there any real piano?

PJM: Theres real piano on everythingmain-ly a Steinway at Conway.

What was the keyboard setup for recording the song Feelings?

PJM: In the studio we had about nine vintage keyboards.

JC: We had the Prophet-5 in there, and the Roland Juno-106.

PJM: Also the digital Mellotronthe new M4000D. The Nord was in there, of course.

JC: Most of the keys on Feelings were probably programmed by Shellback, one of the songwriters.

Who is Shellback?JC: Hes this young Swedish death-metal kid who

plays guitar and drums. Max Martin, who did the ex-ecutive producing on the last two albums, and Shell-back became friends. Shellback also wrote Moves Like Jagger, which I think was his first big hit.

How did you go about choosing sounds in the studio?

JC: Mainly just by tweaking. We have nine ana-log synths on the wall, each with a million tweaking possibilities. We have soft synths. Sometimes a song has been sent from the songwriter with a synth part that sounds complete already. [In those cases], there was a lot of matching or just filling in frequencies.

PJM: Or trying to improve upon the exist-ing sounds. Maybe something they did on a soft synth made us think, hey, maybe the Juno would do that better . . .

Was there ever a point where you said, Weve put too much frosting on the cake. Weve got to dial it back?

JC: That usually happens. Generally, the studio practice is to throw around every idea youve got. And all the while our engineer, Noah Passovoywe call him Mailboxis constantly switching back and forth between the main speakers and small speak-ers, and thinking about the way that people listen to music these days, whether its on their phones or on their laptops or in their cars. Sometimes we add some low-end key bass or something onto it, and Mailbox would be like, Its actually not going to make it in the mix. So hed filter it out, take out some low end, until it was more of a cutting sound.

Have you ever heard a remix of any of the songs that you liked better than the original?

JC: I did a remix with some friends of mine with a modular synth side project I have called the Circuit Jerks. We did a remix of Maps. Thats coming out on a Samsung CD sampler for the re-cord that has a bunch of remixes on it. We slowed it down by 40 beats per minute and just made it completely differenta new chord progression.

What would you say a young keyboardist should concentrate on to develop as an artist?

JC: I would say that finding your own voice is most important. Finding your own comfort zone without comparing yourself to other musicians. You never want to get hung up on that kind of anxiety.

The music Maroon 5 is making now is reach-ing the biggest audience youve ever had. Is that daunting, or is that just cool as hell?

JC: Its super cool. Adam said something the other day that I really loved. We were talking about climate change and politics and whats going on in the world today. He was like, Every-bodys playing their part in this huge puzzle of this world that we live in and our job is to help bring people happiness, if they come see us live or if they connect with the record. When people are happy, they make good decisions and everything gets steered in the right direction. I like that.

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24 Keyboard 04.2015 24

HEAR LEGENDS

Payne is also something of a renaissance man: He takes beautiful photographs, and he writes regularly about his experiences (check out his essays and photos at billpaynecreative.com). Hes working on a book-length memoir, as well, reflecting on a 50-plus-year career in which hes carved out a place as one of the most masterful and fearless keyboard players of the rock n roll era. He kindly took some time between gigs to answer some questions about his musical life and philosophy.

What was your early training like, and how did it prepare you for a professional career?

I started taking lessons around age five. Ruth Neuman was my teacher in Ventura, California. Very early, I brought her the Davy Crockett TV theme song. She said, Next time you come for a lesson, Ill have written this out for you.

So now, at solo shows Ive been doing for the past couple of years, I play that piece of music, and I then morph into the way I play now, and I explain: What Ruth provided me with was a dual path. She said to my mother, Ill make sure Bill knows how to read music, but lets not take the magic out of it for him. Lets let him play by ear. Lets let him continue to bring in pieces that are of interest to him. She also taught me pipe organ when I was ten.

Can you describe how it works for you, un-derstanding theory but keeping the magic?

Ruth encouraged me in exploration. And with-in that exploration, she provided some defining guidelines. In the beginning, that just meant the

freedom to play. As I got older, I would be practic-ing something at homesay, Debussys Clair de Luneand then I would branch off into some-thing that wasnt on the written page, that was in my own voice.

Or another example: I remember being called to play for an assembly at school when I was in the fifth grade. I played some little goofy song, this Chinese-type thing from my own head. Many years later I was working with the Doobie Brothers, and I played that goofy lick, and I stopped the tape and I said, I was just goofing around. Its just some little Chinese thing I made up when I was in grade school. I dont want that lick on the record. They said, No, we love it, were keeping it.

Twenty-four years later, [Doobie Brothers singer/guitarist] Tommy Johnston calls me and says, Remember that lick you didnt like? As a result of that lick and the story you told, I named that song China Grove. I said, Really? Wheres my publishing? [Laughs.]

What other keyboardists have influenced your playing?

Bill Evans was someone who knew the ruleshow to follow them but also how to break from them. He was left-handed, apparently, so many of Bills voicings were rich in the left hand. He studied classical music, so he was aware of Debussy and Ravel, but he would experiment with those sounds.

Early in my career, people would say, Youre not from New Orleans. What do you play New Orleans music for? Well, Im not Austrian; is it okay if I play Mozart? The whole purpose of art, as far as Im concerned, is that exploratory

freedom. So as far as other influences, it starts with Little Richard, Fats Domino, Ray Charles of course, then The Beatles in terms of rock n roll, but also Henry Mancini and Nat King Cole.

What kinds of music did you and Lowell George first bond over when you formed Little Feat?

This was my first meeting with Lowell George: I walked in and there was a blond-haired girl sit-ting on the floor listening to Erik Satie. I said, Im here to see Lowell.

She said, Oh hes expecting you. Hell be back in four or five hours. I thought, what does he do when hes not expecting me? So I hung around and looked at Lowells record collection: He had John Coltranes Om. He had some Lenny Bruce that Zappa had put out. He had Howlin Wolf and Muddy Waters. There were some of the Smithso-nian Institutes recordings of chain gang music. He had this very eclectic taste. And I had the same taste.

IM GOING TO BE 66 IN MARCH, AND I JUST JOINED ANOTHER BAND, SAYS Bill Payne. Best known as a co-founder of the beloved Southern rock n blues-inuenced group Little Feat, Payne recently became an ofcial member of another jam band, blue-grass-leaning Leftover Salmon. So, at this stage of a long career that has included more than 40 years of Dixie Chicken, countless piano and B-3 solos, performances with Bob Dylan, Bob Seger, Stevie Nicks, James Taylor, and more, Payne has a new album outLeftover Salmons High Countryand hes looking ahead to a long string of tour dates.

BY BARBARA SCHULTZ

Bill PayneTake the Leap

2504.2015 Keyboard

Did you really wait for him for five hours?I did. I had driven down from Santa Barbara. I

wanted to join the band desperately [the Mothers of Invention, of which George was a member], and I wanted to meet Frank Zappa. So that story really starts with driving to L.A. and the smell of diesel fuel; it led to years of diesel fumesbeing on a bus, traveling like a carnival act. You get to town, put up your tent, take it down, travel to the next town.

You must not mind the road if you joined Leftover Salmon; they have a busy tour schedule. What made joining them a great fit for you?

I like being in a band. Its a completely differ-ent organism from playing behind, say, a James Taylor or a Stevie Nicks. Those are the head people in those bands. But a band is a club. Its one of the most exclusive clubs you can join. Travel is what it is, but performing onstage is something else. The immediacy and real-time actionits why actors always want to be musicians. Its like nothing else.

And its the musicianship. The drummer in this band, Alwyn Robinson, is 25 years old. Ive worked with Richie Hayward, one of the best of the drummers on the planet; also Steve Gadd, Russ Kunkel. Ive played with the best there are, and this guy, Alwyn, is one of them.

What keyboards do you use in the studio with Leftover Salmon and on the road?

For this record with Leftover Salmon, I used a B-3 that was in the studio, and a grand piano; I dont remember what kind. Mario Casilio was the engineer, and he was beautiful to work with. All my overdubs were done with him. We also cut two tracks live, including one of the songs I wrote with Robert Hunter: Bluegrass Pines.

On the road, I use my Korg SV-1. Its got a nice piano sound and a very low string sound that I love. Its a very simple design. It has Wurlitzer sounds, and

Clavinet. The piano sounds are bright enough to cut through when you need it. But when I want to space out on a sound, that string piano thing is not an overbearing string sound. It adds a lot of depth, so if I want to have an orchestral sound behind what Im doing, Ill stretch out just myself or with Alwyn, or with Greg Garrison, who is a wonderful electric bass player and standup bass player. If we want to take off on an excursion, we have some place to go with the sound. I also use a Triton Extreme up top, primarily for weird, really bright horn sounds.

What about your B-3 sounds on tour?They can be electronic, from the Korg, unless

the venue has a B-3.

How do you like playing bluegrass every night?On the really fast bluegrass stuff, I use a regular

piano sound and just hold on as best I can, because these guys play so fast! There was one night when we were playing The Hamilton in Washington, DC,

and the tempo of this song was ludicrous, it was so fast. I looked at the band, and I looked at the audience. I could see it was a small shelf to jump off the stage. There were a bunch of girls I knew in the audience, and I just jumped off the stage and started dancing with these girls instead of taking my solo! Finally, I piled back up onstage, and at the second solo I was supposed to take, I went right into itripped it to shreds. And I thought, I love being in a band I can have some fun with.

For younger musicians, who want to know how to build a career like yoursfull of fun and staying powerdo you have some advice?

Make sure you learn the business side. Whether you like it or not, its something you have to be aware of. Learn how to talk to a manager. Make sure you dont have wildly unrealistic expectations, but dont expect too little. But the main thing that must be there is an absolute love and commitment for what you do. The rest of the questions will demand their own answers: I want to write; how do I begin to do that? I want to be a concert pianist; how do I go about doing that? If youre like me, those ques-tions demand an answer. Thats why questions are important. Where do you want to be in ten years?

Whatever you do, you need to develop your own voice, because thats where your path is carved from. Thats the uncharted territorywhats inside of you. Where do you want to take it? Do you want to hold onto the side of the pool with white knuckles, or do you want to let go and try some things?

PLAY

28 Keyboard 04.2015 28

SESSION

1. Piano SolosEx. 1 illustrates a typical Sancious piano solo. Here, the first half starts with some down home blues riffing, and then the solo moves into jazz-tinged, single-note line territory. This is a great example of how David fuses styles effortlessly. Keep in mind when playing this example that the first three bars are a hemiola: a sixteenth-note grouping of three between both hands that goes over the bar line and should be phrased as such to ensure proper flow and feel.

DaviD SanciouS haS been one of the moSt in-DemanD live anD SeSSion keyboarD players in the business for nearly 50 years. Not only was he recently inducted into the Rock and Roll Hall of Fame as an early member of Bruce Springsteens E Street Band, but he has also played a significant role in the careers of Peter Gabriel, Sting, Stanley Clarke, and Narada Michael Walden. Lets explore five ways to play like David Sancious.

BY MATT BECK

5 WayS to Play like

David Sancious

ex. 1

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listening listDaviD SanciouS

BRUCE SPRINGSTEENGreetings from Asbury Park

STINGTen Summoners Tales

DAVID SANCIOUSJust as I Thought

NARADA MICHAEL WALDENGarden of Love Light

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2904.2015 Keyboard

Not only have I been a longtime fan of David Sancious, but his playing has been a great inspiration to my own music, says Matt Beck, a multi-instrumentalist who plays keyboards and guitar with artists Matchbox Twenty, Rob Thomas, and Rod Stewart. He recently played in the band for The Last Ship, a new Broadway musical written by Sting. Becks most recent solo outing is Anything Which Gives You Pleasure. Follow him on Twitter @mattymay.

Ex. 2

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keyboardmag.com/april2015

Hear Matt play audio examples from this lesson.

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