Along with all of the other computerrelated technology we love to play with, synthesizers have planted a strong foot in the world of software. Only a few years ago, software synths were a novelty. Once they caught on, they quickly moved from the studio environment onto the stage. Now many acts are using software synths to augment or replace their hardware keyboards and rack modules for touring purposes. Let's take a look at why, and whether or not this is a good idea. For the uninitiated, a software synth is exactly that: a program that runs on a PC and performs the functions of a synthesizer or sampler. Software synths come in a plethora of varieties, some run "stand alone" (i.e. without need for "host" software), others run only as plug-ins to host applications such as Pro Tools, Digital Performer or Cubase. The software may emulate an existing or classic synth, or may leave the past behind and promise new sounds generated via cutting-edge programming.
There are a lot of advantages to using a software synth. Just about everyone on the road these days is carrying a laptop anyways, so why not make use of the computer during show time? Additional hardware requirements are minimal: certainly you'll need a MIDI controller (this could be placed on the band's rider and provided locally), a MIDI interface, and possibly an audio interface. Some softsynths can output audio via a computer's built-in audio outs, while others may require an add-on audio interface.
T h e r e 's a lot of software developed to emulate classic analog synthesizers such as the Prophet V, mini- Moog, Yamaha CS-80 and ARP Odyssey. This is an area in which software excels. These classic keyboards are pricey, tough to find in good working condition and a target for theft–the road is no place for such equipment. Many synths from this era experience tuning instability, which is not an issue when using software-based synths (of course purists will argue that this instability gives some vintage synths their charm). Hardware synths such as the miniMoog required onthe- fly programming to change sounds because they didn't have memory registers and, further, could only play a single note at a time. Arturia's minimoog V includes preset libraries as well as 2- to 32-voice polyphony, allowing instant program changes as well as chordal textures impossible to create on the original. Since you can "play" most softsynths from a qwerty keyboard, it's possible to develop and audition new sounds anywhere a laptop can be used. Arturia's Prophet V is even compatible with patches developed on the original keyboard.
The initial cost of a soft-synth is lower than that of a hardware unit and when it comes time to upgrade, you're not stuck with a 'board that you can't sell. Software samplers offer huge advantages over hardware units, one of which is that the RAM available for sample data is limited only by the amount of RAM installed in the computer. A vast library of samples can be store on an internal or external drive for fast access, and some software samplers such as Mach 5 from MOTU can access files in Akai, SampleCell, EXS24 Gigasampler, Kurzweil, Emu or Roland formats. If you're into looping, a software sampler will allow you to time-stretch a loop if necessary.
As has been said, there's no free lunch, so there are a few caveats for the aspiring softsynthesist. At the top of the list has to be the concept that if the PC goes down, so does the keyboard rig (this can partially be address by keeping the synth apps on an external drive which is backed up). A MIDI interface will be required, though you can probably combine the MIDI I/O with an audio interface. Though a simple 1-in/1-out MIDI interface will often do the trick, a more sophisticated audio interface will be needed if you want to route separate synths to discrete audio outs (something like the MOTU Traveler would be appropriate in such an instance). Some keyboard players may find (when using older generation PC's) that latency is an issue–there's a slight delay between the time a key is pressed, and the time the sound emanates from the audio output.
Synth software that is not available in "stand-alone" variety will need a host program. This type of operation can raise the cost of a soft synth rig due to (a) the cost of the host software and (b) the fact that certain host programs may require purchase of a proprietary interface to "unlock" the software (for example, you can't run Pro Tools without a Digidesignapproved audio interface). One aspect of software synthesis that may upset certain performers is the fact that you won't have a hardware panel to tweak while performing. Sure you can tweak parameters using a mouse or touch pad while playing the keyboard with the other hand, but that's not exactly intuitive, and doesn't have the same feel as say, grabbing a filter cutoff knob. Advanced MIDIots might consider using some sort of programmable controller, whereby assignable rotary controls can be mapped to a desired parameter for MIDI control.
There is one thing you won't get with a software emulation of a Hammond B3: the backache!
Steve La Cerra is the tour manager and Front of House engineer for Blue Oyster Cult. He can be reached via email at woody@fohonline.com.
