Continuing the retrospective. Fast forward a decade. 1996-ish? No more bellowing into a tape recorder. No more bellowing at all in fact. I’d given up on singing, instead playing melody lines on a synth. This prompted one of my friends to comment that my stuff sounded like the (crap) muzak covers you hear in shops. Which in turn prompted me to spin a musical cocoon from which I didn’t emerge until very recently.
In the nineties, the only instrument I had was a Korg Trinity Plus. But what an instrument! Beautiful PCM-based sounds, analogue modelling synthesis, multiple drum kits, tonnes of insert and master effects, and best of all a 16 track sequencer. Felt like a moon landing compared to my old Model T mono, the Teisco 60f.
Thin skinned no more, here are a few unfinished pieces, replete with crap muzak melody lines. Still blissfully unaware of EQ and compression techniques, still believing layered reverbs were the solution to any problem. But all performed, arranged and sequenced on one machine. It doesn’t sound that impressive now, since the phone in your pocket can do as much and more, but at the time it was heaven.
Korg Trinity Plus 01
Korg Trinity Plus 02
Korg Trinity Plus 03
Korg Trinity Plus 04
Pretty camp, eh? If left to my own musical devices, what comes out mostly falls into two categories – pseudo-disco and pseudo-classical. There wasn’t much rock in our house when I was young. Plenty Bee Gees, Boney M and Abba though. I expect that’s where the disco comes from, but the pseudo-classical? Who knows.
I still have the Trinity and roll it out occasionally. Some of the patches have aged a little, but it’s still a smooth machine.