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So You Want To Be A Programmer?

Mark Tinley, sound shaper for Duran Duran, gives some advice on
how to be a programmer...

Let's get a couple of things straight before we tell you what you need to be a programmer. First, it's not all
mucking about with synths until you get the sound the engineer/producer/band wants. Not quite, anyway. You'll
need a thorough understanding of music technology (and you're reading the right mag to get that).

Second, and worse still for the non-techies among you, is that a knowledge of maths and computing is also an
advantage, though you'll probably never need to know how to write a computer program. Third, as if you may
hadn't guessed already, the word 'programmer' refers to sound design and engineering, not writing C++ code.

So, first things first: are you certain you wouldn't rather step into the limelight yourself and that you are suited to
being shoved back-stage and becoming known as a geek or propellerhead? Still reading? OK, here's the good bit.

What does a programmer do?

Programmers generally produce a sound as described by the keyboardist, producer or engineer. They may be
given specific tasks or more vague orders like "I want the sound of The Resurrection" or "I need it to sound like a
wasp being sawn in half".

The great part is that you are still involved in the creative process of a song without having the hassle of writing it.
You just concentrate on getting great sounds. Programming often encompasses some engineering skills as well.
Change your perceptions slightly and think of a mixing desk as a huge synthesizer, with lots of flashing lights
(mainly red ones) and use it as an extension of your programming skills.

Get it taped
Surprisingly, the most useful tape format I encounter is still two-inch analogue, without noise reduction, though
ADAT and DA88 are now fairly established semi-pro formats. The reason for this is that in ten years time,
assuming the band are still in the limelight, the record company may want to remix for a new format (say a nine-
channel surround ambient system), and they'll want access to the original tapes. If the song was originally a bunch
of virtual MIDI tracks, they've had it. The record company simply won't be able to figure out why a multitrack only
contains vocals, or what all the disks are for.

The chances of the programming equipment being available are negligible. And while this is especially true of
semi-professional equipment, even once state-of-the-art equipment, like Synclaviers and Fairlights, is thin on the
ground these days and, because of high maintenance costs, probably won't be around in another ten years,
rendering music recorded with them obsolete. Being a programmer as opposed to a home studio owner does call
for a slightly different set of rules regarding the list of equipment you'll need.

You're unlikely to spend a huge amount of money on a mixing desk: with luck, you'll be working in a top-flight
studio with one already installed. As a programmer, your initial concerns should be geared towards a sequencer,
sampler, synthesizers and possibly a drum machine. Having a rig at home serves several purposes: you become
familiar with it quickly; work can come to you (as it surely will); and you can make provision to be mobile, should
you need to be.

Gear is the name of the game

If you are using a computer you should own at least one sequencing package, be registered for it and have the
latest version. Pirate software is unreliable (and morally corrupt, of course). It's hard to ignore Logic and Cubase
so I have invested in both: Emagic's Logic Audio on a Mac and Cubase VST on a PC laptop. Knowing one system
inside out generally gives you enough knowledge to get meaningful results from pretty much any other sequencer.

Having a few unique items that help you achieve your own sound is what makes you special. To some
programmers this means a suitcase full of samples. To me it means a stack of sound-generating software and
synth editors, a couple of synths, a sampler, some effects units, including vintage guitar pedals, and any other

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toys I feel are relevant to the session. I prefer to evolve new sounds and to use any synths and effects that are
available.

Start with a sampler

As far as the sampler goes, you should have a good standalone one with as much memory as possible, or a
direct-to-disk recording facility. Later in a session, you will probably be asked to move stuff around, like sampling a
chorus from tape and flying it back into the song in a different place or fixing bass parts by replacing a line from
another place in the song. To this end it is useful to know how to trigger record a sample from MIDI.

Set a MIDI note in your sequencer which will act as a trigger. Then synchronise the sequencer to tape at a point
before the note happens and, provided you set your sampler up correctly, the sampler will go into record mode
when it receives the trigger. In theory, if you use the same trigger to play back the sample, it should be in time with
what's on tape. You can then move the trigger to a new place in the song and fly the sample back in.

Though an Akai sampler is highly recommended and very simple to operate, if you get one, buy a digital I/O too.
Most professional engineers dislike the Akai sound quality and you'll have the option to use a DAT machine for its
front and rear end.
Selecting a synthesizer
Synths are a very personal choice, and you can have as many or as few as you like, though I thoroughly
recommend any Yamaha XG as a basic sound source. Though I hate the principal, it's a good idea to have a GM
unit for conformity, for playing back MIDI files, or for emergencies when everything is tied up and someone wants
a bongo sample.
Next to that get a good quality digital keyboard or module for modern sounds. Ensoniqs feature well; the American
quality of the built-in DSP effects makes up for some of their other shortcomings. Alesis keyboards are fun, but
lack resonant filters; everyone fancies a JV-2080, especially as it seems so editable. It is also a good idea to have
at least one analogue keyboard, preferably with knobs. To my ears the JP-8000 still sounds very digital and
though I'd like one, I wouldn't replace my analogue keyboard with it. Ultimately, the choice is up to you.

Beyond the above, use anything else to create or modify sound. Acquire unusual sound processors: these don't
have to be expensive, and you should look to them to extend your programming skills and create sounds nobody
else has thought of. Effects pedals are an obvious addition; the Boss Flanger sounds really good and I generally
run it with a very flat battery, turning it into a really lo-fi delay and pitch effect.

I also have an ancient Ibanez analogue echo unit, an Ibanez Phaser, a Cry Baby Wah pedal, a Digitech Whammy
pedal, a Boss SE-70 and a speaker simulator. I also have a handful of child's toys, a tiny Casio keyboard, and the
guts of an electronic greetings card!
Get yourself networked
So once you've got your gear, what next? Firstly, network! Get to know guys in the local music store, recording
studio and hire facility, and let them know what you are trying to do and that you're willing to help out. Make a list
of all your areas of expertise and pass it to them and as many other people as possible.

The chances are that hire companies will be asked if they know someone with a specialism in one area and, if
they have your name on file, hey presto!, you could be working for someone famous. Another excellent way of
getting your sound around is to get involved with local DJs and remixers. Work with them and your name will
grow: DJs play the records that a lot of people are listening to, thus getting your sound out there.

At the end of the day, programming is all about having a distinctive sound and is more creative and enjoyable than
you may think. It can lead onwards and upwards too. If you have that sound you could enter the realms of
remixing; something we'll be looking at in the very near future.

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