Deli NYC #52, Guerilla Toss, Brooklyn Synth Expo, NYC Electronic Music Scene

the deli NYC BANDS & GEAR

Issue #52 Vol. #3 Fall 2017 thedelimag.com

S PA R K N E W I D E AS Roland Boutique is a world of instruments that inspire electronic music creativity by expanding on the legendary sounds of the past with a workflow to suit the modern producer and musician.

D-05 • Linear Synthesizer SH-01 A • Synthesizer TR-08 • Rhythm Composer

roland.com

When The Deli started chronicling the NYC scene back in 2004, electric guitars and acoustic drums were in charge: Interpol and The Strokes were the reigning local bands and Yeah Yeah Yeahs were just about to steal the scene. TV on the Radio (at the time still mostly a drone rock/soul band) and Grizzly Bear (featured on our first cover) were gaining traction. Back then, none of these bands had a synth on stage.

NYC BANDS & GEAR Issue #52 Vol. #3 Fall 2017 thedelimag.com

Editor In Chief / Publisher

In the 13 years since, electronic instruments have literally invaded stages (and bedrooms!), with the Big Apple becoming particularly fertile ground, while synths and music software have become increasingly portable, affordable, and intuitive.

Paolo De Gregorio Founder

Charles Newman art director Kaz Yabe ( www.kazyabe.com ) Editor

Olivia Sisinni executive Editor

quang d. tran

Extra Editing

Ben Apatoff

The Kitchen

Brandon Stoner Interns

Vernon McGhee Publishers

The Deli Magazine, LLC Mother West, NYC

Advertising Inquiries:

paolo.dg@thedelimag.com Press Inquiries:

info@thedelimagazine.com

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Ben Apatoff Cameron Carr Dave Cromwell Geena Kloeppel Juan Leon Lilly Milman Amanda Ogea William Sisskind Henry Solotaroff-Webber

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Contributing Writers

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Kevin Blatchford

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Distribution Coordinator

Th eD

Binod Lamsal

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Jason Grimste (aka brokemc) Web Developer

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hip-hop editor

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Michael Zadick

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Cover Art

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Table of C ontents p8. Fresh Buzz nth p.10 Records of the Mo

p.12 State of the Scene p.16 Guerilla Toss

p.18 Synth Artists ctronic Producers p.24 Emerging NYC Ele N SYNTH EXPO p.27 Synths at BKLY

Today, with outstanding mini-synths starting at around $250, quality USB mics available for less than $100 and the lite version of Ableton only costing $99, anybody with a spare $500 (and a laptop) can be in the business of creating electronic music. On top of that, the ensuing creative process has the visual appeal of a video game featuring extra fun, lit-up controllers (the actual synths).

It’s exhilarating.

How can guitars and drums compete with this, in a city that seems to move in sync with the fast-paced metronome of instant gratification? Maybe this shift will be remembered one day as something more than a simple “electro wave.”

Many of today’s electronic music tools are thought with the “Homo Smartphone” in mind, a version of humanity more interested in buttons and knobs than strings and sticks. Are we experiencing the greatest musical shift since the invention of the electric guitar?

This is the issue of The Deli dedicated to the kids in NYC who make music this way (and to their toys). As always, the process and the means count very little: it’s all about the talent and the songs. There’s a ton of it bursting from these pages.

Paolo De Gregorio, Editor in Chief

Analog for All.

KORG’s must-have minilogue and monologue synths have set new benchmarks in analog synthesis, and we’ve only just begun…

www.korg.com

Fresh Buzz | New Artists

To ul ou se

Ya eji NYC artist Toulouse can produce a full gamut of sounds from dancey electronic tracks to mellow, soulful songs like his latest single, “Reach Out”. With a few singles to his name, the artist has garnered considerable attention, landing a spot on the soundtrack of Fifty Shades Darker with “No Running From Me”, a soul-themed track that features a blues-based melody fit for a vintage rock ‘n’ roll scene. (Andrew Tafari Lemma) NYC/Seoul-based Yaeji’s tracks have been gaining traction in the house scene throughout 2017. Her latest single, a breathy, deep-house banger, sees the DJ/producer threatening a real breakthrough. Released by the LA/NYC music label GODMODE, “Last Breath” is a sonically fascinating collage of Yaeji’s wispy vocals and stylish, soulful synth and percussive touches. (Juan Leon) g

Photo: Johanna Sirin

B la ck C oa s t 8

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Black Coast is a one-man project that received a lot of streaming love with recent single “Feel Something” and a few other atmospheric tracks featuring an array of female guest singers. Released earlier this year, the track features a tastefully quirky blend of electronic sounds with a luscious, dream-pop flavor. (Pearse Devlin)

Next-generation sequenced monosynth

Circuit Mono Station is a paraphonic analogue synthesiser

• Monophonic and paraphonic modes with glide control

that originates from the Bass Station II, with three sequencer

• 16 scale types

tracks that benefit from the 32 velocity-sensitive RGB pads

• Three distortion modes

found on Circuit. The synth has two oscillators that can be

• CV, gate and modulation outputs for controlling hardware

individually controlled.

novationmusic.com/circuit-mono-station

Records of the Month 1. Upper Wilds

Guitar Module 2017

Upper Wilds plays what could be described as a noisy brand of drone-rock with industrial and (rather buried) pop influences. Distorted guitars, synths, drums, and vocals overlap and blend, in some kind of well orchestrated orgy of fuzz. Dan’s earnest sounding vocal melodies emerge from this sea of distortion, somehow giving it an organized shape. Though the music has a monolithic, recognizable sound, what it loses in variety, it gains in power and impact—we can’t find a weak song in it. (Paolo De Gregorio) 1

2. CENDE

#1 Hit Single

Though failing to live up to the ambition of its title (no trap beats or Katy Perry features here), Cende’s #1 Hit Single stomps with an impressive dazzle. In a spectacle of jangling guitars and it-came-from-the-garage energy, the eight tracks flutter by in less than 25 minutes. It’s so quick you barely let the four power poppers into your heart before they leave you crying “wait!” from the doorstep. It’s an easy album to throw on repeat and play over and over. (Cameron Carr)

3. Blood Cultures Happy Birthday

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Mysterious NJ-based electro-pop project, Blood Cultures, released their debut EP Happy Birthday this past summer. It features four tracks previously released on Soundcloud, ranging from successful 2013 single “Indian Summer”, to their most recent single, “Detroit.” Proponents of a foggy and appropriately “mid-fi” chill-wave, Blood Cultures deliver timeless pop melodies twisted by their production style, which tends to detune and modulate synths and vocals—engulfing their music in psychedelic sonic quirkiness.

As fans of anything psych, and both classic and bizarre pop, we couldn’t be happier with the results. (Paolo De Gregorio) 10

the deli Fall 2017

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soundcloud.com/gemandeye

husbandryny.bandcamp.com

Feature | State of the Scene

The State of the Electronic Music Scene in NYC, 2017 Peak or Reverse Tipping Point?

Written by

Juan Leon

Illustration by

Giovanna Morando

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verywhere you turn in New York City: More acts, more clubs, more nightlife. “Blowing up” might not be a bad way to describe what has happened with electronic music… if it hadn’t already been happening for a long time.

When you have legacy publications like Forbes and The New York Times proclaiming the scene’s arrival on a mainstream stage, it seems pretty darn definitive. Headlines like “An Unprecedented Success for Electronic Dance Music and Its D.J.s” and “Influential Site Inhabits Fringe of an Electronic Dance Music Culture” are no longer uncommon sights on the pages of these widely read publications.

Those skeptical of what mainstream success and its trappings may bring to their beloved music subculture after that subculture emerges brightly from the underground will likely find the “blowing up” soundbite outdated. The conventional wisdom is that when mainstream recognition starts to come, monetization can’t be too far behind, and that often (always?) coincides with creative devolution.

the scene at present and taking stock of what the massive, exciting, ever-changing flux of New York electronic music culture looks like at the moment.

We asked a few NYC labels to give us their take on the current status:

WT Records (Founded in 2009 by Willie Burns) “The scene is stronger than ever. More parties, more labels, more artists, more DJs. But it will be reaching a saturation point very soon if it hasn’t already.”

Nervous Records (Founded in 1991 by Sam Weiss) “Nightlife is extremely healthy in New York… and most specifically the hub of nightlife which is Brooklyn. Artists across a wide spectrum of sub-genres now consider Brooklyn an essential stop on all tours, whereas only a few years ago many artists ignored this market completely. And as it has been the case over the past several decades, many of the most legendary artists in the house genre are from New York and still make this their home, so you can often find DJs who headline before thousands in Europe playing intimate mid-week sets at smaller venues.”

When commercialism rears its ugly head, many a devoted scene OG starts to panic. The worry is that the proliferation of the scene and rise in popularity signals an invasion of sorts.

This comes in the form of genre tourists who tarnish and degrade the quality of the scene in an attempt to socially cash in on the subculture’s newfound cache. These days, EDM bros are basically the poster children for this nightmare scenario.

Let’s Play House

So, what does that mean for emerging artists and underground scenes in the house, techno, and otherwise electronic world?

There isn’t an easy response to this question. The good news is that there is a constant demand for new acts and—rare thing in the music business these days—a number of entities are ready to invest in the best of them. This being said, the competition is fierce and numerous, and rising to the top requires a perfect combination of talent, prowess, drive and PR skills (in other words, you’ve got to go to EVERY party).

[In the past 5-10 years] It’s gotten more diverse and more formalized, and I think there’s a general comfort within the scene that I didn’t feel when we started, in 2009. No longer is it difficult to sell venues and booking agents on dance music parties, and no longer is it difficult to find spaces at which to present events. What’s become a challenge is defining and expressing your voice clearly and powerfully since there is more competition and choice out there than there once was.

This is probably for the best; it means everyone has to up the ante and try harder if they want to stick around.

Thoughts from the Insiders

[On saturation] Hey, this is New York—it’s always hella saturated. People have always been making shit-tons of music, and labels have always been releasing buttloads of singles,

What might be helpful in integrating this answer is a survey of

(Founded in 2009 by Jacques Renault and Nik Mercer) “It’s mega crowded, but it’s diverse, and the people running it, engaging in it, fueling it, funding it are generally friendly, supportive, bright. A good time to be here. Feels really lively and enthusiastic.

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The good news is that there is constant demand for new acts “and—rare thing in the music business these days—a number of entities are ready to invest in the best of them. ” EPs, LPs. It’s not like there was a time when there weren’t that many artists in the field. It’s just a little easier, perhaps, to see everyone, or get a sense of how massive the body of work NYC represents is. As long as that amalgam of music keeps shifting, changing, maturing, adapting, morphing, things will continue to be groovy.”

Mainstream & Underground For what it’s worth, non-New Yorkers tend to look on NYC’s bustling electronic music scene with envy and longing. At present, it enjoys the advantage of mainstream recognition and success while also fostering a healthy, and dynamic underground. The geographic location of NYC also gives it the advantage of relative closeness (compared to say Chicago or Detroit) to the European electronic music meccas. This gives New York a clear competitive advantage in booking quality acts and obtaining international recognition.

Nowhere is this more evident than in the recent coronation of Output as the “Club of the Year” during the inaugural Electronic Music Awards. Beating out iconic titans of the scene such as Fabric (London), DC10 (Ibiza), and the revered Berghain (Berlin), Output has ostensibly earned the right to call itself “The Best Electronic Music Club in the World.”

Most importantly though, a unique facet about New York City is the sheer variety of offerings within the electronic music spectrum. Each mini-scene seems to be thriving. There are shows every night for virtually every type of sub-genre. There are festivals like Electric Zoo for hardcore EDM bros. There’s Good Room for techno enthusiasts. Chillwave aficionados, Burner-types, NY house lovers… it’s all happening. The vibes within the community seem to encourage interconnectivity and collaboration, which may help explain why the expansiveness seems so wide. When everybody’s cool with everybody, it just feels like one giant scene.

Output’s success has come practically in parallel with the proliferation of music venues booking electronic acts.

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Greenpoint’s Good Room, self-proclaimed to have been “Built by music lovers for music lovers” back in 2014, curates a vast expanse of local talent and internationally known DJs that are also respected in the underground.

Ridgewood’s Trans Pecos is an “avant” music venue that plays hosts to many electronic acts that fall more on the experimental spectrum. Bushwick’s Bossa Nova Civic Club has become a house and techno staple in the city and hosts a killer Monday dance party. Williamsburg’s Schimanski is an industrial club that opened in 2016 in the space formerly occupied by Verboten.

The Problems: The Infamous Cabaret Law Despite boasting an undeniably healthy electronic scene, the NYC nightlife is facing some legal challenges outlined, for example, by British zine MixMag in a recent article on the New York’s notorious “Cabaret Law,” also known as the “no dancing law.” The rule, which came about in 1926 in an attempt to shut down speakeasies, has drawn accusations of racism and unconstitutionality. Mayor Bill de Blasio’s administration’s public statements supporting a repeal of the law have been met with some skepticism. Critics accuse the Mayor of merely paying lip service to the issue, while owners at smaller and minority establishments continue to meet harassment justified through the antiquated legislation.

It’s an issue NYC record label New York Trax has been outspoken about. In a statement to The Deli, the label outlined their take on the Cabaret Law and the larger electronic music scene in general: “The electronic music scene in New York is now at its peak.

According to credible sources, it has not been more active since the pre-Giuliani era. Events run 7 days a week. There are a lot of venues, record labels, collectives, and artists.

Grassroots movements still struggle compared to highly capitalized nightlife establishments, but our great commu-

nity took steps to tackle these issues and has been, so far, very successful.

[Recently], Mayor Bill de Blasio signed into legislation a bill creating the office of Nightlife Mayor. This bill is supposed to protect and further develop the NYC nightlife industry which currently employs around 300,000 people and generates 10 billion dollars of annual revenue. Further, we are now impatiently awaiting the repeal of the infamous Cabaret Law and substituting it with a bill focusing on safety without providing law enforcement any grounds for harassment. These two landmark bills were introduced and sponsored by the City Council member, Rafael Espinal, with his efforts aided by the recently formed organizations such as Dance Liberation Network and the NYC Artist Coalition.

Even though the enforcement of the Cabaret Law is rather low these days, there are still approximately 100 events shut down every year in acts of arbitrary enforcement by the NYPD. In conclusion, we are hoping that the Office of Nightlife Mayor and the repeal of the Cabaret Law will give our electronic music scene an even greater boost, create more employment opportunities in nightlife, prevent our artists from moving to other cities and countries, and further establish the status of NYC as the cultural capital of America and perhaps even the world.”

It seems unlikely that an outdated law from 1926 could be the Achilles’ heel that topples such a momentous and energetic scene. What does seem certain, though, is that no matter what happens to that law, the fans of electronic music in all of its guises, the artists performing it, and the promoters and club owners bridging the gap between the two will be here in droves for the foreseeable future, passionately consuming it, creating it, and promoting it.

Those concerned about the quality of the city’s musical output should have no fear: there is strength in numbers. Thanks to its many universities and colleges, New York hosts one of the biggest communities of young, educated and creative people in the world—that’s not going to change anytime soon. Likewise, the city not only manages to retain much of its brightest talent for a few years after school is over, but also attracts many adventurous emerging musicians in their prime from all over the US and the world. With so many acts to choose from, all tastes are likely to be satisfied—and a fair share of good to truly outstanding records bound to be released each year. d

B

est New NYC Electronic Artists of 2017 1 2

Jex Opolis : Edgy Canadian DJ based in NYC. Manik : Queens native with a distinctive take on deep

house. You can hear NYC in his beats.

3 Beshken : Dreamy electronic grooves with relentlessly catchy melodies.

4 Yaeji : A rising star cranking out hip-house bangers with a vocal style all her own.

5 Umfang : Discwoman collective co-founder. Her house tracks are powerful.

6 No Regular Play : Jazz and hip-hop influenced house productions. They play live.

7 Sapphogeist : Hazy, fiercely individual soundscapes that remain accessible.

8 Cru the Dynamic : Producer of soulful beats with a background in jazz performance.

9 10

Baltra : House producer and DJ with stylish, emotive range.

Bearcat : Discwoman collective artist and producer of

wild, immensely danceable beats.

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Feature | Cover Artist

Dawn o​f​ The ​D eadheads ​Guerilla​ ​Toss’

Strange​ ​T rip​ ​to​ “GT Ultra” Written by Photo by

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Ben Apatoff

Walter Wlodarczyk

The​ ​barriers​ ​between​ ​punks​ ​and​ ​Deadheads​ ​were​ ​once​ ​so​ ​ entrenched​ ​that​ ​some​ ​of​ ​us​ ​remember the​ ​first​ ​shocks​ ​of​ ​ seeing​​them​​start​​to​​come​​down​​(Greg​​Ginn​​is​​a​​Deadhead?​​ The​ ​Meat Puppets?).​ To​ ​hear​ ​Guerilla​ ​Toss’​ ​excellent​ ​new​​ genre-smasher​ ​​GT Ultra​,​ ​or​ ​to​ ​speak​ ​with amiable​ ​frontwoman​ ​Kassie​ ​Carlson,​ ​the​ ​punk/Deadhead​ ​divisions​ ​have​ ​rolled​ ​ away​ ​like​ ​the​ ​dew in​ ​Franklin’s​ ​Tower.

“An​ ​enlightened​ ​release​ ​from​ ​the​ ​‘stick-in-the-mud’​ ​attitude​ ​ that​ ​anything​ ​sounding​ ​remotely country​ ​is​ ​lame​ ​has​ ​sort​ ​of​ shaken ​the​ ​Grateful​ ​Dead​ ​from​ ​the​ ​dad​ ​rock​ ​scene,”​ ​states​ ​ Carlson. “The​ ​reality​ ​is​ ​that​ ​they​ ​are​ ​very​ ​different​ ​than​ other​ all-country​ ​bands.​ ​Most​ ​of​ ​their​ ​songs​ ​are dark​ ​as​ ​hell​ ​and​ ​ mostly​ ​about​ ​death​ ​and​ ​the​ ​delicacy​ ​of​ ​mortality.”

It’s​ ​a​ ​darkness​ ​audible​ ​in​ ​​GT Ultra,​ ​where​ ​even​ ​bouncier​ ​songs​ ​ like​ ​“Can​ ​I​ ​Get​ ​the​ ​Real​ ​Stuff”​ ​and “Crystal​ ​Run”​ ​pack​ ​a​ ​sinister​ ​wallop.​ ​Carlson​ ​cites​ ​the​ ​Dead’s​ ​Robert​ ​Hunter​ ​as​ ​a​ ​favorite lyricist,​ ​and​ ​even​ ​named​ ​the​ ​new​ ​album​ ​after “Project​ ​ MKUltra,”​ ​the​ ​CIA’s​ ​20-year​ ​drug​ ​experiment program​ ​whose​ ​ subjects​ ​included​ ​Hunter​ ​and​ ​lead​ ​Merry​ ​Prankster​ ​Ken​ ​Kesey.​ ​ T​ ​Ultra conjures​ ​an​ ​atmosphere​ ​of​ ​”New​ ​Frontier”​ ​conspiracy G and ​horror​ ​from​ ​the​ ​moment​ ​opener​ ​“Betty Dreams​ ​of​ ​Green​ ​ Men”​ ​kicks​ ​in. The band smoothly ​blends ​modern​ ​synthpop​ with ​’60s-era​ ​sci-fi before​ ​Carlson​ ​recounts​ ​the​ Betty ​and​ ​ Barney​ ​Hill​ (​alleged)​ ​alien​ ​abduction. “There’s​ ​a​ ​whole​ ​underground​ ​society​ ​of​ ​people​ ​who​ ​believe​ ​they​ ​have​ ​been​ ​taken.​ ​ The​ ​idea​ ​of just​ ​becoming​ ​totally​ ​captivated​ ​with​ ​this​ ​identity​ ​ of​ ​an​ ​abductee​ ​was​ ​fascinating​ ​to​ ​me,” explains​ ​Carlson.​ ​“It​ ​ got​ ​me​ ​thinking​ ​about​ ​what​ ​other​ ​activities​ ​or​ ​elements​ ​people​ ​ become hypnotized​ ​by.​​​ ​I​ ​mean,​ ​what​ ​is​ ​‘knowing’​ ​anyways?​​ The​ ​realities​ ​of​ ​different​ ​people​ ​are completely​ ​subjective.”

Guerilla​ ​Toss,​ ​the​ ​band​ ​Carlson​ ​formed​ ​with​ ​drummer​ ​Peter​ Negroponte​ ​and​ ​guitarist​ ​Arian Shafiee,​ ​is​ ​a​ ​breathing​ ​document​ ​of​ ​shifts​ ​in​ ​reality,​ ​from​ ​their​ ​sound,​ ​to​ ​their​ ​lineup,​ ​ to​ ​their​ ​entrancing​ ​and​ ​high-energy​ ​shows.​ ​Raised​ ​in​ ​the​ ​ Boston DIY​ ​scene​ ​(Carlson’s​ ​brother​ ​performed​ ​with​ ​’90s​ ​ hardcore​ ​heroes​ ​Only​ ​Living​ ​Witness), Carlson​ ​met​ ​her​ ​future​ ​bandmates​ ​at​ ​a​ ​Boston​ ​basement​ ​show.​ Guerilla​ ​Toss then​ ​relocated​ ​to​ ​New​ ​York,​ ​with​ ​members ​teaching​ ​music​ ​

at​ ​various​ ​New​ ​York City​ ​schools​ ​and​ ​starting​ ​music​ ​education​ ​nonprofit​ ​Be​ ​Unique​ ​New​ ​York.​ ​All​ ​the​ ​while performing​ ​and​ ​recording,​ ​which​ ​attracted​ ​the​ ​attention​ ​of​ ​some​ ​of​ NYC’s​ ​indie’s​ ​biggest names​ ​for​ ​their​ ​2016​ ​breakthrough​,​​ Eraser​ Stargazer.

Carlson​ ​recalls,​ ​“DFA​ ​[Records] contacted​ ​us​ ​​and​ ​it​ ​was​ ​ something​ ​we​ ​thought​ ​about​ ​for​ ​a​ ​long time.​ It​ ​felt​ ​like​ ​a​ ​really​ ​ big​ ​step​ ​and​ ​commitment​ ​obviously,​ ​one​ ​we​ ​were​ ​not​ ​sure​ ​we​ ​ wanted​ ​to make.​ ​Nevertheless,​ ​we​ ​went​ ​for​ ​it.​ ​They’re​ ​a​ ​great​ ​ group​ ​of​ ​people​ ​and​ ​I​ ​am​ ​really​ ​happy​ ​we met​ ​them.” Upon​ ​ first​ ​listen,​ ​the band’s​ ​DFA​ debut​ ​sounds​ ​more​ ​structured​ ​and​ ​ produced​ ​than​ ​their earlier​ ​releases,​ ​a​ ​possible​ ​bid​ ​for​ ​(relative)​ ​indie​ ​big​-​time.​ ​But​, ​as​ ​usual​ ​with​ ​Guerilla​ ​Toss, there’s​ ​ more​ ​than​ ​meets​ ​the​ ​ear,​ ​and​ ​as​ ​with​ ​their​ ​’60’s​ ​psychedelic​ ​ forefathers,​ ​even Guerilla​ ​Toss’​ ​most​ ​free-spirited​ ​and​ ​chaotic​ ​ music​ ​stems​ ​from​ ​staggering​ ​focus​ ​and craftsmanship.

“All​ ​Guerilla​ ​Toss​ ​records​ ​are​ ​meticulously​ ​planned​ ​out,”​ ​ asserts​ ​Carlson.​ ​“When​ ​writing​ ​a record,​ ​we​ ​will​ ​have​ ​these​ ​ practice​ ​sessions​ ​lasting​ ​6-8​ ​hours,​ ​sometimes​ ​only​ ​to​ ​produce​ minutes​-​worth​ ​of​ ​material.​ ​[Negroponte]​ ​usually​ ​brings​ ​ in​ ​the​ ​bones​ ​to​ ​each​ ​song,​ ​then​ ​we​ ​throw the​ ​meat​ ​on​ ​it​ ​in​ ​the​ ​ practice​ ​room​ ​by​ ​working​ ​out​ ​forms,​ ​vocal​ ​patterns,​ ​etc.​ ​The​ ​ form​ ​of​ ​each song​ ​is​ ​​probably​ ​the​ ​most​ ​difficult​ ​to​ ​arrange.​ ​ It’s​ ​a​ ​very​ ​delicate​ ​process.​ ​We​ ​may​ ​have​ ​a​ ​lot​ ​of ideas​ ​for​ ​ the​ ​song,​ ​but​ ​how​ ​do​ ​you​ ​make​ ​it​ ​into​ ​a​ ​sentence?​ ​We​ ​also​​ worked​ ​a​ ​lot​ ​on​ ​vocal phrasing,​ ​attempting​ ​to​ ​create​ ​patterns​ ​ you​ ​can’t​ ​shake​ ​off.”

But​ ​no​ ​matter​ ​where​ ​Guerilla​ ​Toss​ ​goes​ ​with​ ​production​ ​or​ ​ song​ ​structure,​ ​it’s​ ​apparent​ ​that​ ​the enigmatic​ ​aspects​ ​are​ ​ here​ ​to​ ​stay.​ ​Carlson​ ​is​ ​coy​ ​about​ ​the​ ​individual​ ​bandmates​ ​ roles,​ ​or​ ​even the​ ​band’s​ ​future​ ​plans​ ​(“It’s​ ​a​ ​mystery!” ​she​ ​ tells​ ​me),​ ​and​ ​reveals​ ​that​ ​“TV​ ​Do​ ​Tell,”​ ​perhaps GT ​​Ultra’s​ ​ most​ ​perfect​ ​pop​ ​song,​ ​is​ ​a​ ​Jane​ ​La​ ​Onda​ ​cover​ ​(“who​ ​is​ ​my​ ​ alter​-​ego,”​ ​she​ ​adds).

Guerilla​ ​Toss​ ​may​ ​be​ ​the​ ​rare​ ​band​ ​that​ ​gets​ ​harder​ ​to​ ​figure​ ​ out​ ​the​ ​more​ ​you​ ​listen​ ​to​ ​and​ ​learn about​ ​them. “It​ ​started​ ​ off​ ​insane,”​ ​Carlson​ ​smiles,​ ​“continued​ ​to​ ​be​ ​insane​ ​and​ ​still​ ​ is​ ​insane.” d

Guerilla Toss’ Gear

Sequential Circuits – Six-Trak

Dave Smith Instruments – Morpho

“These two have kind of endless landscapes of sound, but they have to be very carefully chosen. Peter tweaks them a lot. In a live band setting it’s difficult to know what will cut and what won’t. The synth can really make or break the psychedelic mood.” the deli Fall 2017

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bands + Synths

Read the full features on audio.thedelimagazine.com

TC Helicon Live Touch 2

Ableton Push

Beshken Last summer, 20-year-old Ben Shirken lost his backpack in Rome—resulting in the loss of his laptop, hard drive, and lyrics he was working on. After roughly five years of inspiration, he had nothing to show for his work. That’s when the jazz-guitarist-turned-producer began a new project, the For Time is the Longest Distance Between Two People EP. You lost the first version of this EP when your laptop was stolen in Italy. How was the process of rewriting songs on which you had already invested a lot of time, and what were the results?

I never rewrote any of the songs because I thought it would end up being more work than it was worth. Losing all of my music was rough at first, but it ended up being the best possible thing that could have happened. It actually spurred a period of enlightenment for me. When I came back to the states I had nothing and I felt free. It’s like when your brain is full of so many thoughts and you get nothing done. All I needed was something to unclog the drain.

What are the synths and drum machines you used in recording it?

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the deli Fall 2017

Avant Pop Alt Soul

I was recording a lot of noises with my field recorder in Italy and on an earlier trip to Big Sur. When I arrived back in the US from Italy all I had were these sounds. Glasses clinking, bells ringing, crickets chirping—the drums on the EP are made almost entirely of these recordings. Live drums are also interspersed, and I used only like 2 or 3 samples that I didn’t create. For example, I recorded myself making noises when I was in the Sistine Chapel, and the reverb in there is so specific to the space that it would be hard to recreate digitally. One of the security guards actually got really mad at me because I was clapping and stomping my feet all over the place. So worth it. Anyway, I took these sounds and manipulated and stretched them into rhythms in Ableton. It’s also possible to turn any noise into a tone or synth if you mess around with it enough, so a lot of the synths on the project are made from the same sounds as the percussion. I don’t have that much hardware, although I do use Ableton Push for pretty much everything now because I’m not the best piano player and Push makes it extremely easy to write in a specific key. Because Push is the only midi and doesn’t have built-in sounds, I mainly used Arturia’s Moog Modular V plug-in and custom built synth sounds.

Dave Smith Instruments Prophet ’08

Casio CZ-230S

undercover dream lovers The Undercover Dream Lovers’ “cover” might just have been blown. The NYC synth-pop band recently sold out Rough Trade, and has been getting attention from a glut of music blogs. I guess it’s hard to stay covert when you’re busting out catchy dancehall tunes—especially when tracks sound far larger than the bedroom they were recorded in. The solo project of Brooklyn-based Matthew Koenig, The Undercover Dream Lovers delivers synth-heavy hooks, angular instrumentals and soft, understated vocals that together have the kind of magic that will instantly draw you in. (Olivia Sisinni) Your music is entirely bedroom-produced. What are the pros and cons of this level of DIY? I would say are I have total creative freedom and can just dive into a song or session anytime I’m feeling creative. I can also bring my studio with me to change up the atmosphere. I recently found a cabin on craigslist and spent a month in the woods just to shake things up a bit. It was really great being able to just walk outside and be in beautiful nature as opposed to a loud noisy city for a change.

Cons would be a limitation in gear compared to being in a studio and also having to wear multiple hats while working. Instead of spending my time coming up with lyrics or working out

Synthpop Indie Rock

a composition I’ll spend a lot of time learning about mixing or engineering. I do really enjoy getting to do all the jobs, but it’s just hard to excel at everything at once.

We assume you are using samples or drum machines for the drum parts—what are your tools in that department?

I’ve set up a few drum kits at rehearsal spaces or just at home and tracked drums for a day from time to time. I’ve had a friend or two come in a play a rendition of the beat I originally composed. For tracks without live drums I’ve either just used samples on Logic X or once I even grabbed some sounds from my Yamaha Portasound PSS 460, which is basically a toy piano.

The unreleased stuff I’ve been working on lately it’s about 50/50 live drums and samples. I like both a lot so I’m sure I’ll keep exploring both as I write.

What are the synths you used in recording your latest music?

I use a Dave Smith Prophet 08 and a Casio CZ 230s. I think the synths complement each other pretty well. The Prophet is super malleable to mess with and the Casio has some unique presets that are great to blend. I’ve definitely got my eye on some other synths for the future. I played a digital Mellotron the other day and got pretty obsessed. the deli Fall 2017

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bands + Synths

Read the full features on audio.thedelimagazine.com

Tempers

Goth Electro Post Punk

Atmospheric duo Tempers’ recent release Fundamental Fantasy is a suspenseful, yet shimmering LP that evokes that psychological world of obscure possibilities inspired by a city like New York. The band’s sound, a meeting of the moodiest Depeche Mode with both The XX and Beach House, is like a faded memory you shouldn’t have forgotten about.

Moog Opus III

MFB Tanzbar Analog Drum Machine

The Vacant Lots

What are the synths and drum machines you used in recording your latest album?

On the last album, as always, there’s a mix of analog and digital gear, which we use pretty interchangeably.

A lot of times I’ll think I have to replace all the softsynths with analog once we’re done writing the song— and then I go through the whole laborious process of tracking it only to find it doesn’t sound as good as the original Massive preset or whatever. Besides Native Instruments’ stuff, we use reFX Vanguard a lot in the digital realm and recently started using one now-crucial plugin that will remain secret. Analog-wise, we use a Moog Opus III, MFB Dominion 1, and MFB Tanzbar.

Psych Electro Post Punk

NYC via Burlington’s The Vacant Lots recently unveiled “Mad Mary Jones,” the crunchy psych rock delight that previews their upcoming full-length debut Departure, due for release on July 1. The song kicks off with a persistent bass line before gritty guitars and sunny synths enter the mix, culminating with the song’s titular hook that falls somewhere between spoken and sung.

What are the synths and drum machines you used in recording “Endless Night”?

Brian: A few small stylus synthesizers called the SX-150 were used that can be found online and includes a proper analog filter and decent enough control parameters. Their quality and usefulness isn’t all that clear on first test—the built in tinny speaker can give a bad impression. But utilizing the dedicated output and some effects works wonders. An old Yamaha FM generator FB-01 was used for a few patches; these are fantastic units that can be found quite cheap as well. The Internet provides a quick link to huge libraries of new and old patches so you never have to bother with the terror of FM programming.

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Yamaha FB-01

Gakken SX-150

bands + Synths

Read the full features on audio.thedelimagazine.com

Overcoats

Soul Synthpop Downtempo

Although only comprised of two musicians, Hana Ellon and JJ Mitchell, the band offers music that’s diverse and multi-layered. Their voices, confident and seducing, bring to mind Lucius’ amazing harmonizing and rise above the electronic instrumental base present throughout most of their self-titled EP. How did you get introduced to the electronic way of making music, and what made it so exciting?

We had always bonded over our love of electronic music. We often sent each other songs that we liked. We each loved to make little vocal loops and beats in Garageband. Electronic music felt really exciting because you could make something that really didn’t sound like anything else. Any sound could be made into music. We also loved the tension between our female vocals and harmonies and kind of crass, hip hop sounds...things you didn’t usually hear together.

Could you give us a rundown of what synths you currently use?

We’ve been writing a lot of our second album on a MiniKorg, but for the first album, we loved the Juno. Really warm full sounds are so fun to work with—we used it on “Walk On”, “Hold Me Close”, and others.

Photo: Dustin Condren

NOIA

Roland Juno 106

Korg MiniKorg 700S

Dream Pop World Downtempo

NOIA is a sonic force to be reckoned with. With a professional background in sound design, mastermind Gisela Fulla-Silvestre creates entire noise foundations for her songs. Recycling and layering sonic artifacts like distortion trash and excess sound bites from films, she creates sonic collages that serve as a bed on which her sensual vocals can lay. (Andrew Strader) How does the creative process work? Do you start playing with electronic instruments or with chords?

I usually start with the beat, or an arpeggiator, or a sound that I build around it.

What other synths and drum machines did you use when recording your latest album?

The OP-1 from Teenage Engineering is great. Elektron Analog Rytm is also having a role. The rest, just emulators, VST instruments, samples, sounds that I manipulate and play around using my push controller.

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Photo: Ana Sting

Elektron Analog Rytm

Teenage Engineering OP-1

O Mer

Downtempo Soul

Brooklyn-based O Mer participates in the effort undertaken by a select number of soul artists to dismantle once and for all the notions that: A. electronic music is overly clinical and “cold,” and B. soul music is not adventurous enough.

What synths do you love, and is there a single piece of gear that you think defines your sound?

I mostly use Arturia’s MiniBrute, Prophet and the Arturia plug in of the Yamaha CS-80 in conjunction with Soundtoys plugins, pretty much all of them (not all at once though). I usually work with a very basic synth sound which I then run through some kind of drive to make it more messy and “real” sounding.

Arturia MiniBrute

Ageless

Arturia Yamaha CS-80 Plug In

How do you stay focused on songwriting with all those knobs to twist?

Songwriting and knob twisting are two separate events for me. As far as songwriting goes, I don’t think there’s really a way to focus on it.

On the contrary, you kind of have to let go of focus and let the good ideas come to you unintentionally. When it comes to producing, I feel like the best way to not “get lost between the knobs” is to work fast.

It doesn’t always work for me but when you work fast you hear the song coming to life and your decisions are driven by what the song needs and not what you feel like doing in a given moment.

Big Beat Funk Hip-Hop

What are the synths and drum machines you used in recording your latest album “Perfect World”, and was there any new tool that proved particularly inspiring?

For “Perfect World” I went almost completely software-based. Reason 9 has a great sound engine and living in a small NYC apartment limits the amount of hardware I can have. Reason’s interface is just a virtual replica of a synth/instrument rack, complete with patch cables, inserts and sidechains, allowing me to craft synth patches from scratch. I try to incorporate my Akai MPC whenever I can too.

Electronic instruments open an incredible variety of sonic possibilities and that can be distracting. How do you know when a sound is “right” with all those options available?

Great question. It’s easy to get lost in the technical side of synth patching and sound design so I try to maintain a healthy balance of melody and noise. I listen to producers who are largely sound design/noise based and others who focus more on emotion and melodic tones, what I strive to do is create music on both sides of that spectrum.

This idea doesn’t always work right so I throw out a lot of half finished songs and move on to the next.

Akai MPC

Propellerhead Reason

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2. UMFANG

Emma Olson (aka UMFANG) is an electronic artist and co-founder of NYC collective DISCWOMAN. Her project’s latest release, Symbolic Use of Light, offers a conceptual balance of heavy and soft. Nowhere is this more striking and thrilling than in the one-two punch transition of track “Path” immediately followed by “Pop.” The contrasting lightness of the one with the power of the other—like showing off two sides of the soul—Olson gets at something undeniably human. (Juan Leon)

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3. Birocratic

NYC’s Birocratic blends elements of soul and jazz with psychedelic influences into his electronic production. The songs are just dancey enough to keep bodies moving but are packed with enough striking complexities to send heads into the clouds.

1 Photo: Neil Favila

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1. Prince Fox

Los Angeles/NYC-based producer Prince Fox has collaborated with actress/singer Bella Thorne on a new synthpop single, “Just Call”. Featuring dancey beats interrupted by heavily filtered vocal melodies, the single has gone viral in the last few weeks, pushing Prince Fox to the top ten of The Deli’s NYC charts for emerging artists.

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4. Sneaks

Sneaks’ brainchild Eva Moolchan applies a “less is more” philosophy to her electro-spoken-word tracks. Signed with legendary Merge Records, the songwriter/producer specializes in bare-bones arrangements propelled by simple, mid-tempo drum machines, sparse synths, electric bass, and mostly atonal vocals. But the main attraction here is her “anything goes,” uber-chilled attitude, something that has the potential to coin a modern, electronic equivalent to the slacker rock culture. (paolo de gregorio)

Brooklyn Synth Expo Main Drag Music, Oct 28 & 29 – FREE! TABLETOP SYNTHS

The biggest synth party returns to Brooklyn’s Main Drag Music on October 28-29, for an uninterrupted weekend of bleeps, squeaks, and sweeps.

In line with NYC’s renowned inclusiveness, no synth format will be denied. You’ll find the synth titans and the mini guys, ones with keyboards and ones without, the serious ones, the playful ones and the silly ones too. Some will have hardware and some will not. Tabletop, Eurorack, and synth effects will be there too, all eager to get their knobs twisted by you!

And even better, the entire event happens right inside your headphones, which makes everything so much more pleasant.

See you there!

The Folks at The Deli

Roland – SE-02

Waldorf – Pulse 2

• A vintage sounding synth designed in collaboration with US manufacturer Studio Electronics.

• 3 voltage controlled oscillator analog monosynth module with discrete analog circuitry.

• Voltage-controlled 24dB lowpass filter, and a dual-gainstage amplifier.

• Lots of high-grade knobs and switches, plus a fully featured 16step sequencer.

• A monophonic analog synthesizer that updates the legendary rack version from the mid ’90s.

• Three analog oscillators and a true analog cascading filter, with new Highpass and Bandpass modes.

• New analog Filter FM and Ring Modulation, as well as “paraphonic” modes that allow up to 8-voice chords.

• Arpeggiator, an 8-slot modulation matrix and USB connectivity.

Novation – Peak • 8-voice polyphonic analog synthesizer propelled by three New Oxford Oscillators per voice.

• Each oscillator features traditional waveshapes plus access to 17 digital wavetables.

• 16-slot modulation matrix plus 16 direct assignments accessible directly from the front panel.

• Features also multi-mode filter, built in effects, arpeggiator and CV input.

Dreadbox – NYX • Analog, semi-modular paraphonic synth featuring a unique reverb effect by pedal manufacturer Crazy Tube Circuits.

• 2 x VCO with separate glide controls, Dual State Variable 24 or 12dB / oct Filter, Triangle wave LFO. • Triple Unique Envelope Generator can also be used as an LFO.

the deli Fall 2017

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Synths @ BK Synth Expo 2017 LARGE FORMAT SYNTHS

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Dave Smith Instruments Prophet Rev2

Nord – Stage 3

• A 16-voice, 61-key analog synth with dual DCOs, a sub-oscillator, and a 2/4-pole resonant lowpass Curtis filter per voice.

• Bi-timbral operation, waveshape modulation, powerful onboard FX engine, and advanced polyphonic step sequencer.

• 5-octave, semi-weighted keyboard with velocity and channel aftertouch.

• 5th generation keyboard featuring the Nord Lead A1 Synth Engine (with sample playback), the Nord C2D Organ Engine, and an advanced piano section.

• Fast response controls optimized for live performance.

• Solid effect and filter section, including separate compressor and Reverb per slot.

• The sounds in the Piano section can be replaced with updated ones from the online Nord library.

Arturia – Maxi-Brute

Yamaha – Montage

• Presented as the most powerful analog synth ever.

• Modulation matrix allows to re-route the synth’s circuits, and also works for playing sequences and recalling the 256 presets.

• Fully analog signal path, including analog effects.

• 3 oscillators (one used as VCO/LFO), 1 noise generator, 3 LFOs, 2 filters (Steiner-Parker and Ladder), 3 envelop generators, Sequencer + Arpeggiator and Control Voltage Interfacing and some of the key features.

• A beast of a synth that blends the synthesis engines of subtractive synthesis and frequency modulation.

• Motion Seq and Envelope Follower help create evolving sounds that can be modified on the fly via the various knobs and the touch screen.

• Extensive effect section.

• Seamless Sound Switching lets you change performances seamlessly without any cut-off in envelope or effects.

the deli Fall 2017

Main Drag Music | October 28 & 29, 2017 – FREE!

Kurzweil – SP6

• A powerful yet light digital piano/synth with fully-weighted hammer-action keys created with composers and gigging musician in mind.

• Excels at realistic grand pianos, organs and string sections, but it also features the synth engine of Kurzweil’s acclaimed synth VA-1.

• 4 Knobs, 1 Switch, 2 Wheels, 2 Dual-Switch Pedal Inputs, and 1 Continuous Control Pedal Input allow for real time control over key parameters.

• External software editor allows for deeper editing on Mac, PCs and iOS devices.

Software

Native Instruments – Reaktor 6

Moon Beam – Synth/Sampler

• Modular synthesis in a virtual environment.

• It comes with over 40 Blocks – including oscillators, filters, effects, modulators, and sequencers, many inspired to legendary modular components.

• Can be connected via Midi, OSC or CV to Ableton, hardware modular systems, standalone hardware, other software instruments, and mobile devices.

• It comes with 70 factory instruments, and 4k more can be found online.

• An iOS synth Inspired in part by the Casio Sk-1’s lofi sonics/sampling and Sequential Circuit’s Pro One synth featuring some fun features.

• Unique key independent pitch bending through two pitch ribbons.

• The two samples/oscillators can be layered throughout the keyboard or split to top and bottom keys.

• Full effect section with 1 assignable effects touch pad.

the deli Fall 2017

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Synths @ BK Synth Expo 2017

Main Drag Music | October 28 & 29, 2017 – FREE!

MINI SYNTHS

Waldorf – Blofeld Korg – Monologue • Incredibly affordable, completely programmable, true-analog monophonic synth.

• Features new voicing and sound sculpting abilities, an updated step sequencer, an all-new micro-tuning feature, and more.

• Allows for separate tuning per-note, opening up the world of micro tuning.

Yamaha – Reface DX

• 49 weighed keys virtual-analog synthesizer with Waldorf’s classic wavetables and 60 megabytes of sample memory.

• Three sample based oscillators, two filters, three LFO and four envelopes per voice.

• 25 voices polyphony, arpeggiator, comprehensive effects section round up the features.

• A mini recreation of the legendary DX7 with several improvements, like onboard multi-effects and straightforward editing.

• Multi-touch control surface and onboard phrase looper.

• USB and Midi connectivity.

• Stereo speaker system.

SAMPLERS

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Korg – Volca Sample

Elektron – Octatrack MKII

• Compact size, built-in speaker and battery power allow for extreme portability.

• Easy-to-access controls make tweaking samples both intuitive and fun.

• The flexible step sequencer lets you create patterns and chain them into songs.

• The companion AudioPocket iOS app allows you to record, manage, and download samples from your favorite electronic device.

• Features 5 playback modes: Slice, Slots, Chromatic, Delay Ctrl, and Quick Mute.

• The ultra-smooth contactless crossfader allows for precise control during performance.

• This module has even more buttons compared than the previous gen, allowing for more streamlined workflow.

• Straightforward recording allows the use to create samples on the fly.

the deli Fall 2017

Synths @ BK Synth Expo 2017

Main Drag Music | October 28 & 29, 2017 – FREE!

Drum Machines

Roland – TR-08 Rhythm Composer

Elektron – Analog Rytm

• This machine is a re-creation of the classic TR-808 drum machine and uses Roland’s own Analog Circuit Behavior technology.

• Provides hands-on control over tone, level, tuning, and decay and compression, gain, tune, and pan for selected instruments.

• Built-in powered mini-speaker makes it great for mobile listening.

• Track-selectable trigger out for allow for easy integration with other electronic instruments.

• This is an 8-voice analog drum machine that boasts powerful sequencer and sampling capabilities.

• Each drum voice allows you to combine the analog tone generator with a digital sample.

• Sensitive performance pads can trigger sounds or play a sound chromatically.

• This machine is perfect for both stage and studio, with individual outputs for each voice plus a main stereo output and headphone out.

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Arturia – DrumBrute

Jomox – Alpha Base

• Boasts 17 distinct, fully analog drum and percussion instruments, with an intuitive sequencer, massive connectivity, a two-mode Steiner-Parker filter, and dynamic performance controls.

• Features advanced 64 step/64 pattern sequencing possibilities and effective performance controls.

• Creates energetic and exciting drum beats, with a single, user-friendly device.

• True analog drum maching with Eleven instruments, sequencer, and sampling capabilities.

• Each instrument is based on a synth engine optimized for that particular drum sound.

• 1 FM synth with 4 operators and max. 6 voices for percussive sounds.

• Reverb and Delay can be assigned to individual sounds through sends, plus one LFO per instrument.

the deli Fall 2017

Synths @ BK Synth Expo 2017

Main Drag Music | October 28 & 29, 2017 – FREE!

CONTROLLERS

Studiologic – Numa Compact 2

Artiphon – Instrument One

Expressive E Touché

• Touch controller with pressure and direction both adjusting the outputted control signals.

• The controller is highly sensitive and has adjustable sensitivity.

• The controller can be used to control external gear or paired with its Lie’ software counterpart.

• Four CV outputs allow for connection with modular Eurorack equipment.

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• The Numa Compact 2 has a maximum polyphony of 128 voices.

• Boasts 88 onboard sounds with outstanding TrS (True Sound) Stereo multi-samples.

• Includes FX like Drive, Chorus, Phaser, Flanger, Rotary, Tremolo, Pan Trem, Delay and 4 types of reverb.

• This synth features 4 sections: 2 sounds in Layer or Split modes.

• A multi-instrument that allows you to toggle between guitar, violin, piano and drum playing styles with the push of a button.

• Pressure-sensitive fingerboard allows for string bending and polyphonic aftertouch.

• Built in accelerometer allows for personalized expression while playing.

• Weight 1.6lbs and has a 6 hour battery life, making the instrument extremely portable.

Novation Circuit Mono Station

• More than just a controller, it features the engine of the Novation Bass Station II embedded in the body of a Circuit.

• Three sequencer tracks and 32 velocity-sensitive RGB pads.

• Monophonic and Paraphonic modes.

• Adaptable modulation system with four-by-eight modulation matrix enables complex alteration and routing.

Synths @ BK Synth Expo 2017

Main Drag Music | October 28 & 29, 2017 – FREE!

Eurorack modules Eventide – Euro DDL Delay • 10 seconds of pristine delay at a sample rate up to 192 kHz. • Soft saturation clipping, low pass filter, feedback, insert loop, relay bypass, and +20 dB boost are all analog.

• Can do looping, and has reverse and tap tempo functions.

Qu-Bit – Pulsar • A burst generator that, once keyed, sends out a stream of trigger signals across four outputs.Environmental factors like absorb and gravity alter the behavior of each burst and affect its movement through time.

• Eight dispersion modes provide a range of stream types including euclidean, binary, random, and fractal.

1010 Music – Synthbox

WMD – Chimera

• A 4 note, semi-modular polyphonic synthesizer with 8 wavetable oscillators and 4 waveform oscillators.

• MIDI and CV controllable, Comes with 50 presets and 100 wavetables.

• 2 filters, 2 envelopes, 2 LFOS, and a step sequencer per voice.

• WMD’s first percussion synthesizer module for Eurorack.

• Based on sampled percussions filtered through granular synthesis.

• Reproducer a wide variety of percussion sounds, from realistic to sci-fi.

Guitar Pedals Electro-Harmonix – Synth9

TWA – Great Divide Mk II

• Allows you to coax classic-sounding synth tones out of your guitar or bass.

• No special pickup or mods required - just add to your pedalboard chain like any other FX pedal.

• 9 presets allow players to emulate some of the most iconic keyboard sounds of the ’70s & ’80s.

• A fully analog octave unit that marries the best of analog octave division.

• Features 5 independent voices that can be blended for infinite possibilites.

• Plays well with expression pedals for volume swells and external effects loopers for even more tonal options.

Pigtronix – Mothership 2 • This pedal allows you to turn your guitar or bass into a 3-voice synth.

• Five knobs allow for incredible tonal control, including individual knobs for triangle, square and sine wave oscillators.

• With the ability to cover three octaves, this pedal also offers a glide function for super smooth pitch sweep effects.

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BOSS – SYB-5 • The BOSS SYB-3 is the first compact bass synthesizer pedal.

• Faithfully recreates classic analog synth sounds with increased oomph and power.

• Delivers an array of sounds that will delight those looking to experiment as well as those who consider themselves bastions of tone.