| The problem that I have with workstations are:
1) Single Manufacturer for all parts (you get only what they
have available, or decide to put into it).
2) Limited future (What if it doesn't sell well, or after a
while, a new, but incompatable product replaces it?).
3) Can't change anything (All you get is what they give you).
4) What If you want to get somthing new (Now, all your work may
be lost, or you may not be able to salvage much of it).
I have an ESQ-1 & it's a good machine, Has a fair sequencer &
some really good sounds. Ensoniq pretty much started the workstation
trend & while it's a good concept, I don't use the sequnencer
much in the ESQ-1 (I use another sequencer to work on & then
just download to the ESQ, it's much simpler for me).
I do have a 6 high rack & I consider that more of a workstation
environment, as it contains replaceable & upgradable parts (more
like a component sterio system is upgradable - For example, why
buy something with a turntable if you really only play CD's and
tapes). In it, I have a Sequencer (MMT-8), a multi-timbral SGU
(MT-32 & occasionally a D-110), a MIDI-DISK unit (can save most
SYSEX messages), a MIDI MERGER/ROUTER/PROCESSOR (MX-8), 2 4 channel
mixers (Cheap Radio Shack units bolted to the top, next to the
sequencer, which is also bolted in place), an Analog delay unit,
a digital DELAY/PROCESSOR (REX-50) and a cheap (Radio Shack)
parametric equaliser. I still have 3 rack spaces open (Planning
on adding a D-110 as a permanent addition - currently, I only
borrow one when I need it & I also want a rack mount sterio mixer
for everything that's better quality than what I currently use).
These are used for my studio work & Live performances & there are
bits & pieces for VOCAL as well as synthesis. It's all pre-wired
and re-configurable (MX-8 lets me do this on the fly, or can be
done manually). I can add or subtract anything that I need & I've
changed it 5 or 6 times since January of this year. I use either
the ESQ-1 or a CZ-101 for data entry & I have the MX-8 cabled so that
it can drive the ESQ-1 (used for loading patches/sequencer) as well
as anything in the rack. I also have a spare 6 high rack that
will eventually hold PA and other MIDI gear.
I think that you'll find that no matter what you get in a 'combined
workstation' that you'll start wanting to add things, or
change things within the first 6 months of it's use. The ability
of MIDI to mix & match is simply too powerful to limit yourself
to a single manufacturer. There is nothing wrong with the concept,
it's not unlike the concept of VAXstations. The biggest issue
that I have is potentially getting stuck with a system that has
no future or a limited future, is crippled in some way (mediocre
sequencer, mediocre digital effects, etc), or will be eclipsed by
something better in the near future.
There are people out there that may disagree, but, I don't think
that there is a single solution for everyone & you have think about
what you want to do before buying anything (this MIDI stuff is
quite addictive & there seems to no cure beyond self re-straint).
The biggest advantage its that it has enough to start working with,
but you will most likely grow out of it.
As a side note, I don't have time to work much on creating patches,
as I'd rather make music. Some multi-timbral SGU's don't easily
allow you to change sounds & in my case (MT-32) that's not an
issue, I just use whats available to me. It seems to to work for
me (now it I could only get a rack mount CZ module...).
Jens
|
| Even though my circumstances are much different then Jens', I agree with his
ideas. I do however feel a workstation could be useful to the composer/musician
who wants something to take to the Cape/Hawaii/country to do brainstorming
type work or whatever when not in the main studio (when away).
Chad
also, many of Jen' ideas apply to non workstations. Upgrading components
can also leave incompatibility in its wake, etc.
|
| Workstations are also wonderful for gigging.
My SQ-80 serves as my keyboard, sequencer, data storage, system
controller, and configuration manager (it sends the proper patch
change information to everything in the system for each song).
Think of what I'd have to do if I didn't have everything in
the SQ-80:
o Buy a sequencer
o Buy more SGU's
o Buy a MIDI manager like the MX-8
o For each gig I'd have to disconnect the stuff, reconnect it
at the gig, disconnect it after the gig, reconnect it back
at my house
o I'd have to carry it all around
o I'd have to buy road cases for it
o I'd have to have to use more power cables, more audio cables
and more MIDI cables, and probably more damn wall bugs and
power strips (all this means more modes of failure, and more
noise).
o I'd have more stuff to break/insure/fix/understand/etc.
o I'd have to find more room (and power) on stage
I also have a modular system to "extend" my SQ-80, but I still think
that the way to start is to buy a workstation (SQ-80, ESQ-1, M-1, D-20,
etc. etc.) and then start going modular.
db
P.S. The SQ-80 is going to Martha's Vineyard with me next month too.
It has a headphone output, so it is ALL I need to do substantial
complete demos.
|