Philip Glass

At :25, Philip Glass is playing a Sequential Circuits Prophet 5.

"The best string sound is a composite one. We'll use a sound from the OBX, then combine it with the Prophet 5 and the DX7. No one company makes a perfect programme. I prefer real people, but the synthesisers can definitely do things that real people can't. We can smooth out a string section. We'll take a string section with 12 strings, and put our MIDI'd-together string sound and we can pump that out to sound like 28 strings. The Mishima soundtrack is a good example. That's a small section, maybe 18 strings, but you listen to it, it's gorgeous."

"The best string sound is a composite one. We'll use a sound from the OBX, then combine it with the Prophet 5 and the DX7. No one company makes a perfect programme. I prefer real people, but the synthesisers can definitely do things that real people can't. We can smooth out a string section. We'll take a string section with 12 strings, and put our MIDI'd-together string sound and we can pump that out to sound like 28 strings. The Mishima soundtrack is a good example. That's a small section, maybe 18 strings, but you listen to it, it's gorgeous."

"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."

"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."

"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."

"But now I've got an Emulator and an Emulator II, two DX9's, an Oberheim, a Prophet, a Roland JX3-P and so on, and I'd say at this point that the synth has a generic sound of its own; when I wrote parts for the synths I used to write "woodwind" and "brass" to indicate the kind of sound, but now I tend to just write "bass synth" or "wind synth" because they have sounds of their own. And even when you think you're hearing an acoustic instrument on the albums there's a synth doubling it an octave below, which gives you a bigger bottom end."

So Glass, who had a conventional classical music training before becoming influenced by Indian music and studying with Ravi Shankar, was quick to take up the opportunities afforded by electric keyboards (originally Farfisa organs and ARP Pro Soloist synths) on his earlier records such as Music in Similar Motion (Chatham Square), Music In Twelve Parts (Caroline) and North Star (Virgin). So why haven't other classical musicians followed his ideas of "extended instrumentation", overdubbing and multitrack recording?

Michael Riesman (longtime Philip Glass Ensemble Musical Director) says "When I joined, the keyboards consisted of 3 Farfisa Mini-Compact organs. That was it. Over the years of my involvement, the Ensemble went through a series of migrations to new hardware. The first was the replacement of one of the Farfisas by a Yamaha YC45-D dual manual electric organ, a wonderful machine with touch sensitivity and adjustable percussive attack."

Also in Philip Glass' book, Words Without Music, Philip goes into detail about finding Farfisas in classified sections and the like, "I picked up three Farfisa electric organs for two hundred dollars each from the Buy-Lines. This kind of used keyboard was easy to come by. Usually a few weeks after Christmas they could be found for sale. I always found them, without exception, in a knotty-pine paneled basement in Queens."

Philip Glass' Looking Glass Studios features "a 48-track G Series SSL console; Otari 2-inch, Pro Tools and Logic/G4 recording systems; and plenty of outboard boxes."

Philip Glass' Looking Glass Studio features "a 48-track G Series SSL console; Otari 2-inch, Pro Tools and Logic/G4 recording systems; and plenty of outboard boxes.

Philip Glass' Looking Glass Studios features "a 48-track G Series SSL console; Otari 2-inch, Pro Tools and Logic/G4 recording systems; and plenty of outboard boxes."