Another day another jam. This one features arpeggiated bleeps and bloops from the highly underrated Sequential Circuits Multitrack. I enjoy this synth because it is physically compact, straight forward in it’s layout, and has a very solid versatile sound quality over all. It’s internal sequencer can hold 4 sequences of 6 parts each and is easy to sync to sequencer clock. If you plug your sequencer clock into the tape input and put the tempo knob all the way to zero the synth goes into external clock mode. Pretty slick! All you need to do now is start it in time with your drum machines and you are off. If you are slightly tricky you can record your parts to the internal click track and quickly stop recording on a whole measure. this way you can loop your sequence along to your other instruments indefinitely! The internal arpeggiator is also cool because it will do standard up down or in order played.
PS: this is what i do with the DSX sequencer as well. If you keep it in loop mode it will just start from the beginning when you punch out of record. The Oberheim DMX is locked to the same clock and just playing along with the multitrack.
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- Un-springed wheels are a minus but the sequencer is great fun for sketching or improv.
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- The Parameter matrix. Similar to the SCI 6 Track and SCI Split 8. Maybe it doesn’t bother me because i learned sampling on an Akai sampler…
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- This controls the Voice Mix outs. The individual outs are before this mixer. The chorus is pretty useful too, It’s no Roland Chorus but it helps!
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- Individual outs is a cool feature, and the Chorus is stereo on the master outs.
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- Upcoming project : IEC jack and internal power transformer
Side notes:
1, I always hoped to find another dead Multitrack so i could make one of these.
2, I did a quick demo of the Multitrak when i picked it up. All sounds were generated by and played from the internal sequencer at the same time out of the individual outs on the back. For instance i made a patch that was a ‘kick’ sound which was track one, a ‘snare’ patch for track two, ‘bass’ for three, ‘pad’ for 4, and lead bloops’ were 5.
3, Note the velocity sensitivity on the snare patch. There’s not many too MIDI Velocity Sensitive true analog synths from back then!
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funny minimal waves…
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