since acquiring a tablet device some time ago, I’ve tried a lot of ipad synths, and I am not ashamed to say I have a very large collection of them, that is still growing steadily – and probably always will! 🙂
they tend to fall into three broad classes:
- category one – those that work to emulate normal synthesizers, and therefore, their main method of producing notes and chords is a “virtual” keyboard;
- category two – those that use an alternate method to produce notes and chords – in a serious number of radical configurations, some more successful than others;
- category three – other less easily defined interfaces – oddball devices / devices that use truly unusual methods of triggering notes and chords;
so – in our first category (by far the most populated, from what I can tell) you have keyboard-based synths ranging from animoog to xenon, including classic emulations of moogs and korgs (such as the iMS-20 or the iPolysix), other standalones such as addictive synth, alchemy, mini-synth pro or magellan, and second and third generation devices such as the amazing thor and the equally capable nave.
the second category is a mixed bag, with some good entrants, such as the strangely satisfying sound prism pro; then you have your cantors, your mugicians, and the like…they don’t have keys, but they have a single, straightforward way of producing notes and chords. but that is also their drawback – they only have one screen pattern, regardless how innovative.
in category one, some stunning advances have been made, and in the case of a keyboard-based synth like the mighty thor – well, this synth is almost a textbook case for how to build a perfect synth in ios – it’s just a dream to play, it sounds great, it looks great, and the developers deserve a huge pat on the back for what they’ve done with thor – it’s really incredible. if I want the best in a keyboard-based ios synth, I almost always turn to thor or nave, nave or thor, or let’s not forget the redoubtable iMini.
while I might go for one of those first, depending on the requirement, for another session, on another night – I might go for animoog (which has become quite the synth now that you can get the richard devine and other nice sound libraries for it, the metallic library is also fabulous) – so that’s a synth that has improved with the addition of new libraries, although of course, you do have to pay for them – or I might choose one of the korgs, or addictive synth, or cassini, or xenon or sunrizer. or let us not forget the mighty n log pro – a fantastic first generation synth.
I’ve been less impressed with the progress of category two and three synths, that is, until I decided to take advantage of a rare price reduction on the TC-11 synth a few days ago – and suddenly, all these attempts to use the massive screen of the ipad in a unique and unusual, yet totally functional and musical way – well, it all starts to make sense now! the designers / developers of TC-11 has done what the sound prisms and mugicians and the cantors could not quite do – they’ve created a synth with no keyboard, that is actually playable; that challenges the very need for a standard keyboard, and I found today, in making some test recordings, that it is entirely possible to play music with the TC-11 – despite the lack of a keyboard.
so the claim on the itunes store that the TC-11 synth is “the only fully programmable multi-touch synthesizer for the iPad” – would actually seem to be true! – I’ve certainly never encountered any other ios synth with the level of “under the hood” control that the TC-11 gives you.
the key is that there is no one solution, there isn’t one static screen (as there is with sound prism pro, mugician, cantor, and so on) instead, there is a different screen for each preset! and each patch is totally configurable, from the oscillators to the filters to sequencers to the effects to determining how the movement of your fingers affects auto-panning, total behind-the-scenes control.
I actually bought this synth thinking “OK, I am a guitarist, and I have a lot to learn about synthesis still, despite playing and working with them for more than a few decades; I will buy this, and I will sit down at some far future point, many months from now, and try to teach myself how to program it…” I expected it to be beyond me – and am pleasantly surprised to find that really, it’s not.
within seconds, I was playing, within minutes, music was emerging, even before I really understood what is going on with this remarkable synthesis engine, which is utterly and so beautifully configurable, you have access to everything under the hood, and I do mean everything – and this synth has just about everything you could ever, ever want – you are in control!
like any good ios synth, of course, it comes stocked with a healthy dose of presets; and from examining the way those are designed, I can begin to make my own connections and alterations and create fantastic patches of my own. I actually didn’t expect presets, I thought I would have to build all of my own, but the developer has spent some serious time and effort to give us some absolutely great sounding presets right out of the box – which also work as building blocks for sounds of our own that we will design later…did I mention that the synth comes with a fantastic set of presets?
when you play through some of the presets, you will see that not one, but several different screen configurations are used, based on various different geometrical shapes – commonly, a circular interface; fret like interfaces; and various alternate versions of several basic screens, none of them featuring a key of any size or shape! nary a white key or black note in sight – and that, in the case of the TC-11, is a good thing.
despite the lack of a keyboard, there is a somehow-obvious logic (that I can’t describe in words) and when you play each patch, well, sometimes, it just hits you how you should use your fingers, you might make a fist to create a really pure chord, or stretch two notes far apart to increase that amazing thick flanger – but the design of even these presets is incredibly complex, and you can get amazing and very musical results by variously:
- making a swirling circle with one or two or three fingers
- putting all five or all ten fingers down in a semicircle
- making a fist in the centre of the screen, and spinning it slowly around
- trailing a single finger from one corner of the screen to another corner
- tapping out individual notes just as if you had a keyboard, but – you don’t
- moving the entire ipad in various directions to effect the sound as you hold fingers on the screen
- playing the screen like a typewriter
- any combination of the above
- using your imagination – just try it…and hear what it does to the sound !!!
…in other words, almost any gesture that you can imagine, made with finger, fingers, the fingers of two hands, the backs or sides of your hands…will produce a distinct result within the parameters of that patch, and some of the effects are extreme and wonderful – especially in the world of auto-panning, a lot of work has gone into the panner, not to mention some beautiful delays and flangers, too.
I imagine that you could put your forehead down on the screen, and something beautiful would come out of the TC-11. 🙂
so now – what I suddenly have here, is a superlative touch control interface synth that I can already play. with some rehearsal, and some knowledge of how to get the best out of some of the best presets, and I should be able to play it live, anywhere, without issues. so when I want to move from playing thor, and the world of the black and white, the tradition, playing those 88s in which ever mode I find them on whichever category one synth I am playing…
…to the world of total freedom, where one patch is all about circles and chords, another, about fretless dub bass with sonic qualities you will not believe, the next, an abstract plane of rectangles that fades into the top of the screen in an endless, fading curve, which defines your “playing field” for the next patch – it’s fantastic, a fantastical world of sound that is one of the most exciting I’ve heard, touched and seen, in a long time – the TC-11 is the real deal.
playing it is very, very liberating, the only experience I can compare it to, was when I first got my korg kaossilator, and I realised that after forty some years of making music with either frets, or keys – that I could make GOOD MUSIC without the benefit of keys or frets – well, it’s a similar feeling – and a wonderful, freeing one I can tell you.
I can make that comparison easily, because when I started out with the koass pad, I had no idea what would happen, and to my everlasting astonishment, with one day of practice – I could make music – without those pesky keys or frets or strings!
same thing with the TC-11 – within minutes, I could make music, even though the interface was completely alien to me, after a few minutes, I could begin to pull tunes out of it – which surprised the heck out of me, because with other category two and three synths, like sound prism – OK, you can get some nice chords and melodies out of sound prism – but you don’t get what you get with the TC-11 – beautiful, rich, synth music – with a really, truly unique playing surface, which is really, really fun to play – with a beautiful synthesis engine powering it, giving you the power to configure each patch to suit the way you want to move your fingers, to create the sounds you want to hear when you use that patch – total control, including the playing surface.
and, with the total configurability of the TC-11, even the most demanding, experienced synthesist should find the kind of control they crave for their patches – total control, and playing without keys, finally got truly do-able.
so if you enjoy the challenge of playing the synthesizer without a keyboard, using a variety of approaches for note and chord generation, and you want a totally configurable synth with a powerful engine that you can tweak to your heart’s delight – then the TC-11 is the category two synth for you! give it a try – I am finding it to be very, very addictive – it’s just a LOT of fun to play, and trying out different gestures to see what sound will result is a real hoot, and sometimes a new gesture will bring out an amazing sound out of a patch you thought you knew everything about – it’s full of surprises.
I took a bit of a risk in purchasing this, thinking it was far beyond me, but that risk has been rewarded a thousandfold, and what I have with the TC-11 is a fantastic tool for both live performance and recording – and a tool I know I will make a lot of use of in the years to come. the TC-11 is a winner with me – a real winner.
you may want to give it a try – I am so, so glad that I decided to give it a go – because boy does it ever go! 🙂