In his upcoming interview for the March issue of Keyboard magazine (on newsstands February 16, 2016), synth-master Jordan Rudess explains what he's looking for in a solo patch.
Jordan Rudess (Photo by Nidhal Marzouk)
"Very often when a keyboardist simply chases a guitar sound, it’s just not going to be as cool. Not if you’re simply trying to imitate a guitar. Luckily, I feel that in my role as a synth programmer, I’ve created-slash-stumbled-upon some sounds that have impact and totally work in a rock lead context. Given the makeup and style of Dream Theater, I need something that’s going to fly over the mix—you could think of the whole band as the guitar domain.
"I’ve never really found stock sounds on any synth that suit that purpose. I have sounds I made when I played Kurzweil technology, which I brought into the Korg realm. Currently, the joystick on my Kronos brings in different harmonics, the two assignable buttons bring in two more, and the ribbon control brings in a sub-octave plus a little more grunge. So it’s not meant to sound like a guitar, but to be as effective as one in the world I live in, not to mention playable with the articulation controllers my gear provides."
To read the complete interview with Jordan Rudess, where he talks about the latest Dream Theater release and his recent solo CD, don't miss the March 2016 issue of Keyboard magazine.
Jordan Rudess shares what it's like to play alternative controllers such as the Haken Continuum, Roger Linn Design LinnStrument, and the Roli Seaboard.
Check out the trailer for Dream Theater's new rock opera, The Astonishing.
See an extended solo by Jordan Rudess onstage with Dream Theater.