Technical Innovations
Cann and his technicians were among the first to modify commercially available rhythm units or drum machines, so they could alter and override the preset manufacturer programs. This is notable on "Hiroshima Mon Amour", from the album Ha!-Ha!-Ha!. When Ultravox were recording Vienna, Cann's electronic ventures would become important for the Ultravox sound. The acquisition of a Roland CR-78 proved something of a headache for Cann, as he saw great sonic potential in it, but it had limited pattern programmability. In the process of adding some much needed practical customisations to the CR-78, Cann became somewhat persona non-grata at the Roland headquarters in the UK. This did not stop Cann from carrying out his plans, and the result proved to be a key factor in the overall sound of their signature hit song "Vienna".
The initial reaction to the usage of drum machines led to bewilderment among the audience, who wondered what Cann was doing during some songs. Among claims that he was doing nothing, he decided to equip his drum machines with clear perspex cases instead of wood panels, and mount a variety of LEDs inside them as a feature Cann himself described as "absolutely useless, but very impressive looking on a darkened stage; now it would be obvious I was actually doing something." (From Jonas Wårstad's interview at Discog)
In addition to his drum machine work, Cann designed several modifications for bass player Chris Cross' Minimoog, among them a primitive sequencer made from a series of toggle switches to add syncopation to the synthesiser's ability to create a stream of eighth notes, and a proprietary triggering system that allowed Cann and Cross to synchronise the Minimoog with Cann's drum machines, a feat performed almost three years before MIDI was officially introduced in 1983. According to Midge Ure's autobiography, when the Minimoog broke down on tour, Ultravox borrowed one from The Cars, but it didn't help as it lacked the proprietary modifications.
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