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Alexcremers

The Amazing Electronic Music Thread

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3:10 to the end. Any insights on what synths these might be, or what Newman uses in general? Sounds a bit like what Oldfield used on The Songs Of Distant Earth.

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tedfud's an ace at this. From him I learnt that the MoS World Engine effect was created by a kind of distortion through waveshaping controlled by a fast LFO (similar to the famous Reece Bass and certain Dubstep sounds), plus plenty of DDL and autopan.

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I'm pretty adept at hardware synths but I'm still in the midst of the software synth learning curve. More or less have the hang of all the built-in Logic synths.

Now trying to master Zebra2. Maybe I'll go over to VI-Control and see if Hans will give me a tutorial.

I've been listening to this a lot lately. Great Eno type stuff. I've just asked the (infamous?) composer what gear he used for this. I reckon it's all probably custom made, like his sample libraries.

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I have pics of me in ladies clothes, but those are private.


Fans of electronic music, this is the thread you have been waiting for! We can discuss the music, composers, musicians, equipment, synthesizers, samples (orchestral and electronic), ... you name it! Who and what are your favorites? Why do you like it? Why don't you like it? A certain sound in a pop song? This is the place to ask or to share.

Even if there was a precursor to this thread, this new one overwrites the old one.

Okay, I'll start the thread with a very strange and beautiful album: Sonanza (1975) by Roberto Cacciapaglia. It's strange because it's a hybrid of orchestral and electronic. The combination of the dark and the romantic has affected me deeply when I was a youngster.

Looking forward to your contributions!

Alex

Alex I'm just listening to this now. It's really wonderful.

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FM? What's that? Frequency Modulation?

Yes, Frequency Modulation. Great for anything from bell or gong-like like tones, organ-y tones, strange bird calls, glass harmonica-y pads, metallic basses, and those synths farts in Jerry's RAMBO scores.

That's FM synthesis (with plenty of filtered white noise) right at the beginning, with the exception of the kick (the low 'thud), which is probably just a low sine wave with a fast envelope.

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Let's not forget FM also stands for Guest2's most hated sound:


Have you ever played a Fairlight?

Yes, a friend of mine had it when it was hip and extremely expensive. I never forget the 8 inch floppy disks and some of the sounds on it!

8-inch-floppy_zps9acf0012.jpg

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One of the greatest electronic records of all time. AoN were shite without Anne Dudley - she was the only musician in the group. It's like when Alan Wilder left Depeche Mode.

Another favourite Fairlight album is Peter Gabriel's Security.

Never got into Genesis or Phil Collins, but I like some of Gabriel's solo stuff.

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Regarding the SPEED clip, there's a fair bit of 90's Zimmer in that. The glockenspiel-type sound, for example, and the seething strings, sound like they could have come right out of BEYOND RANGOON (one of my fav scores of all time).

But in terms of non-film music, I'm not too sure. I'll have to think about that.

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I know some of the percussion was sampled (from smashing shit up at a construction site IIRC), but was the brass?


Regarding the SPEED clip, there's a fair bit of 90's Zimmer in that. The glockenspiel-type sound, for example, and the seething strings, sound like they could have come right out of BEYOND RANGOON (one of my fav scores of all time).

But in terms of non-film music, I'm not too sure. I'll have to think about that.

Thanks, that's the kind of response I was after. Maybe this is a uniquely late 80s/early 90s film music thing, with no parallel in pop? Would be interesting if it was the case.

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One of the greatest electronic records of all time. AoN were shite without Anne Dudley - she was the only musician in the group. It's like when Alan Wilder left Depeche Mode.

Another favourite Fairlight album is Peter Gabriel's Security.

Never got into Genesis or Phil Collins, but I like some of Gabriel's solo stuff.

"peter gabriel" was the first album to use the Fairlight extensively. If you can, watch the "Southbank Show" documentary about the making of the record, which was aired in 1982.

What is the clip that you posted (sorry, but I cannot access it)?

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One of the greatest electronic records of all time. AoN were shite without Anne Dudley - she was the only musician in the group. It's like when Alan Wilder left Depeche Mode.

Another favourite Fairlight album is Peter Gabriel's Security.

Never got into Genesis or Phil Collins, but I like some of Gabriel's solo stuff.

"peter gabriel" was the first album to use the Fairlight extensively. If you can, watch the "Southbank Show" documentary about the making of the record, which was aired in 1982.

What is the clip that you posted (sorry, but I cannot access it)?

'Shock the Monkey', which helped popularise the Fairlight's distinctive sound to a wider audience.

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I love SESSIONS 2000 (a very "autumny" album) and GEOMETRY OF LOVE (a more "summery" album) -- two rather experimental albums from Jarre, and a far cry from TEO & TEA.

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I love SESSIONS 2000 (a very "autumny" album) and GEOMETRY OF LOVE (a more "summery" album) -- two rather experimental albums from Jarre, and a far cry from TEO & TEA.

Ugh! Don't, I said don't, get me started on "Teo And Tea". Plastic, souless music for a plastic, souless generation.

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I love SESSIONS 2000 (a very "autumny" album) and GEOMETRY OF LOVE (a more "summery" album) -- two rather experimental albums from Jarre, and a far cry from TEO & TEA.

Ugh! Don't, I said don't, get me started on "Teo And Tea". Plastic, souless music for a plastic, souless generation.

Even Jarre himself is displeased with that album. There are some good tracks on it, IMO, but overall it's a bit too 'chart friendly' and a bit of a departure from the more experimental style in those other albums.

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I know the whistle sound was as combination of an Emu Proteus preset and Snow's wife whistling, but what about 3 of the other elements:

- The delayed triplet drum hits
- The bass
- The delayed triplet keyboard line

The Synclavier system may be at the heart of the studio, patched through a Soundcraft Sapphyre LC mixer, but that's not it for "MIDI boxes", as Mark refers to them: the studio also accommodates a Roland S760 sampler, Kurzweil MicroPiano module, an Emu Proteus 1, 2 (source of the famous X-Files whistle, in combination, apparently, with a sample of Snow's wife whistling!) and 3, Emu Morpheus, Korg M1R and Wavestation SR. But these are adjuncts to the core sound produced by the Synclavier and its large library: "I have all these great samples on the Synclavier's magneto drives." Mark doesn't do much sampling of his own: "There are so many sample disks available that I have people transfer them onto Synclavier format." And is there anything else he'd like to add to the studio? "Well, the only thing that means anything to me is new sounds or new combinations of sounds. All I care about is if somebody has a great new sound library. That's what I'm looking for. Since my background is music, rather than electronics and technology, I just know as much as I have to. There are so many other composers who know about sampling rates and all that technical stuff, but none of that really interests me. So apart from new sounds, I could maybe upgrade the RAM and the number of voices on the Synclavier..."

http://www.soundonsound.com/sos/1997_articles/feb97/xfiles.html

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an Emu Proteus 1, 2 (source of the famous X-Files whistle, in combination, apparently, with a sample of Snow's wife whistling!)

For all those who tried, that must have been a tough sound to replicate

Anyone want to venture an analysis of the gorgeous synth that opens this piece?

My guess it's either Omnisphere, Atmosphere or a preset (of the glass pad type) of one of the countless pad collections for Kontakt.

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