Badass synth parts in songs (starting with this one)

Micke · Post by **Micke** » Wed Jan 30, 2008 7:02 pm

Micke wrote:
gcoudert wrote:Does anybody know how Swedish band Secret Service achieved that 'voice' sound on "Flash in the Night" (1981/2)? I still find it amazing. I think they used a Minimoog, ARP Odyssey and Prophet 5 on the "Cutting Corners" album, but that sound is just unique.

Gilles

Secret Service - Flash In The Night video (1981)

FYI:

Prophet 10 = spacey lead sound & pads
Minimoog = 'sequenced parts' (though played by hand)
Linn LM-1 = drums

Hey Gilles,

I just had a brief conversation with Ulf Wahlberg again (Secret Service's keyboardist) and it turns out it was a Pro-One, not Minimoog, that he used for the sequenced part and bass on "Flash In The Night".

He also told me that he used a Jupiter 8, Prophet 5 and some early sampler whose name he'd forgotten (presumably an Emulator I?) on Secret Service's 1983 album "Jupiter Sign".

EDIT: Ulf just confirmed to me that it was an Emulator I.

cheers,
Micke

crystalmsc · Post by **crystalmsc** » Thu Jan 31, 2008 5:15 am

BlackGnosis wrote:Castles in the skyon the jp-8000 too =P

some nice music and JP supersaw action there

Post by **BlackGnosis** » Thu Jan 31, 2008 6:20 pm

crystalmsc wrote:
BlackGnosis wrote:Castles in the skyon the jp-8000 too =P
some nice music and JP supersaw action there

preset group 3 83 Our friend digit, turn off portamento and bump your release up a little, nudge the fine tuner on another sawform, and play with your compressor and eq and you got it EXACTLY like the songs hyper saws =3 not too hard either =P, this sound also works great with covering Vnv Nations "beloved" [3:25 BTW beloved is my current cover project, I'm making a more cheerful sounding one =)]

Synthprophet · Post by **Synthprophet** » Thu Jan 31, 2008 8:00 pm

When were at the supersaw, check out a track like 'DJ Scott Project - O (Overdrive)'.
Then there is also those deep and gritty acid lines as used in the Pump Panel Reconstruction of New Order's Confusion.
Interphace also used similar acidlines for remixes of DJ Timo's 'Strobe" and "Wildstyle DJ". It is still a mystery to me how this can be so powerful.

For the interested you can downlaod these Interphace remixes for free. I like the Swedish music culture

http://www.interphace.se/mp3/dj_timo_-_ ... _edit).mp3

http://www.interphace.se/mp3/dj_timo_-_ ... _edit).mp3

EDIT: Argh I can't make the links work as I want them to.

iProg · Post by **iProg** » Thu Feb 07, 2008 1:10 pm

What synth is the brass sound??

Oberheim?

roboctopus · Post by **roboctopus** » Sun Feb 10, 2008 5:46 am

Has anyone mentioned the wicked synth bass freak-out at the end of LCD
Soundsystem's track "Yeah (crass version)"? That's one of my favorite synth moments. I think I read it was done on Moog Taurus II pedals, of all things.

Hades · Post by **Hades** » Sun Feb 10, 2008 7:04 pm

BlackGnosis wrote:
Another one that comes to mind are the various old school synths in crystal methods "keep hope alive" [are the pads a Juno? what makes that awesome high pitch squelchy sound, my synth-stincts tells me its lots of filter-fun]

the pad sound is from a jupiter 6
the squelchy lead is a distorted TB303, no doubt. unless you're not talking about that squelchy sound but the high whistle-kind-of-sound that comes much further in the song.

I still love the Vegas album after all these years.
if I have to make my pick, it's "cherry twist". the break at 1:32, where the cliché-organ-like aah-stabs are coming up and they bring the distorded TB303 back in, and gently bring the drums back too.
it's such a gentle way to bring things back in after a break. so not done usually, very refreshing, even after all these years.
and of course "comin' back", brilliant song, but way less subtle than "cherry twist"

Hades · Post by **Hades** » Sun Feb 10, 2008 7:23 pm

and to whoever posted that link to corsten's "secrets explained" :

:occasion5:

very funny, especially if you speak dutch and you know what he's really saying.
one of the main reasons why I hate trance - next to the fact that it's most of the times so much using the same sounds over and over again - is that it has total lack of subtleness (if that's the correct word for it).
it's like you're watching a huge décolleté of some fake sillicone-b**b-b***h

fun for 0.3 seconds.
while a woman that dresses up elegantly, showing some skin, but leaving enough room for your imagination, will keep your attention way longer (since you're craving for whatever your eyes might discover later on in the evening)

Synthprophet · Post by **Synthprophet** » Sun Feb 10, 2008 11:31 pm

Hades wrote:
BlackGnosis wrote:
Another one that comes to mind are the various old school synths in crystal methods "keep hope alive" [are the pads a Juno? what makes that awesome high pitch squelchy sound, my synth-stincts tells me its lots of filter-fun]
the pad sound is from a jupiter 6
the squelchy lead is a distorted TB303, no doubt. unless you're not talking about that squelchy sound but the high whistle-kind-of-sound that comes much further in the song.

I still love the Vegas album after all these years.
if I have to make my pick, it's "cherry twist". the break at 1:32, where the cliché-organ-like aah-stabs are coming up and they bring the distorded TB303 back in, and gently bring the drums back too.
it's such a gentle way to bring things back in after a break. so not done usually, very refreshing, even after all these years.
and of course "comin' back", brilliant song, but way less subtle than "cherry twist"

According to VSE profile of The Crystal Method, that pad was done on a Juno-106 and the acidline was done on the Nordlead. It isn't surprising, as they used the Juno alot, besides that it was used in their early liveset. I also remember a video with their instrument technician telling that most badass screamy leads were from the Nordlead.
No matter what Vegas is an album full of "badass" synthparts

For my case it all started with 'Busy Child'. That mainline is pretty nice.

Hades · Post by **Hades** » Mon Feb 11, 2008 12:15 am

I've read the artist profiles on VSE many years ago (back in the days of the old VSE forums (anything before 2004, I came here around 2001).
I just ran into some interview with them a few years later where they claimed it was jupiter 6, and not the juno106.
in any case, don't believe everything you read on VSE (the artist profiles are ancient, as the prices), and
definitely don't believe everything I say
I'm not Micke (no offence micke !), so exact who did what with which piece of gear (running on which OS version) is not exactly a big interest of me.

in other words : I could be very very wrong

(I've been backing up files all day and re-installing/deleting tons, so my head isn't exactly up to much)
in any case, the pad sounds like something that isn't too hard to make with most synths (contrary to the distorded TB303 lead)
anyways, one thing I do remember very specifically :
you're correct about the nord lead, although they've said many times afterwards that it was the NL1 that gave them this edgy sound, and that the NL2 and 3 were way less edgy.
I remember cause I was seriously looking into buying a NL1 many years ago because I was so much into the Vegas-album.
that was in the days I was still into "who used what to make this or that album?"...

Synthprophet · Post by **Synthprophet** » Mon Feb 11, 2008 12:31 am

I don't really have any idea about if it was 60 or 106. Im purely going from the info on VSE and that they were always seen with the Juno-106 and Jupiter-6.
About the Nord, yes that's probably right, later they used the NL2 for live performances. I really like Scott's NL2 mess on Born Too Slow from Dance Star Awards 2004.

iProg · Post by **iProg** » Tue Feb 12, 2008 2:20 pm

Question for gear experts:

The famous lead mono synth solo in the song In The Cage from The Lamb Lies Down On Broadway by Genesis.

Minimoog or ARP?

Bobby92 · Post by **Bobby92** » Tue Feb 12, 2008 3:59 pm

It's an ARP Pro-Soloist.

Tony Banks never had a minimoog. In fact, the only Moog synthesiser he used was the Polymoog on 1978's "And Then There Were Three".

Mike Rutherford, however, used Moog Taurus pedals and ocassionally a Moog Source for bass.

Micke · Post by **Micke** » Tue Feb 12, 2008 7:12 pm

Yep, that would be the Arp Pro-Soloist. Tony Bank's was one of the very first keyboardists to use one in the studio and live.

He must have gotten this synth as soon as it came out since he used one on Genesis album "Selling England by the Pound" which was recorded in Aug 1973, just a few months after the Pro-soloist hit the streets.

According to several synths sites out there (including VSE) the Pro Soloist was released in 1972 but that's wrong. It probably went into production in late '72 but the first production units didn't ship until the spring of '73 or thereabouts.

Micke

JUGEL · Post by **JUGEL** » Thu Feb 14, 2008 12:45 am

Soundwave wrote:
Crispy Bacon by ole Laurent is another filthy bassline apparently a JD800!!

any proof to that?? I hope you're right... love that sound,. never would've thought.