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Synthés dans la variété internationale dans les années 70 et 80.

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Sujet de la discussion Synthés dans la variété internationale dans les années 70 et 80.
Je fais un honteux copié-collé du post de Renaudg :

Citation de renaudg :
Salut,

Je me suis souvent demandé quels étaient les synthés de prédilection sur un certain nombre de tubes 80s en variété/synthpop internationale qui ont quelques riffs mémorables.

Toutes infos bienvenues :)


Alors on commence par celui-là.
Pro-one pour la basse et le synthé.
Pour le rythme j'entends divers sources : TR-808 + ARP 2600 ou TR-808 + Pro-one

Liste des prix des synthés neufs dans les années 70 et 80

Afficher le sujet de la discussion
6011
Steve Jolliffe (Ex-tangerine Dream), juillet 1984, pour Electronics & Music Makers.

Partie 2 : A new set up, 1984

After the completion of "Journeys", Steve set about re-equipping his studio and moving it from its previous resting place at Bruton, Somerset, to London. He's now the proud owner of a Tascam 38 eight-track tape machine and matching mixer, a Yamaha DX7, a Roland JX3P, and a Boss DE200 digital delay line. It may not be the biggest synthesiser studio the world has ever seen, but it fulfils his needs admirably.

'Moving on to the eight-track was a logical step to make, and as for the keyboards, it was almost inevitable that, sooner or later, I was going to get tired of the Pro One and aim for something bigger and better.

'As soon as I heard about the DX7 and what it was capable of doing, I knew it was what I wanted. I see it as the first electronic keyboard that's really professional in everything it does, though I will admit that programming it is a real headache. I really do think there's too much going on inside the machine for the human brain to cope with, especially as the display lets you see so little of it.

'I'm looking forward to getting a CX5 computer, because I near Yamaha have got some software that displays all the DX parameters on screen. That's definitely something the DX series needs: a better visual representation of what's going on.

'Before I got the DX7, I had a brief spell with a Roland Juno 6, which I liked for much the same reason I liked the Pro One - it hasn't got any presets. I soon realised that the DX7 wasn't as good at supplying the great spreads of sound I was getting out of the Juno, so I set about looking for a synth that could not only do that but would also link up to the Yamaha using the MIDI, and that's how I got the JX3P.

'I've had no problems connecting the two together, though I have heard of some people who have; in general I think they complement each other very well. The only thing I am a bit worried about is what may happen when I get a CX5, because both my keyboards are very early examples and I'm not sure whether the MIDI specifications will be the same: if need be I'll have to get the keyboards updated to bring them into line.'

L'album qui en découlera sera 'Beyond the Dream".

La playlist de cet album:
https://www.youtube.com/playlist?list=OLAK5uy_kNIBlnsawhAnqxnsJD5_0y3Pl_et_NUbk
OS02MjM2LmpwZWc.jpeg

Liste des prix des synthés neufs dans les années 70 et 80

6012
Citation :
I will admit that programming it is a real headache. I really do think there's too much going on inside the machine for the human brain to cope with, especially as the display lets you see so little of it.

'I'm looking forward to getting a CX5 computer, because I near Yamaha have got some software that displays all the DX parameters on screen. That's definitely something the DX series needs: a better visual representation of what's going on.


Voilà. Vive les presets et les banques de sons.

Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?

[ Dernière édition du message le 22/03/2024 à 21:01:12 ]

6013
Steve Jolliffe (Ex-tangerine Dream), juillet 1984, pour Electronics & Music Makers.

Partie 3 : Computers 1984

'I'd also like to see an alternative method of presenting the information, though that may be not quite so easy to achieve. I do feel that terms like Operator and Algorithm aren't really going to be understood by a lot of musicians, and my personal ideal would be to have a display that would have diagrams of different musical instruments in different corners of the screen, so that if, for instance, you wanted a sound that was a cross between a flute and a violin, you could move a cursor between the two and get hold of it that way. In general I think I'd like to see technical terms translated as far as possible into musical ones.

This brings us nicely on to what is rapidly becoming Steve Jolliffe's pet subject: the role of computers in modern music.

'Yes. I'm very, very excited about them. I'm looking forward to almost every aspect of what computers can do for the musician. I like the idea of using a Music Composition Language, and I love the prospect of being able to edit sequences so precisely. I'm also keen to use computers as a sound source and to start modifying them from scratch, because there would seem to be almost no limit as to what they can do. If there is one thing I'm not quite so interested in it's sampling, which is odd because that's what almost everybody else is talking about. There are two reasons, really. First of all, most of the samples I've been exposed to have sounded a little bit impure - I think you can always tell they're not the real thing - and the second thing is that I have a feeling that in time sampling itself won't actually be necessary: you'll be able to generate virtually any sound using FM or PCM techniques, starting with electronics from scratch.

'I can see myself becoming, in the not too distant future, more a computer programmer and operator and less of a keyboard player, though obviously I don't want to drop keyboards altogether because I still enjoy the physical sensation of playing them, in just the same way that I still get a lot out of playing sax and flute. Mind you, I am very excited about the prospect of a lot of different musicians owning something like a CX5 and writing different sorts of software for it - just think of the possibilities it would open up.'

Partie 4 : live 1984

'Well, you've guessed it. I'm very very excited about playing live again. I think what happened was that I had so little control over what went on at the Dream gigs, I lost my taste for playing live, and it's taken this long for me to get it back. The set I've devised is designed primarily to be a solo one, but it's flexible enough for me to play with Joji or with Tony Duhig on a particular occasion if I want to. I'm hoping this year's concerts will be successful, because I'd like to do some next year as well. I'm now so in love with the idea of playing live, I've started writing new material with live performance in mind, which is certainly something I've never done before.

'You see, I see myself primarily not as a composer or musician in the strictest sense but as an environment-maker - somebody who translates emotions into musical landscapes. I see live performance as being a very important part of that now, just as I see computers as playing an important part in shaping the way I create those environments in the first place...'

Steve Jolliffe plays the Festival of Mind, Body and Spirit, Earls Court, London, July 6, and Westwood Festival, Bradford-on-Avon, Wiltshire, August 11.

Liste des prix des synthés neufs dans les années 70 et 80

6014
Oui, pour le DX7, il existe des milliers de sons et une cartouche Hypersynth Hcard 702 qui permet d'accéder à 6400 presets.
:boire:

Old School et Electronica

Deux filles Arc en Ciel

6015
Citation de Maxxou32 :
Oui, pour le DX7, il existe des milliers de sons et une cartouche Hypersynth Hcard 702 qui permet d'accéder à 6400 presets.
:boire:


T'imagines ça à la fin des 70's? Un bidule qui te donne 6400 preset quand tu le branche à ton synthé?
Mon dieu, combien nous aurions perdus en merveilleux patchs crées à la force du poignet...

Liste des prix des synthés neufs dans les années 70 et 80

6016
1974, un OVNi nous déboule dessus : Gino Vanelli. Ce Canadien propose un mélange inédit d'une voix puissante et sensuelle sur des arrangements (de son frère clavier Joe) majoritairement joués aux synthés et claviers, et une influence jazz dans une pop chiadée et originale. Pour moi, ce fut un choc et si des chansons comme Felicia, Where Am I going, Brother to Brother restent gravées dans ma mémoire, je vous livre celle par qui j'ai découvert le phénomène
6017
Tout pareil ! :bravo: People Gotta Move, mais aussi Powerful People !


Avec les basses au Moog ou à l'Hammond... :bave:

Quelques démos de synthés, des vieux mais pas que... 

6018
Aperçu du MC8:

Le plus majestueux des chênes n'était autrefois rien d'autre qu'un pauvre gland...

 

transmission-soundcloud

 

6019
Terry Manning, ingénieur du son, nous parle de l'enregistrement de "Legs", de ZZTOP.

Note : le titre a été enregistré en 1982, donc avant la sortie du DX9, bizarre...

"There are a MILLION more things which could be told about this distinctive album, but as mentioned, most of it is probably better left unsaid. But one interesting thing, at least to me, was the recording of "Legs." We had tried it a couple of ways unsuccessfully at Ardent, so I decided to try a new approach. I had a 24 track studio in my attic at home, so I took Billy's lead guitar and vocal home on a 1/2" two track L/R ("samples"). I recut the entire track myself, and then hand flew in Billy's parts onto the track. This meant careful timing of the play button on my MCI 1/2", for each and every phrase, as after a few seconds, they would drift out of sync. I mixed it there through my Soundcraft 1200 console (these were also the mic pre's) onto the MCI 1/2". The multitrack was also the Soundcraft 2" machine, which I really loved. Then I did a totally different version, which became the long "dance mix" later released to clubs, and it is now included in the new box set. Later, I saw a review of this dance version credited, to Jellybean Benitez ...go figure!


The drums were a combination of things. There was programming, on my Oberheim drum machine, and then a multitude of samples triggered in over the snare as well, using an AMS DMX, and very carefully manually trimming the input volume to catch every beat properly. The hat was a sound from the Oberheim mixed with some sampled things and some white noise, then gated and triggered from an arpeggiated spike. Then I one-at-a-time overdubbed certain other drums, some toms, and definitely cymbals. On some of the tracks of the album, I added to the tom sounds with a Simmons electronic kit, just barely mixed under the real ones, for tom 'fatness.' For the rest of the music track, a lot of it was programmed (step programming!) in my MemoryMoog. There was just barely enough memory in it to get a few things, then I'd have to re-program and punch in. I remember on one arpeg-16th sound, there was enough memory to do the whole song, but not to add any chord changes. So I would use a cassette case to hold down the tonic key (wedged in place using the F# black key as a 'holder') and then make the temperament changes with the detuning wheel. Not very easy, with the high technology available back then, but it forced you to be creative! I had to set the amount of detune for one change, then record the two passages, then re-set it for another change, start from the beginning every time, and punch in on the right spot. It took forever! The bass I played manually on a bass instrument, then doubled it in the manner mentioned above with the Moog. The rhythm guitar I played normally with a guitar, run into a Marshall head, then into my Harbinger speaker-booth-box (Ronny Montrose design out of SF). The pads and angel voices came from a Yamaha DX-9...I didn't want to spring for the whole cost of a '7'! The background vocals were done by me and Jimmy Jamison (who is now lead singer for Survivor, and can be seen on a new ad on TV, I think for Gateway or something like that). Jimmy did a lot of great BV's for me over the years. He can sound like whomever you put him with!

I mixed "Legs" from my Soundcraft 2" 24 track, through my Soundcraft 1200 console, onto my MCI 1/2" two track...I still have and use that 2 track today. Works like a hay baler, but actually records well...it's the tranformerless electronics version. The Soundcraft stuff I sold to Sun Studios, who put it into the famous old building. U2 recorded "Angel of Harlem" on it!

Liste des prix des synthés neufs dans les années 70 et 80

[ Dernière édition du message le 25/03/2024 à 20:50:24 ]

6020
La soirée "Die 80er live 2024" a eu lieu au stade couvert de Gelsenkirchen en Allemagne, il y avait 44.848 spectateurs.
Au moins il a chanté en direct!

Liste des prix des synthés neufs dans les années 70 et 80