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

Sur le post plus haut c'est ton matériel Synthwalker

Citation de Synthpunk :

Sur le post plus haut c'est ton matériel Synthwalker

oui

Le Korg qu'on voit au début, c'est un Polysix il me semble non?
7 juillet 83 ça le fait, il est sorti au maximum en novembre 81 au Japon.

Voilà le plus large plan que j'ai pu choper sur la vidéo.
Il me semble y voir un PPG Wave 2.X (probablement relié à un Waveterm)

Sur les vidéos de concert on voit bien le Jupiter 8 pour ce son

Synthwalker

Je comprends qu'ils se soient séparés, c'est vraiment de la grosse daube (on les a connus en meilleure forme hein)

Trouvé !

Dans cette video du même concert live 1984 complet, le mystérieux clavier sous le DX7 et au dessus du Jupiter 8 est ....un autre Jupiter 8 qui fait bien le son "éléphant" . Avec son comparse claviériste qui lui aussi a un jup 8, ça fait 3 jupiter 8 sur scène !
correspond bien aux notes jouées Fa#/Fa/Fa#/Do#/Do#

Citation :

Synthwalker

Le Jup 8 a aussi un flanc fin

à partir de 36:18 ...

Talk Talk's brilliant keyboardist and lovely fella, Ian Curnow, answers your questions below. 30 years have elapsed since he joined the band! Apologies if your question was not asked. Many thanks Ian- some fascinating insights...

Please share with fellow Talk Talk fans...

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1: Please can you explain us how Mark and you composed the instrumental version of Does Caroline Know live ?

The strictly composition part of the exercise would have been Mark, I would simply have put together the arrangement with him I suspect. From memory, it would be based on the album version with obvious compromises due to the limitations of performing live. That was the general principle for taking the tracks out on the road.

2: Ian performed some of 'Happiness is Easy' at the Duxford soundcheck, was that song ever in consideration to be played live at some point ?

I think it was, but maybe it proved a little to difficult to pull off live. I may have been trying out some of the ideas for it. I really don't remember, again. Boy, what amazing memories some of you guys have! Incredible! All I remember about that gig is how long the echo of the room was, everything we played seemed to carry on till the day after!

3: whose idea was it to use animal sounds/samples on Its my life/Such a shame?

I don't really remember. I synthesised them on the Jupiter 8. It was probably an experimental session and I think I hit upon a sound rather like an elephant, then between Mark, Tim FG and myself we probably went with it as an idea. Apologies if that's a bit vague...

4: how much synth work on Its my life LP was written by Mark & Tim and how much by you ?

Tim started the album with Mark, then once I came onboard I did most of the rest of it. I'd say 60/40 or 40/60, either way..?

5: What was the first synthesizer you owned?

Crikey - it was a Trancendent 2000, a kit from an electronics magazine, put together by a genius friend of mine. Only played one note at a time, and needed patch pins to connect everything together before it made any sound at all.

6: What were your first thoughts when you were asked to play for Talk Talk?

When asked at first, I suppose I thought nothing particular of it. I was a busy session musician and I assumed it would be just another session really. Once I got there and heard what was going on I was was pretty excited. I thought I'd found my perfect band...

7: Would you kindly describe the process of a day's recording session with TT? I understand it became increasingly improvisational but curious how one guides improvisation toward arrangement.

Talk Talk aren't unique by any means in being improvisational. That's pretty much what we all do in a studio most days, improvise. All I do is mess around until I like the sound of something, then try and perfect it. Over the years I've learned to guide my own inspiration towards making something useful, at least I hope so. I'm now doing that more and more for others, guiding their inspiration. I'm developing a new band called Hardactors (Radiohead meets Muse meets Coldplay meets Foster The People meets Kaiser Chiefs) and I find that extremely rewarding.

8: of my favorite sounds were the main synth line on It's My Life, the shriek sound similar to an elephant on Such A Shame, and the lead synth on It's You. What keyboards/technique did you use to get those sounds?

Not entirely sure what the main synth line on It's My Life is, but the main organ / pad sound on it was probably Tim, on an Oberheim OBMx, but most the others were me on a Roland Jupiter 8, except one we called Tugboat (the 2 note deep blown sound on the verses, that was Tim again on OBMx)
The The Elephant was using one oscillator that rose and dropped in pitch, while being cross modulated by another oscillator which makes the pitches of oscillator one sound as harmonic distortion on the sound of oscillator 2. That's basically it, anyway.
Again, I'm not really sure what you refer to as the "lead synth" on It's You. The organ / pad synth from the bridge is a similar OBMx combination to It's My Life I think, from TIm. The 5ths lead synth after the first chorus and under verse 2 is as derivative of one of the JP8 sounds I used to use distorted for the guitar parts, a kind of bell sound but without the distortion. I think it features on The Last Time too, or another derivative of it. The solo was done on a similar sound to the main chorus line in Such A Shame, more cross modulating oscillators but without the pitch changing so drastically, just used to give a distortion to a more controlled pitched sound. Underneath that is another of the bell like sounds I used for guitar parts, this time distorted through a guitar amp and then sent to a PA rig and recorded in the room like that.

9: How do you feel about your collaboration with 'Lights' on 'Living in Another World'?

Absolutely terrific. She's a real talent, and the timing was just right to hook up with Darkstars. We saw her play live in London just after doing the track, which was great.

10: What was it like working on 'I don't believe you' for the Spirit of Talk Talk album, and in particular working with David Rhodes again?

Absolutely great to work with David again. Never managed to meet up this time but had some delightful emails and remote musical interactions. He's such a talented musician and such an absolute gentleman, and a gentle man. He always manages to play things that are just "in the pocket" for what's needed. Thoroughly decent bloke.

Hope that's some use Toby - apologies for the fading memories..

Cheers,
Ian

Oui il y a l'ARP (accordage pénible au début de la vidéo ci-dessous) mais surtout le Memorymoog qui se met à délirer en plein concert

Trouvé !
Dans cette video du même concert live 1984 complet, le mystérieux clavier sous le DX7 et au dessus du Jupiter 8 est ....un autre Jupiter 8 qui fait bien le son "éléphant" . Avec son comparse claviériste qui lui aussi a un jup 8, ça fait 3 jupiter 8 sur scène !
correspond bien aux notes jouées Fa#/Fa/Fa#/Do#/Do#

Paul Roessler (born August 27, 1958) was a prominent member of the L.A. punk scene during the late 1970s and '80s. He played keyboards in bands such as The Screamers, Twisted Roots, 45 Grave, Nervous Gender, SAUPG, Geza X and the Mommymen, Mike Watt and the Secondmen, Nina Hagen and The Deadbeats. Paul has also put out solo recordings such as "Abominable" and "Curator" and a rock opera entitled "Burnt Church" with Jeff Parker. He currently works as a producer at Satellite Park Studio in Malibu, CA, with Geza X. Gedeon and singer Josie Cotton. He is the brother of Kira Roessler, formerly of Black Flag, and the son of Carl Roessler, world-renowned underwater photographer.