Synthés dans la techno dans les années 90.
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ACE OF BASE, "THE SIGN" :
The track starts out with four bars of a dance beat made with a kick drum, hand clap, and snare, struck so closely together that the ear hears them as one sound; this would become Cheiron’s sonic signature. The sound incorporates fragments of a sample from “Shack Up,” a song by Banbarra, a U.S. funk group from the ’70s. A synthetic log drum plays on the off beats, making a woody, thwoka thwoka sound. Mixed in with the electronically made music is a track of Carr playing timbales and cymbals, to lighten the robotic feel. Then comes the first melodic hook, a wheedling synth flute made with an EMU vintage module that is out of phase—a mistake that sounded cool so they left it. Underneath the flute is the bass, which is actually two sounds mixed together: a Moog sub-bass and a Korg M1 bass on top. “The bass took some figuring out,” Carr says. “I remember us talking a lot about the space that the reggae bass players always make in their music, and how important that is—that sense of air.”
Then the singing starts. A reggae rhythm guitar sound made on a Yamaha TG77 synthesizer plays a Nile Rodgers guitar riff. A dry tap of a snare, and then comes the hook.
Vraiment cool de rappeler The Grid ! ça m'a fait fouiner dans ma collection de vinyles pour retrouver l'album "Electric heads". Au passage j'avais complétement zappé le fait que Dave Ball faisait partie de ce projet musical. Je joint une phot de la pochette intérieure du disque qui contient la liste du matos et d'autres infos.Et deux vidéos de l'album : "a beat called love" avec son chorus voix bien accrocheur et "Intergalactica" plus germanique dans l'esprit;
Ah ben avec déjà quatre Oscar dans son escarcelle, ça ne pouvait que mieux se passer qu'avec Lol ou Fletch...
, une table Mackie 32-8bus (je n'ai pas réussi à identifier le synthé à gauche de la table, peut-être un Roland V-Synth ?)
minimalteck
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kosmix
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AF, je suis ton père
Membre depuis 20 ans
vilak
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Squatteur·euse d’AF
Membre depuis 8 ans
Youth, ex bassiste de "The Killing Joke", devenu producteur de Dance Music, pour Sound On Sound en janvier 1993 :
Youth was nominated as Producer Of The Year for the BPI awards in 1991 and 1992. He's worked with The Shamen, The Orb, Maria McKee, INXS, Wet Wet Wet, Blue Pearl, PM Dawn, Lisa Stansfield, U2, Siouxsie and The Banshees, The Orb, De La Soul, Erasure, System 7, Zodiacyouth, and, believe it or not, Bananarama. Most of his work consists of 7" and 12" mixes and dance remixes, but Youth has also written and produced such tracks as Maria McKee's 'Sweetest Child', Blue Pearl's 'Naked In The Rain', and Zoe's 'Sunshine On Rainy Day' (often playing and programming all instruments), and oversaw the construction of albums by James (Seven), Blue Pearl (Naked), Zoe (Scarlet, Red and Blue) and Bananarama (Pop Life).
"I don't like modern keyboards too much. I leave them to jingle writers. Those modern sounds are so associative of those advertising images that I prefer to stay well away from them. But of course they end up using your music anyway [laughs]." The only modern keyboard which has his approval is the Roland JD800, because of its "analogue versatility. It's hands-on, direct communication with the machine, rather than numerical, mathematical communication. You can change the sounds very quickly. One of the most important things with equipment is how much time they take to use and program."
Hence the presence of keyboards like Alpha Juno 2, Juno 106, Oberheim OB-X (MIDI), SH101 + MCV, Korg MS1, Proteus, Proteus World, plus of course the JD800 in the main studio in the basement. There are also the well tested TR808 and 909, plus Akais S1000 and S1100.
"The S1000 and S1100 are probably the most beautiful invention in music ever. They're more fundamentally important than piano or guitar. To me they are like time machines...."
-----
DDA studio
basement :
Tascam analogue 24-track
Lexicons 480L and PCM70
Akai/Linn MPC60
Genelec and NS10 monitors
Korg M1 who is subjected to his derision, much to the amusement of the programmer.
16-track studio
Tascam MSR16
Soundtracs PC series desk
A small editing suite with its Macintosh and Soundtools digital editing.
Demo Room
Tascam M312B desk,
Atari
Akai S1000
Midiverb II
SPX50D
NS10s'
DX7II played by Jaz Coleman, who's making a gothic-sounding godawful racket together with Geordie Walker on electric guitar.
-----
Youth was nominated as Producer Of The Year for the BPI awards in 1991 and 1992. He's worked with The Shamen, The Orb, Maria McKee, INXS, Wet Wet Wet, Blue Pearl, PM Dawn, Lisa Stansfield, U2, Siouxsie and The Banshees, The Orb, De La Soul, Erasure, System 7, Zodiacyouth, and, believe it or not, Bananarama. Most of his work consists of 7" and 12" mixes and dance remixes, but Youth has also written and produced such tracks as Maria McKee's 'Sweetest Child', Blue Pearl's 'Naked In The Rain', and Zoe's 'Sunshine On Rainy Day' (often playing and programming all instruments), and oversaw the construction of albums by James (Seven), Blue Pearl (Naked), Zoe (Scarlet, Red and Blue) and Bananarama (Pop Life).
"I don't like modern keyboards too much. I leave them to jingle writers. Those modern sounds are so associative of those advertising images that I prefer to stay well away from them. But of course they end up using your music anyway [laughs]." The only modern keyboard which has his approval is the Roland JD800, because of its "analogue versatility. It's hands-on, direct communication with the machine, rather than numerical, mathematical communication. You can change the sounds very quickly. One of the most important things with equipment is how much time they take to use and program."
Hence the presence of keyboards like Alpha Juno 2, Juno 106, Oberheim OB-X (MIDI), SH101 + MCV, Korg MS1, Proteus, Proteus World, plus of course the JD800 in the main studio in the basement. There are also the well tested TR808 and 909, plus Akais S1000 and S1100.
"The S1000 and S1100 are probably the most beautiful invention in music ever. They're more fundamentally important than piano or guitar. To me they are like time machines...."
-----
DDA studio
basement :
Tascam analogue 24-track
Lexicons 480L and PCM70
Akai/Linn MPC60
Genelec and NS10 monitors
Korg M1 who is subjected to his derision, much to the amusement of the programmer.
16-track studio
Tascam MSR16
Soundtracs PC series desk
A small editing suite with its Macintosh and Soundtools digital editing.
Demo Room
Tascam M312B desk,
Atari
Akai S1000
Midiverb II
SPX50D
NS10s'
DX7II played by Jaz Coleman, who's making a gothic-sounding godawful racket together with Geordie Walker on electric guitar.
-----
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
Pevets
13509
Drogué·e à l’AFéine
Membre depuis 20 ans
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
Vince Clarke home studio, juillet 1994.
There can't be many recording studios in the world built to resemble a landed spaceship. The studio building took two years to design and a further two to build, so complex was its construction. Before anything else was done, the contractors had to excavate half a sphere in the ground, blow up a massive circular balloon in the hole, and plaster the top with girders and concrete to achieve the unusual dome shape.
The top half of the dome houses the control room itself, together with a small lobby-cum-kitchen; stairs lead down from this to a plush vocal booth and an underground storeroom of vintage electronica. Keyboards, synths, amps, and all manner of devices line the walls in here. Unfortunately, because the watertable is so high in this part of the world, the basement is at risk from flooding - so the studio has an automatic flood alarm built in!
Back upstairs, the control-room roof has an enormous central skylight, lined with an impressive array of acoustic panels. Spotlights ring a central, raised plinth, which houses the customised mixing desk and effects rack, together with a workbench for the Roland and BBC sequencers. The outer walls of the room are lined with racks and racks of analogue synthesisers, all of which can be linked into a central patching system.
"All the outside patch lines are parallel, so I can use an LFO from that synth to modulate this one over here," explains Vince. "It's the same sort of vibe as I had in Amsterdam. All of these tielines go into a central patchbay. You need that to stop the cables trailing everywhere.
"All that steel stuff in the roof is for the sound. A guy called Sean Davis did all the acoustics, and made the monitors and the amps as well. Go Digital were the company responsible for the whole thing, and Exclusively Analogue take care of the synths. We're still working on it, to be honest, but it's nearly there. The desk is much simpler than the one I had in Amsterdam - it's a broadcasting desk, which means it only has bass and treble controls. All the modules are arranged in a circle.
"I've got an old Studer analogue halfinch mastering machine now; it used to be a quarter-inch, but I had a bigger head put on. You can't beat the sound of that. It's the same with the A80 24-track machine - I love it. And all the monitoring is powered by valve amps. The room sounds fantastic now.
The only real additions since Amsterdam are a couple of effects boxes, the six-channel analogue sequencer and a Buchla modular synth, which I think I used for one sound on the album! I want to try and get more of the stuff in storage downstairs up here as well.
"It's really nice to work in here; really pleasant. It's great having all my gear in one place and in this formation."
There can't be many recording studios in the world built to resemble a landed spaceship. The studio building took two years to design and a further two to build, so complex was its construction. Before anything else was done, the contractors had to excavate half a sphere in the ground, blow up a massive circular balloon in the hole, and plaster the top with girders and concrete to achieve the unusual dome shape.
The top half of the dome houses the control room itself, together with a small lobby-cum-kitchen; stairs lead down from this to a plush vocal booth and an underground storeroom of vintage electronica. Keyboards, synths, amps, and all manner of devices line the walls in here. Unfortunately, because the watertable is so high in this part of the world, the basement is at risk from flooding - so the studio has an automatic flood alarm built in!
Back upstairs, the control-room roof has an enormous central skylight, lined with an impressive array of acoustic panels. Spotlights ring a central, raised plinth, which houses the customised mixing desk and effects rack, together with a workbench for the Roland and BBC sequencers. The outer walls of the room are lined with racks and racks of analogue synthesisers, all of which can be linked into a central patching system.
"All the outside patch lines are parallel, so I can use an LFO from that synth to modulate this one over here," explains Vince. "It's the same sort of vibe as I had in Amsterdam. All of these tielines go into a central patchbay. You need that to stop the cables trailing everywhere.
"All that steel stuff in the roof is for the sound. A guy called Sean Davis did all the acoustics, and made the monitors and the amps as well. Go Digital were the company responsible for the whole thing, and Exclusively Analogue take care of the synths. We're still working on it, to be honest, but it's nearly there. The desk is much simpler than the one I had in Amsterdam - it's a broadcasting desk, which means it only has bass and treble controls. All the modules are arranged in a circle.
"I've got an old Studer analogue halfinch mastering machine now; it used to be a quarter-inch, but I had a bigger head put on. You can't beat the sound of that. It's the same with the A80 24-track machine - I love it. And all the monitoring is powered by valve amps. The room sounds fantastic now.
The only real additions since Amsterdam are a couple of effects boxes, the six-channel analogue sequencer and a Buchla modular synth, which I think I used for one sound on the album! I want to try and get more of the stuff in storage downstairs up here as well.
"It's really nice to work in here; really pleasant. It's great having all my gear in one place and in this formation."
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
ACE OF BASE, "THE SIGN" :
The track starts out with four bars of a dance beat made with a kick drum, hand clap, and snare, struck so closely together that the ear hears them as one sound; this would become Cheiron’s sonic signature. The sound incorporates fragments of a sample from “Shack Up,” a song by Banbarra, a U.S. funk group from the ’70s. A synthetic log drum plays on the off beats, making a woody, thwoka thwoka sound. Mixed in with the electronically made music is a track of Carr playing timbales and cymbals, to lighten the robotic feel. Then comes the first melodic hook, a wheedling synth flute made with an EMU vintage module that is out of phase—a mistake that sounded cool so they left it. Underneath the flute is the bass, which is actually two sounds mixed together: a Moog sub-bass and a Korg M1 bass on top. “The bass took some figuring out,” Carr says. “I remember us talking a lot about the space that the reggae bass players always make in their music, and how important that is—that sense of air.”
Then the singing starts. A reggae rhythm guitar sound made on a Yamaha TG77 synthesizer plays a Nile Rodgers guitar riff. A dry tap of a snare, and then comes the hook.
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
Trouvé sur Facebook (traduction française à l'origine en espagnol) :
J'imagine que mon histoire est celle de beaucoup d'autres musiciens frustrés de ne pas avoir eu de chance dans cette grande aventure qu'est la musique, ont abandonné leur illusion de créer de la musique et se sont résignés.
À la fin des années 90, je faisais partie d'un groupe Synthpop à Madrid, presque tous les après-midi, nous préparions les chansons avec beaucoup d'illusion, finalement nous avons pu concrétiser notre rêve et nous sommes allés enregistrer 5 chansons dans un studio de la rue Gênes appartenant à un ami. Je me souviens quand ils nous ont donné le Master de la chanson.
Je me souviens avoir utilisé un Prophet VS, Juno 106, Roland D-50, D-110 et TR-909.
Je pense que nous avons acheté environ 50 cassettes, fait les copies et imprimé une lettre de motivation, nous avons envoyé les colis à des producteurs espagnols. Je me souviens de ce moment avec beaucoup d'illusion.
Sans surprise, l'attente a été longue et personne ne nous a contacté, résigné j'ai abandonné la musique apparemment pour toujours.
Les réseaux sociaux que certains musiciens critiquent tant m'ont donné l'opportunité comme d'autres musiciens amateurs de montrer mon travail au monde et de laisser les gens juger la musique et non pas certains producteurs
Il est très important pour moi de vous montrer mon premier album Plenilune, fait avec illusion, passion et beaucoup de travail, mais surtout en sachant saisir cette seconde chance que la vie me donnait.
Un jour j'enregistrerai la chanson Larmes de sable pour que vous puissiez voir à quel point nous étions bons dans les années 90.
Rafael Sáez - Plénilune :
01. Étoiles
https://on.soundcloud.com/8wmGN
02. Envole-toi vers ton rêve
https://on.soundcloud.com/29Jjj
03. Pluie
https://soundcloud.com/wavesproject/rain
04. Tu me veux (Cyborgdrive Remix)
https://on.soundcloud.com/HYw7S
05. Rêves tombés (Cyborgdrive Remix)
https://on.soundcloud.com/dG8on
06. Ensemble
https://on.soundcloud.com/hR4dY
07. Tu me veux
https://on.soundcloud.com/vQZRF
08. Marche seul
https://on.soundcloud.com/UvTML
09. Ensemble (McV Remix)
https://on.soundcloud.com/NFVzS
@fans destacados
Sáez - Plénilune 2024
Ps : j'ai informé l'auteur de ma publication, ce serait gentil de lui donner votre feedback!
J'imagine que mon histoire est celle de beaucoup d'autres musiciens frustrés de ne pas avoir eu de chance dans cette grande aventure qu'est la musique, ont abandonné leur illusion de créer de la musique et se sont résignés.
À la fin des années 90, je faisais partie d'un groupe Synthpop à Madrid, presque tous les après-midi, nous préparions les chansons avec beaucoup d'illusion, finalement nous avons pu concrétiser notre rêve et nous sommes allés enregistrer 5 chansons dans un studio de la rue Gênes appartenant à un ami. Je me souviens quand ils nous ont donné le Master de la chanson.
Je me souviens avoir utilisé un Prophet VS, Juno 106, Roland D-50, D-110 et TR-909.
Je pense que nous avons acheté environ 50 cassettes, fait les copies et imprimé une lettre de motivation, nous avons envoyé les colis à des producteurs espagnols. Je me souviens de ce moment avec beaucoup d'illusion.
Sans surprise, l'attente a été longue et personne ne nous a contacté, résigné j'ai abandonné la musique apparemment pour toujours.
Les réseaux sociaux que certains musiciens critiquent tant m'ont donné l'opportunité comme d'autres musiciens amateurs de montrer mon travail au monde et de laisser les gens juger la musique et non pas certains producteurs
Il est très important pour moi de vous montrer mon premier album Plenilune, fait avec illusion, passion et beaucoup de travail, mais surtout en sachant saisir cette seconde chance que la vie me donnait.
Un jour j'enregistrerai la chanson Larmes de sable pour que vous puissiez voir à quel point nous étions bons dans les années 90.
Rafael Sáez - Plénilune :
01. Étoiles
https://on.soundcloud.com/8wmGN
02. Envole-toi vers ton rêve
https://on.soundcloud.com/29Jjj
03. Pluie
https://soundcloud.com/wavesproject/rain
04. Tu me veux (Cyborgdrive Remix)
https://on.soundcloud.com/HYw7S
05. Rêves tombés (Cyborgdrive Remix)
https://on.soundcloud.com/dG8on
06. Ensemble
https://on.soundcloud.com/hR4dY
07. Tu me veux
https://on.soundcloud.com/vQZRF
08. Marche seul
https://on.soundcloud.com/UvTML
09. Ensemble (McV Remix)
https://on.soundcloud.com/NFVzS
@fans destacados
Sáez - Plénilune 2024
Ps : j'ai informé l'auteur de ma publication, ce serait gentil de lui donner votre feedback!
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
Stéphane Picq :
My studio in 1990 when I was working on the music for the game "Dune" (Virgin 1991). Yamaha SY77, Roland D70, Korg WS, Roland S750 sampler, Yamaha TX 81z, E-mu Morpheus, Roland SVC350 Vocoder, EMS synthi-A!
My studio in 1990 when I was working on the music for the game "Dune" (Virgin 1991). Yamaha SY77, Roland D70, Korg WS, Roland S750 sampler, Yamaha TX 81z, E-mu Morpheus, Roland SVC350 Vocoder, EMS synthi-A!
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
Atari ST et plus rare, Amiga 500, pour ce qui est de l'informatique 
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
Spacionot (ex Cola Verde)
2798
Squatteur·euse d’AF
Membre depuis 13 ans
Citation de vilak :
The Grid, pour Sound on Sound, novembre 1992
"Dave Ball and Richard Norris — aka The Grid — have a low profile that belies their hectic workload both on their own material and remixing for others. "
Leur équipement pour "456", leur album du moment
Atari Mega ST2 with C-Lab
Notator and Unitor
Alesis MMT8
Alesis HR16
Akai S1000 & S1100
Casio VZ10M
Casio FZ1
Casio Rapman
Emu Proformance 1+
Roland Juno 6
Roland Juno 106
Roland D50
Sequential Circuits Prophet 5
Roland JX10
PPG Wave 2.2
Oberheim Matrix 1000
Waldorf Microwave
Yamaha CS5
Yamaha FB01
Yamaha WX7 MIDI Saxophone
Roland RE-301 Chorus Echo
Roland R8
Roland RE-201 Space Echo
Roland Octopad
Mu-Tron C200
Electro Harmonix Electric Mistress
Dunlop Crybaby
Korg 800 DV
Korg M1
Moog MIDImoog
Roland SVC 350 Vocoder
Steinway Concert Grand
La playlist de "456" :
Vraiment cool de rappeler The Grid ! ça m'a fait fouiner dans ma collection de vinyles pour retrouver l'album "Electric heads". Au passage j'avais complétement zappé le fait que Dave Ball faisait partie de ce projet musical. Je joint une phot de la pochette intérieure du disque qui contient la liste du matos et d'autres infos.Et deux vidéos de l'album : "a beat called love" avec son chorus voix bien accrocheur et "Intergalactica" plus germanique dans l'esprit;
[ Dernière édition du message le 30/09/2024 à 03:35:16 ]
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
Il suffit de bien savoir l'utiliser. La machine ne fait pas tout, il faut le talent 
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
Citation de kosmix :
Il suffit de bien savoir l'utiliser. La machine ne fait pas tout, il faut le talent
Ah ben avec déjà quatre Oscar dans son escarcelle, ça ne pouvait que mieux se passer qu'avec Lol ou Fletch...
kosmix
51572
AF, je suis ton père
Membre depuis 20 ans
Et voilà, toujours les mêmes qui se font basher
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
vilak
4063
Squatteur·euse d’AF
Membre depuis 8 ans
La vilakerie du dimanche.
Des bisous!
Des bisous!
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