____twoism

https://youtu.be/kmA0jFE-JmU?is=B0gcSAutSrmJ_aLX

At 2:07 could this be the patch used at the start of Deep Time?

(The SD-1 is an upgraded VFX)

happy wrote:https://youtu.be/kmA0jFE-JmU?is=B0gcSAutSrmJ_aLX

At 2:07 could this be the patch used at the start of Deep Time?

(The SD-1 is an upgraded VFX)

Good ear, that definitely sounds very similar, they must have played it and sampled it as the note changes get faster and slower with the pitch on Deep Time.

Brilliant work OliveOil. It must have taken a lot of work and time to develop all this, programme, play and record it (let alone edit the video). Very well done.

I’ve got a VFX and had no idea until last year that they’d used it so much. The CZ-101 is such an unlikely contender but it makes so much sense. I’ve owned and used an S1000 for a lot of my sampling, though, and I am still partial to believing many of the notable “e.piano” style patches (THS) are done using the S1000 stock sine wave, but I may be wrong…it just sounds identical.

astral deeps wrote:I’ve got a VFX and had no idea until last year that they’d used it so much. The CZ-101 is such an unlikely contender but it makes so much sense. I’ve owned and used an S1000 for a lot of my sampling, though, and I am still partial to believing many of the notable “e.piano” style patches (THS) are done using the S1000 stock sine wave, but I may be wrong…it just sounds identical.

I agree, I had an S2800 and used to make very similar sine note key sounds. It has that slightly hammered sound.

Wildfire wrote:

astral deeps wrote:I’ve got a VFX and had no idea until last year that they’d used it so much. The CZ-101 is such an unlikely contender but it makes so much sense. I’ve owned and used an S1000 for a lot of my sampling, though, and I am still partial to believing many of the notable “e.piano” style patches (THS) are done using the S1000 stock sine wave, but I may be wrong…it just sounds identical.

I agree, I had an S2800 and used to make very similar sine note key sounds. It has that slightly hammered sound.

exactly. It's those transients (and envelopes as well) that make me think it HAS to be from the S1000.

astral deeps wrote:

Wildfire wrote:

astral deeps wrote:I’ve got a VFX and had no idea until last year that they’d used it so much. The CZ-101 is such an unlikely contender but it makes so much sense. I’ve owned and used an S1000 for a lot of my sampling, though, and I am still partial to believing many of the notable “e.piano” style patches (THS) are done using the S1000 stock sine wave, but I may be wrong…it just sounds identical.

I agree, I had an S2800 and used to make very similar sine note key sounds. It has that slightly hammered sound.

exactly. It's those transients (and envelopes as well) that make me think it HAS to be from the S1000.

Although the e-piano patches made by Oliveoil on the CZ-101 is near identical though, so could be either.

I tell you what the more we find out about how shitty a lot of Boards gear is the more impressed I am about what they get out of it.

I mean, no, that's harsh on the keyboards, they're fine for what they are but they're not *that*, you know?

Same with the sample sources that have been found over the years, it's alchemy what they do

Negamuse wrote:I tell you what the more we find out about how shitty a lot of Boards gear is the more impressed I am about what they get out of it.

I mean, no, that's harsh on the keyboards, they're fine for what they are but they're not *that*, you know?

Same with the sample sources that have been found over the years, it's alchemy what they do

Agreed. I've been thinking about this a lot recently, none of the sounds are particularly impressive/noteworthy if you hear them in isolation, but how they had the vision to use them in those exact melodies and arrangements is masterful. I get the idea they knew exactly what they were after first, then found the gear with the required nuances to fulfill that vision.

Wildfire wrote:

Negamuse wrote:I tell you what the more we find out about how shitty a lot of Boards gear is the more impressed I am about what they get out of it.

I mean, no, that's harsh on the keyboards, they're fine for what they are but they're not *that*, you know?

Same with the sample sources that have been found over the years, it's alchemy what they do

Agreed. I've been thinking about this a lot recently, none of the sounds are particularly impressive/noteworthy if you hear them in isolation, but how they had the vision to use them in those exact melodies and arrangements is masterful. I get the idea they knew exactly what they were after first, then found the gear with the required nuances to fulfill that vision.

i genuinely think it’s the opposite! that rather they muck around with what they have and by playing around with different machines, boxes, inputs, etc they find things that resonate that they end up building around

Yeah, given how some samples are reused many years apart, I'd be more inclined to think they pull freely from a vast library of sounds and patches.

Waterbagel wrote:i genuinely think it’s the opposite! that rather they muck around with what they have and by playing around with different machines, boxes, inputs, etc they find things that resonate that they end up building around

This is also completely feasible of course but if they'd used any other equipment they wouldn't have ended up with the sound they have so I guess both things can potentially be true at once. They used what was available but then used very specific capabilities of those synths to achieve a vision.

I always remember this quote from Marcus about EYDIAB - "I dreamed the sound of it, and although I've recreated dreamt songs before, I managed to do that one so quickly that the end result was 99% like my dream. It spooks me to listen to it now."

It took literally decades for someone to find the string patch on the Ensoniq VFX that they used for EYDIAB, it taunted me for years trying to find out how they made it, it's just so perfect for the tune. A beautiful mixture of accident and purpose.

Wildfire wrote:

Waterbagel wrote:i genuinely think it’s the opposite! that rather they muck around with what they have and by playing around with different machines, boxes, inputs, etc they find things that resonate that they end up building around

This is also completely feasible of course but if they'd used any other equipment they wouldn't have ended up with the sound they have so I guess both things can potentially be true at once. They used what was available but then used very specific capabilities of those synths to achieve a vision.

I always remember this quote from Marcus about EYDIAB - "I dreamed the sound of it, and although I've recreated dreamt songs before, I managed to do that one so quickly that the end result was 99% like my dream. It spooks me to listen to it now."

It took literally decades for someone to find the string patch on the Ensoniq VFX that they used for EYDIAB, it taunted me for years trying to find out how they made it, it's just so perfect for the tune. A beautiful mixture of accident and purpose.

Small thing but this quote was about Gyroscope.

As others have said, it’s most likely they bought what they could afford and messed around with melodys and chords played on different patches until something catches their ear. Anyone who has tried to make music will recognise that tends to be the way the best stuff comes from, trial and error.

hexagonmoon wrote:

Wildfire wrote:

Waterbagel wrote:i genuinely think it’s the opposite! that rather they muck around with what they have and by playing around with different machines, boxes, inputs, etc they find things that resonate that they end up building around

This is also completely feasible of course but if they'd used any other equipment they wouldn't have ended up with the sound they have so I guess both things can potentially be true at once. They used what was available but then used very specific capabilities of those synths to achieve a vision.

I always remember this quote from Marcus about EYDIAB - "I dreamed the sound of it, and although I've recreated dreamt songs before, I managed to do that one so quickly that the end result was 99% like my dream. It spooks me to listen to it now."

It took literally decades for someone to find the string patch on the Ensoniq VFX that they used for EYDIAB, it taunted me for years trying to find out how they made it, it's just so perfect for the tune. A beautiful mixture of accident and purpose.

Small thing but this quote was about Gyroscope.

Oopsie!

hexagonmoon wrote:As others have said, it’s most likely they bought what they could afford and messed around with melodys and chords played on different patches until something catches their ear. Anyone who has tried to make music will recognise that tends to be the way the best stuff comes from, trial and error.

yeah, that's what i was thinking with my reply. but i like the gyroscope quote - that's definitely an example of "i know what i want, and i'm using what's here to get as close as i possibly can."

and, of course, messing around with stuff ends up setting up some neural pathways in your head, and those might be the very pathways getting hit in the dream, which 'generates' the sound, which you chase, using equipment that you had, etc. etc. etc. ... beautiful self-reinforcing loops. everybody wins! new album when?