____twoism

dono wrote:

jbuonacc wrote:ehh, listening again i think there's four voices going. other than that i would almost swear that it was sequenced on a C64. if it's not, they're going a hell of a distance to make it seem like it is...

They rec/arrange with Logic Pro, and their main sequencer is a MPC-1000.

Right, I'm not conviced that they sequence tracks with a Commodore, but they must use it as a sound source that they could sample & loop. Their last release TCH is full of it.

I'm thinking i know the sounds you are referring too, however, I don't think it's anything to do with a C64. But then again, that's just my opinion.

Between the old akai s-1000b sampler they use (yes, that's a correction, i said mpc-1000 before) which samples at 16-bit at the highest....

And time stretching any audio sampled from that, (which we know they do) you will get a digital C64 style bitrate. Even if you take a very high bit rate sample and stretch it enough, you will hear a digital grain like that of old 8-bit computer games.

EDIT: "The S1000 also had the ability to "time-stretch", a feature that allowed the music's tempo to be adjusted without its pitch being altered."

^^ When you time stretch something without altering the pitch, it breaks the digital signal down by bits, and puts a space between the bits. The more you time stretch the larger the space between the bits is, and the more of a C64 style grain it will give you.

Interesting point. But personally, I would rather compose directly with a C64 rather than going through the painful process of damaging a clean synth sound while I could use something that already sounds damaged. I bet they use synths that has a dirty sound like the Memorymoog or the Prophet 600 so it facilitates the process and gives more control over the sound.

And take a look on The Campfire Headphase sleeve and you'll see a few pictures of young kids playing with old computers. Their music is based on the analog to digital era on which vintage computers like the Atari or the C64 played a significative role.

Even interviews, they admit that they used less analog synths than what they are credited for. They mention that just don't like virtual analog for creating analog-like sounds. Their drifty pads are not analog-sounding even though very damaged...

Anyway, I'm surprised to see how reluctant people are about admiting that they could use vintage computer to compose their music while it totally relates.

Well maybe, who knows. I think it would be more likely they'd use something like a SIDStation for getting C64 sounds, as using a real C64 is too much pain if you're not already into working with one. As far as damaging sounds is concerned though... come on, that's pretty much BoC's entire MO.

That's an other option; either a Sidstation or a C64 with a Cyntcart carthridge.
But that doesn't mean that it's all what they use. They must have an armada of synths and instruments, those lucky guys..

Big Hello to everyone !

I'm not convinced by the SidStation ,C64 thing at all . I own a SidStation and it is not very BOC sounding, even after heavy programming.
Old Akai samplers, now that's another thing . The whole of MHTRTC sounds like it has been touched by those wonderful machines and they really are part of the sonic glue that keeps all the sounds together on that record, whatever the original sources were.
The Memorymoog is a beast of a synthesizer , massive sounding - imperfect yes ,but not BOC at all to my ears. They are so unreliable as well . If they do have one ,that might be the reason that the new album is taking so long . Anyway , I sold mine to Sheryl Crow's drummer after it had died on me once too often.
As far as analogue synths go (apart from the obvious Roland SH101 or MC202), I think that there maybe an old Crumar DS2 in there somewhere , but I don't think they have a big arsenal of vintage synths. On a side note , I was listening to Forest Moon the other day . Roland D50 anyone ?

Shut That Bird Up wrote:

Do you have any connection to the demoscene?

SH-101 is indeed their most used synth and Akai S1000, their most used sampler.
But on Trans Canada Highway they are many C64 Cynthcart-like pads.

So you had a Memorymoog! Quite a massive machine. Whithin the same style, I whish I could get an Elka Synthex...

Wow! A Memorymoog! And I thought the Polymoog was a beast.

I still think they use a MS-20 if only for the filters. "The Devil is in the Detail" being a case in point; the voiceover from the hypnosis tape sounds as though it is being put through a filter with the LFO being turned backwards and forwards.

I am fascinated to hear that BOC use the SH-101 and the Akai S-1000. I also reckon they have an Italian synth or two such as Crumar DS-2 (the fact that Sun Ra used them may also have added some cachet).

The Elka Synthex is a lovely machine .I played one for the first time about 6 months ago , it's more beautiful sounding and less brutal than the Memorymoog ,if that's what your after .

I can kind of hear where you are coming from with the C64 Cynthcart type pads on Trans Canada Highway, but I have yet to hear them straight , i.e. without further sampling / manipulation on that record ,so who knows what the original source of those sounds could be .

BTW, I've got no connection to the demoscene ,I've just used the SidStation for various bits and pieces ...

Crumar DC2? Is it an analog synth? I never heard of it. I have a massive Crumar strings that has a lovely vintage sound (think François de Roubaix).

Playing with a Synthex must be a rewarding experience, I whish I could do that someday.. or maybe play with a VCS3 (do BoC has one of these??).

Anyway, I've just ordered a Commodore 64 fully equipped for music. I whish I could get lovely damaged sounds out of it!!

Shut That Bird Up wrote:The Elka Synthex is a lovely machine .I played one for the first time about 6 months ago , it's more beautiful sounding and less brutal than the Memorymoog ,if that's what your after .

I can kind of hear where you are coming from with the C64 Cynthcart type pads on Trans Canada Highway, but I have yet to hear them straight , i.e. without further sampling / manipulation on that record ,so who knows what the original source of those sounds could be .

BTW, I've got no connection to the demoscene ,I've just used the SidStation for various bits and pieces ...

Elka Synthex was also the voice of Jean Michel Jarre's laser harp.

There were a few different sounds on TCH, they seemed to be going for an 80s feel on there. Some of the blips and bloops sounded like they could've come straight from an episode of Knight Rider (when they call the rack 84 Pontiac Dream, I don't think anyone can argue that's what they were going for!)

Crumar DC2? Is it an analog synth?

Playing with a Synthex must be a rewarding experience, I whish I could do that someday.. or maybe play with a VCS3 (do BoC has one of these??).

Yes the Crumar DS2 is an analogue mono synth with a limited (but very cool poly section) . Most of them have a filter input , so you can run external sounds through it .The Crumar DS2 filter section is awesome .

I'm like anyone else in that I don't know for sure what their musical equipment list is , so the VCS3 idea is anybody's guess . I have never used one , but judging by famous recordings that feature that instrument ,I would say probably not .

As mucephei said, it could be a MS20 . The MS20 has great resonant low and high pass filters which are great for tracking through - very BOC sounding to my ears .

Still , If I was pressed to say what techniques they use, I would say sampling ,tape-recording, analogue compression ,re-sampling , sub-mixing ,subtle phase shiting , LFO's modulating pitch and filters and tons of other stuff before the use of any one analogue synthesizer .

And don't forget phasing!

About the vocal track in The Devil is in the Details, my guess is that it could be a Lovetone pedal; probabbly a Wobulator as they have pitch/phase dual lfo and a super sweet vintage tone. One the most expensive a looked-after pedal in the world.