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richievh · Joined: 07 Oct 2011 Posts: 5

Hello,

I have been trying to cover Domino: In the Glow of the Night. I'm having a bit of trouble recreating the "synth" patch Tony Banks uses for the intro and right about 0:50 of the original version, right before phill sings the "can't you see what you are doing to me" vocal line.

I am using mostly soft synths and, although I own a Korg M50, I prefer to try and recreate it in my Korg WS vsti. Tony Banks seems to use it for that sound in the "Live over Europe" tour.

So, are there any patches I might start with? I have been trying to use the "Wheel Vox" performance on my WS. Any tips?

Thanks for your attention

Synthoid · Posted: Wed Apr 25, 2012 11:58 pm Post subject:

Just a bit of historical perspective: I have a live video from that tour and the synths Tony was using for "Domino" were primarily NED Synclavier, Yamaha DX-7, and EMU Emulator II.

EDIT: Just found the clip on YouTube:

http://www.youtube.com/watch?v=ap4an6siukU
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billbaker · Posted: Thu Apr 26, 2012 1:17 am Post subject:

Patch I hear is a "shakuhachi", possibly a factory patch from one of the synths mentioned... tho' if my ear serves there were some in the Roland D-50 that got a lot of air play that are very close to this sound. If you have something close to the shakuhachi patch Peter Gabriel uses in "Sledgehammer" that would probably do it (tho it might be too acoustic sounding). Korg M-1 (also one of the legacy collection vst's) also had an "air-flute", "bottle-blow" or "breathy flute" (I'm sorry I can't remember patch names exactly) that would be really close, too.

If you keep the decay fairly high and extend the sustain envelope it might sound more synth-y and closer to this sound.

BB
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Synthoid · Posted: Thu Apr 26, 2012 3:20 pm Post subject:

billbaker · Posted: Thu Apr 26, 2012 9:32 pm Post subject:

@synthoid

Gave another listen, still hearing synth tinged "bottle-blow", not the "ah" of the Fairlight vox sample (at least if it's the one I'm thinking of). But it's funny looking back, particularly if you owned synths of that era, at how quickly some sounds became associated with the first recording(s) to use them.

It became quite the competition to get pre-release prototypes of new keyboards into a studio so top bands could be the first to use the new factory sounds... probably so they didn't have to learn to actually program new gear -- "I was there first, so that's my signature sound."

( that would make an interesting doctoral thesis, giving discography correlated with synth factory patches to see which was actually "best" as determined by actual use of manufacturer provided patches in hit recordings )

And there was a lot of cut-throat sample pirating going on in the early AKAI days. The drummer in my band mangled a sample of an m-80 firecracker into a kick that he demoed to the drummer in an A-list band (my friend worked in a music store selling the AKAI... and like magic!!! the disk disappeared after the demo) and just as magically reappeared on the band's album later that summer. Uncredited.

BB
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Synthoid · Posted: Thu Apr 26, 2012 10:47 pm Post subject:

richievh · Joined: 07 Oct 2011 Posts: 5

Wow! Thanks!

Has anyone got some advice as to reproduce the Fairlight patches on modern synths. I own a Korg M50, a Korg R3 and have access to all the Legacy vst collection.

To be more specific the patch I'm looking for is played not only during that initial part of the song but throughout the "chorus", when phill sings "in the glow of the night"

I think Tony uses the EMU for the patch in that previous video. I'm quite sure he uses WS for it in the "When in Rome" DVD. got the vid here

http://www.youtube.com/watch?v=NoT_clOZ5mc&feature=related

I don't think it is samples. Does the WS have sampling capabilities?

Must be samples or a module, because he plays it in the Roland A90

billbaker · Posted: Fri Apr 27, 2012 11:23 am Post subject:

Richie,

No sampling on WS but there were a dozen or so cards with extra waves available from korg, and a couple from 3rd party providers. Those could be adding an unknown variable. The WS-SR rack added some of those waves, if I recall correctly, but the stock WS should have the waves used -- at least for that airy bottle blow. [Got a time reference for the there video? might be easier to hear there.]

Only a keyboard tech from that tour or perhaps a music historian could tell you what gear might have been backstage to provide sonic support. EMU made a pretty powerful (for the time) sampler that might have been used to bring studio sounds on the road (a common practice then and now) so you can't always know what's being played based on what you see even when it's clear from the videos what gear a player haas his hands on.

Ahh, the wonderfulness of MIDI.

BB
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jorgemncardoso · Joined: 19 Aug 2008 Posts: 47

Hi all, sorry to resurrect this post again, since there have been no more reply's since.

From what i´ve read in interviews and articles about the Turn it on again tour (when in rome), Tony was as you know using the sounds from the Oasys (sounds witch he uses for the earlier stuff) and the rack modules. And using the A-90 and the Wavestation only as controllers (no output cables connected on the video).
From what he said the sounds from Domino and home by the sea (not shure if all) came from the two Proteus (I and II) he has on the rack that have customized rom's, probably means that he has customized samples there.
He also has on the rack the Wavestation SR (for we can't dance sounds), the Roland JD 990 rack (for we can't dance sounds), TX-7 (for Invisible touch sounds and other), Emulator 4 rack, and a rack effects processor.
Everything is being routed thru the Oasys.
So that Domino sound probably came from the Proteus but there are a lot of variables so it's impossible to know for sure. Hope that helps in any way.

Please read:

http://www.twronline.net/issues/twr66/twr66_tb_interview.htm

http://www.twronline.net/images/issues/twr66_pics/manchester/twr66_tour_keys.jpg