Hi all.
I'm trying to make an exact replica of this sound.....
Click on me baby
I know it's a KORG, and that it's likely to be a T3 or Wavestation, but I haven't got a clue what type of multisound is being used or if it came as additional PCM data on a card or something.
Any idea what it based on ?.
Kind Regard
Sharp.
Need some help making a sound.
Moderators: Sharp, X-Trade, Pepperpotty, karmathanever
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sirCombatWombat
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That is very expressive and beautiful piece.
Do you mean the synth on top, or are you referring to the whole scene?
There is the Enya choir, a real Cello, and I don't know what is going on with that bell like sound at 0:33 sounds like slowed down carillon or some other bell like instrument.
I don't recognize the synth sound, but few of the STR-1 bass sounds sound similar at the higher notes. Perhaps little EG tweak plus the reverb and delay?
Do you mean the synth on top, or are you referring to the whole scene?
There is the Enya choir, a real Cello, and I don't know what is going on with that bell like sound at 0:33 sounds like slowed down carillon or some other bell like instrument.
I don't recognize the synth sound, but few of the STR-1 bass sounds sound similar at the higher notes. Perhaps little EG tweak plus the reverb and delay?
Hi sirCombatWombat.
Yeah, it's just the synth arpeg I'm after.
It doesn't sound like a mixture of multisamples, and I highly doubt there is much going on with the filers. So I'm just hoping someone has a idea as to what multisample is being used.
Normally I'm very good at identifying sounds, but this one is really got my head going crazy.
Regards.
Sharp.
Yeah, it's just the synth arpeg I'm after.
It doesn't sound like a mixture of multisamples, and I highly doubt there is much going on with the filers. So I'm just hoping someone has a idea as to what multisample is being used.
Normally I'm very good at identifying sounds, but this one is really got my head going crazy.
Regards.
Sharp.
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Kevin Nolan
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- Location: Dublin, Ireland
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Sharp -
If this is ENYA, then the arpeggiated sound is a Roland Juno 60. I can say this with reasonable certainty -
While qualifying this I'll tell you about an incredible colleague of mine called Owen Drumm who has recently single handedy designed a patented DSP chip capable of 1500 Audio Tracks with full EQ and dynamics on each channel, and used by top mixer companies. Owen also single handedy designed a 72 Channel digital mixer for Enya over 10 years ago (which is still amazing as he reverse engineered many classic mixer and eq types, and it can accept Dolby SR input and cope with it digitally, amon many other stunning attributes). Interestingly at about the same time Owen was also developing software for the Eurofighter, unique compression algorithms for a Kodak satellite and single handedly designed the electronic systems for U2's Zooropa Tour, while managing all of Def Leppord's music technology - and all of this constituting but a fraction of his work thoughput. Needless to say Owen is in the real sense a genius, and is known to top designers and musicians throughout the world. If you want THE optimum solution, quickest, he's your man. He's is completely completely humble and unassuming, doesn't own a car (does his best thinking while walking) and on the rare occasions I can grab him provides stunning technical guidance and help to me. While I'm boring you, my most incredible personal experience with Owen was on one occassion when the polyphonic aftertouch on one of my CS80s went hay-wire, Owen arrived over to my place (having walked from Def Leppord's studio!), and having never seen a CS80 or its circuit diagrams before, identified, from hearing the aftertouch response problem, which of about 60 CMOS chips was blown - literally in one ot two minutes. I bought a replacement for about 20p at the time and it fixed the problem!
In any case, repeated conversations with Owen reveal just how central the Juno 60 is to ENYA's sound, especially argeggiated rhythms. At one stage, her producer Nicky Ryan bought a late discovered batch of new Juno 60s to have as long term backup supply, so important are they to them.
I personally can't tell is the sound you refer to is a Juno 60, but that music doessound like an ENYA track, and if so, then chances are that's what it is.
sorry for the long winded answer - but though sharing a story or two about my incredible friend who was in the past closely associated with ENYA's sound.
Kevin.
If this is ENYA, then the arpeggiated sound is a Roland Juno 60. I can say this with reasonable certainty -
While qualifying this I'll tell you about an incredible colleague of mine called Owen Drumm who has recently single handedy designed a patented DSP chip capable of 1500 Audio Tracks with full EQ and dynamics on each channel, and used by top mixer companies. Owen also single handedy designed a 72 Channel digital mixer for Enya over 10 years ago (which is still amazing as he reverse engineered many classic mixer and eq types, and it can accept Dolby SR input and cope with it digitally, amon many other stunning attributes). Interestingly at about the same time Owen was also developing software for the Eurofighter, unique compression algorithms for a Kodak satellite and single handedly designed the electronic systems for U2's Zooropa Tour, while managing all of Def Leppord's music technology - and all of this constituting but a fraction of his work thoughput. Needless to say Owen is in the real sense a genius, and is known to top designers and musicians throughout the world. If you want THE optimum solution, quickest, he's your man. He's is completely completely humble and unassuming, doesn't own a car (does his best thinking while walking) and on the rare occasions I can grab him provides stunning technical guidance and help to me. While I'm boring you, my most incredible personal experience with Owen was on one occassion when the polyphonic aftertouch on one of my CS80s went hay-wire, Owen arrived over to my place (having walked from Def Leppord's studio!), and having never seen a CS80 or its circuit diagrams before, identified, from hearing the aftertouch response problem, which of about 60 CMOS chips was blown - literally in one ot two minutes. I bought a replacement for about 20p at the time and it fixed the problem!
In any case, repeated conversations with Owen reveal just how central the Juno 60 is to ENYA's sound, especially argeggiated rhythms. At one stage, her producer Nicky Ryan bought a late discovered batch of new Juno 60s to have as long term backup supply, so important are they to them.
I personally can't tell is the sound you refer to is a Juno 60, but that music doessound like an ENYA track, and if so, then chances are that's what it is.
sorry for the long winded answer - but though sharing a story or two about my incredible friend who was in the past closely associated with ENYA's sound.
Kevin.
Hi Kevin.
Really sorry for the delay in getting back to you. Thanks for sharing all that with us. It's a fascinating read. The guy sounds like a wizard. Pretty cool stuff.
Regarding the sound, your going to kill me but I'm really having a hard time hearing a Roland Juno 60 here. I did some research and yep, I can find lots of reference to Enya using one, not that I doubted you. I just wanted to see if I could dig up anything else.
My problem with the Juno idea though is that's an analogue synth that has a very distinct sound. Where the mp3 clip screams rompler at me. Songs like “The Celts” that Enya wrote for the likes of the TV Series Robin Hood all scream Juno, but I just can't get that Juno feeling from the mp3 clip above.
To top it off, RC-IA sent me a prog sound that comes pretty darn close to Enya's sound and he used a sample straight off the OASYS ROM.
Now that I know the name of that multisample, I'm going to explore KORG Legacy to see if I can find the same multisample on the Wavestation.
I could be barking up the wrong tree, but thanks to RC-IA I'm sooooo close to nailing this sound.
Regards.
Sharp.
Really sorry for the delay in getting back to you. Thanks for sharing all that with us. It's a fascinating read. The guy sounds like a wizard. Pretty cool stuff.
Regarding the sound, your going to kill me but I'm really having a hard time hearing a Roland Juno 60 here. I did some research and yep, I can find lots of reference to Enya using one, not that I doubted you. I just wanted to see if I could dig up anything else.
My problem with the Juno idea though is that's an analogue synth that has a very distinct sound. Where the mp3 clip screams rompler at me. Songs like “The Celts” that Enya wrote for the likes of the TV Series Robin Hood all scream Juno, but I just can't get that Juno feeling from the mp3 clip above.
To top it off, RC-IA sent me a prog sound that comes pretty darn close to Enya's sound and he used a sample straight off the OASYS ROM.
Now that I know the name of that multisample, I'm going to explore KORG Legacy to see if I can find the same multisample on the Wavestation.
I could be barking up the wrong tree, but thanks to RC-IA I'm sooooo close to nailing this sound.
Regards.
Sharp.
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peter m. mahr
- Platinum Member
- Posts: 1030
- Joined: Sun Apr 23, 2006 11:47 am
Doesn't sound like a Juno to me. If nothing else, the patch sounds somewhat touch sensitive (filter), something a Juno isn't capable of.
In fact, I just broke out my Juno 60 to see if I could get something close. I did, but I couldn't duplicate the difference in the cutoff between the LH and RH notes, among other discrepancies. Also, the Juno's arpeggiator is as basic as it gets (up, down, up/down) so the part couldn't have been written using it. It sounds like it's a thought-out part, with lots of delay to fill in the gaps and create the rhythm.
I wouldn't be surprised if it's a Triton.
In fact, I just broke out my Juno 60 to see if I could get something close. I did, but I couldn't duplicate the difference in the cutoff between the LH and RH notes, among other discrepancies. Also, the Juno's arpeggiator is as basic as it gets (up, down, up/down) so the part couldn't have been written using it. It sounds like it's a thought-out part, with lots of delay to fill in the gaps and create the rhythm.
I wouldn't be surprised if it's a Triton.
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Kevin Nolan
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Hi Sharp -
You could well be right. I also know that Enya and Nicki Ryan used a Korg T1 and a JD800 among various other synthesizers, so it could be one of those. I'm quite confident they used a Juno 60 a lot for arpeggiated pattertns however - Owen has more than indicated that it was of supreme importance to their sound in thios regard.
While I'm not actually an Enya fan, one aspect of her and her colleagues work to their huge credit is the how hard working they are in creating her sound. For example, to create her chorus sounds, they record Enya's voice singing the same part no less than 400 times. Again my friend Owen actually witnessed this. Using a SONY digital multitrack at the time, they'd record her singing the part 20 times and mix it down, and do that 20 times over. No cutting and pasting or duplicaiton of recordings or chorus boxes - actually singing the same part 400 times to create a unique sound. Given this, it would not surprise me if other part to their compositions were equally original in construction. It never ceases to amaze me how far top profesionals will go to achieve superlative results (it was common at one stage I believe for Hans Zimmer to layer 8 MKS80s to achieve his deep rich pad sounds). Hence it's quite possible Enya and co. use a huge range of painstaking techniques to achieve their world class sound, and hence the lack of singular clarity as to the nature of the sound?
Kevin.
You could well be right. I also know that Enya and Nicki Ryan used a Korg T1 and a JD800 among various other synthesizers, so it could be one of those. I'm quite confident they used a Juno 60 a lot for arpeggiated pattertns however - Owen has more than indicated that it was of supreme importance to their sound in thios regard.
While I'm not actually an Enya fan, one aspect of her and her colleagues work to their huge credit is the how hard working they are in creating her sound. For example, to create her chorus sounds, they record Enya's voice singing the same part no less than 400 times. Again my friend Owen actually witnessed this. Using a SONY digital multitrack at the time, they'd record her singing the part 20 times and mix it down, and do that 20 times over. No cutting and pasting or duplicaiton of recordings or chorus boxes - actually singing the same part 400 times to create a unique sound. Given this, it would not surprise me if other part to their compositions were equally original in construction. It never ceases to amaze me how far top profesionals will go to achieve superlative results (it was common at one stage I believe for Hans Zimmer to layer 8 MKS80s to achieve his deep rich pad sounds). Hence it's quite possible Enya and co. use a huge range of painstaking techniques to achieve their world class sound, and hence the lack of singular clarity as to the nature of the sound?
Kevin.
Think I'm getting closer now.
Click On Me
This is a mixture of 3 samples, on OSC1 I'm using Bs/Lead-MG-Rez1. Thanks to RC-IA for pointing me in that direction.
And on OSC 2 I'm using a Sine - 01/W on the lower, and Pizzicato on the upper with a X-Fade between the two.
Sounds like it's getting there, but it has no body. Enya's sound seems to have more Pizzicato to is, yet I can't seem to reproduce it.
Think I have the stereo delay covered too, but it needs way more reverb.
Regards.
Sharp.
Click On Me
This is a mixture of 3 samples, on OSC1 I'm using Bs/Lead-MG-Rez1. Thanks to RC-IA for pointing me in that direction.
And on OSC 2 I'm using a Sine - 01/W on the lower, and Pizzicato on the upper with a X-Fade between the two.
Sounds like it's getting there, but it has no body. Enya's sound seems to have more Pizzicato to is, yet I can't seem to reproduce it.
Think I have the stereo delay covered too, but it needs way more reverb.
Regards.
Sharp.
