Anybody who claims that in the box synths currently can create the sound of classic analog varieties like these needs to hear this track. And I liked the sleeve contact sound at the end too.
Why wouldn't "in the box" synths be able to make these sounds? you are hearing them through your computers own "in the box synth" or soundcard. These sounds are being translated by a soundcard so your comment is quite silly really.
@@uv77mc85 Hmmm. I think that reason why you think my comment is 'silly' because I suspect that you don't understand the difference between a 'synthesizer' and a 'recording'. A 'recording' is the reproduction of a sound, something digital equipment does very well, because of how it works. 'Recordings', because they don't actually create sounds, but simply mimic them, can sound pretty much EXACTLY the same as the sound they are reproducing, if they are paired with speakers matched and capable of producing the frequencies of the original sounds. Digital samplers are 'recordings' also, so you could make a software-based sampler of these original synth sounds that would reproduce each note exactly the same, pitched according to the key triggered. You could even add a bit of random variation if your sampling/synth software supported adding in random variations, and that would reproduce exactly the same sound, with digital controlled variations added to it, to make the sound more 'organic' and more like an analog synth. "Synthesizers' are very different to 'recordings' because the sound is generated using different methodologies than simply mimicking and reproducing the sound. Since synthesizers themselves are very different, depending on the electronic components used to create the sound waves, how much they differ in color and depth from notes reproduced by a sampler is dependent of the particular synthesizer. But the best sounding synthesizers have variations in timbre and wave shape depending on the frequency, and based on other physical factors, like particular time of triggering, and this can be combined with equally controlled random elements in the envelope, or how tone and volume of a sound varies of time, from when it is triggered to when or if and how it fades out. The variability between individual 'voices' in the synth also combines with this variability within the sounds to create a depth and color beyond that of a simple recorded sound, or sampled sound. Component variability often creates minute differences in both phase and timbre between oscillators, and these tiny differences are perceived by the ear as 'fullness' or 'depth'. This effect can also be mimicked by digital processing of the sounds, but it is generally always simpler than the complexity of the responses in time and ptich of physically-based variability. This simplicity is picked up by the ear and brain as less depth and color in the sound.
@@pixelwash9707 Fascinating but you are still listening to a sound cards approximation of the original sound. Now if you were in the room with the synth and a soft synth there would possibly be a noticeable difference but that would depend on the amplifier and speakers the synth is playing through. The vintage synth thing is a load of bollocks. I own many vintage synths including prophet 5, pro 8, Juno 6, polysix and some I can't remember right now and many newer synths too inc prophets and Rolands and It's bullshit. Its sort of like an Omega Seamaster vs a casio digital. The casio outperforms the Omega but is 1/100th the price.
If you can't tell the difference, and the only person you are creating the sounds for is yourself, you should stick to the cheapest solution absolutely. Music industry professionals and farmers often lose their hearing completely if they have chosen to not wear ear protection while working in high volume situations. They then would be wasting their money on a synth or computer with any sound output capability. Beethoven continued to compose after he lost his hearing, so at that point, he would have been fine with a computer sound card that didn't work at all, which might be an option for you, as that would be even cheaper than one that does.
Seb, one thing I struggle with with Berlin-style stuff is the right delay settings. I'll stumble upon it eventually, but do you have any pointers on timing/repeats etc? It's more likely me, but it's possible that the stuff I'm using just can't hit the right range. Thanks :)
Hey Pete, did you ever get this sorted out? Probably a good topic for discussion on Muff's forum (down right now). In general, just make the delay rate double of what your sequence rate is and set repeat/feedback to 1/minimum.
yeah... i'm hearing Tangerine Dream there. Edgar would be proud.
so good, this could be a movie soundtrack
Sounds like Tangerine Dream's sequence ambient.🎹🎵
Wow this sounds Awesome .... Sounds like early Michael Garrison.
The guys or gals who play these things must be geniuses.
Seriously need an album of your work.
wow, what a masterpiece!....it took me 6 years from the upload to discover it but it;s never to late....Thx for uploading this
Majestueuse entrée du PkbII !!!! Merci!
the pinnacle of live improv synth videos on yt ...so, so good
Great stuff. Love the polykobol and the modular sounds excellent in that TD/Moog way!
whata beautiful track! love the general 70ies vibe!
GREAT!
so great sounds .... well done and many thanks for sharing. Greetings from Germany ....
Edgar Froese is looking down on you very proud.
Absolutely classic!!
Superb!
Just how Tangerine Dream did it back in the day.
Wow Seb, that was awesome!
lol at the sleeve accident! I've done that before! ;-)
Immense respect pour ton travail ! Le Graal.
Sounds amazing!
Great work!
magnifique !
Great impro!
At 1:36 the simple change from a 4 step to if I am counting right... A 7 step pattern is staggering in its simplicity and beauty.
8 I believe. With that repeat on the first note it's hard to tell.
The classic sound as we like it...
Wow....!
excellent Seb, un set très agréable, le son du modulaire, superbe bien sur :)
L'entrée de la drum bass du kobol, grandiose
Exactly the kind of thing I love. Well done!
very beautiful! Thanks!
beautiful!
Really good vibrations !!!
Beautiful work.
Anybody who claims that in the box synths currently can create the sound of classic analog varieties like these needs to hear this track. And I liked the sleeve contact sound at the end too.
Why wouldn't "in the box" synths be able to make these sounds? you are hearing them through your computers own "in the box synth" or soundcard. These sounds are being translated by a soundcard so your comment is quite silly really.
@@uv77mc85 Hmmm. I think that reason why you think my comment is 'silly' because I suspect that you don't understand the difference between a 'synthesizer' and a 'recording'.
A 'recording' is the reproduction of a sound, something digital equipment does very well, because of how it works.
'Recordings', because they don't actually create sounds, but simply mimic them, can sound pretty much EXACTLY the same as the sound they are reproducing, if they are paired with speakers matched and capable of producing the frequencies of the original sounds.
Digital samplers are 'recordings' also, so you could make a software-based sampler of these original synth sounds that would reproduce each note exactly the same, pitched according to the key triggered.
You could even add a bit of random variation if your sampling/synth software supported adding in random variations, and that would reproduce exactly the same sound, with digital controlled variations added to it, to make the sound more 'organic' and more like an analog synth.
"Synthesizers' are very different to 'recordings' because the sound is generated using different methodologies than simply mimicking and reproducing the sound.
Since synthesizers themselves are very different, depending on the electronic components used to create the sound waves, how much they differ in color and depth from notes reproduced by a sampler is dependent of the particular synthesizer.
But the best sounding synthesizers have variations in timbre and wave shape depending on the frequency, and based on other physical factors, like particular time of triggering, and this can be combined with equally controlled random elements in the envelope, or how tone and volume of a sound varies of time, from when it is triggered to when or if and how it fades out.
The variability between individual 'voices' in the synth also combines with this variability within the sounds to create a depth and color beyond that of a simple recorded sound, or sampled sound.
Component variability often creates minute differences in both phase and timbre between oscillators, and these tiny differences are perceived by the ear as 'fullness' or 'depth'.
This effect can also be mimicked by digital processing of the sounds, but it is generally always simpler than the complexity of the responses in time and ptich of physically-based variability.
This simplicity is picked up by the ear and brain as less depth and color in the sound.
@@pixelwash9707 Fascinating but you are still listening to a sound cards approximation of the original sound. Now if you were in the room with the synth and a soft synth there would possibly be a noticeable difference but that would depend on the amplifier and speakers the synth is playing through. The vintage synth thing is a load of bollocks. I own many vintage synths including prophet 5, pro 8, Juno 6, polysix and some I can't remember right now and many newer synths too inc prophets and Rolands and It's bullshit. Its sort of like an Omega Seamaster vs a casio digital. The casio outperforms the Omega but is 1/100th the price.
If you can't tell the difference, and the only person you are creating the sounds for is yourself, you should stick to the cheapest solution absolutely.
Music industry professionals and farmers often lose their hearing completely if they have chosen to not wear ear protection while working in high volume situations. They then would be wasting their money on a synth or computer with any sound output capability.
Beethoven continued to compose after he lost his hearing, so at that point, he would have been fine with a computer sound card that didn't work at all, which might be an option for you, as that would be even cheaper than one that does.
@@pixelwash9707 Funny how most pros use modern digital gear and nobody moans about the sound quality.
Beautiful music as always Seb. . And the comments section is a who's who of Muffs and Gearslutz!
Great work !
Nice!
Very nice, Bravo.
Wow! Great!!!!
Excellent.
Eblouissant, ça transporte au loin !
Bravo.
Beautiful
Monstrueux!
einmalig!!!!!!!!!!
awesome
I. AM. IN. LOVE.
Seb, one thing I struggle with with Berlin-style stuff is the right delay settings. I'll stumble upon it eventually, but do you have any pointers on timing/repeats etc? It's more likely me, but it's possible that the stuff I'm using just can't hit the right range.
Thanks :)
Hey Pete, did you ever get this sorted out? Probably a good topic for discussion on Muff's forum (down right now). In general, just make the delay rate double of what your sequence rate is and set repeat/feedback to 1/minimum.
John L Rice Thank you John
+John L Rice Just noticed you replied here. It only took me a year. :) Yes, I did get it sorted it. Well, I think I did. It keeps evolving. :)
Чем сложнее техника, тем примитивнее музыка. Очень жаль.