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JereFuzz wrote:I saw front 242 live

bloatedsack wrote:I'm a raging fan of Front 242's earliest work, but if we're going synth then I've gotta say if I'm picking my favourite pure synth music, in no order:
[youtube]http://www.youtube.com/watch?v=kTuuXL8lakE[/youtube]
Which is Walter (pre-Wendy) Carlos and an original Moog.

[youtube]http://www.youtube.com/watch?v=ILbG-rGZgx0[/youtube]
Which is evidently a Yamaha CS80.

[youtube]http://www.youtube.com/watch?v=8NPJ6GMXM3E[/youtube]
Which, IIRC, was all made by them just recording raw tones then cutting up tape and putting it back together. I don't like Dr Who, but I will stop and listen to the opening credits if I ever hear, anywhere and anytime.

NSFW: show

https://en.wikipedia.org/wiki/Doctor_Who_theme_music
The original 1963 recording of the Doctor Who theme music is widely regarded as a significant and innovative piece of electronic music, recorded well before the availability of commercial synthesisers. Delia Derbyshire (assisted by Dick Mills) of the BBC Radiophonic Workshop used musique concrète techniques to realise a score written by composer Ron Grainer. Each note was individually created by cutting, splicing, speeding up and slowing down segments of analogue tape containing recordings of a single plucked string, white noise, and the simple harmonic waveforms of test-tone oscillators which were used for calibrating equipment and rooms, not creating music. The main, pulsing bassline rhythm was created from a recording of a single plucked string, played over and over again in different patterns created by splicing copies of the sound, with different pitches and notes achieved by playing the sample in different speeds. The swooping melody and lower bassline layer were created by manually adjusting the pitch of oscillator banks to a carefully timed pattern. The non-swooping parts of the melody were created by playing a keyboard attached to the oscillator banks. The rhythmic hissing sounds, "bubbles" and "clouds", were created by cutting tape recordings of filtered white noise.[1]

Once each sound had been created, it was modified. Some sounds were created at all the required pitches direct from the oscillators, others had to be repitched later by adjusting the tape playback speed and re-recording the sound onto another tape player. This process continued until every sound was available at all the required pitches. To create dynamics, the notes were re-recorded at slightly different levels.

Each individual note was then trimmed to length by cutting the tape, and stuck together in the right order. This was done for each "line" in the music – the main plucked bass, the bass slides (an organ-like tone emphasising the grace notes), the hisses, the swoops, the melody, a second melody line (a high organ-like tone used for emphasis), and the bubbles and clouds. Most of these individual bits of tape making up lines of music, complete with edits every inch, still survive.

This done, the music had to be "mixed". There were no multitrack tape machines, so rudimentary multitrack techniques were invented: each length of tape was placed on a separate tape machine and all the machines were started simultaneously and the outputs mixed together. If the machines didn't stay in sync, they started again, maybe cutting tapes slightly here and there to help. In fact, a number of "submixes" were made to ease the process – a combined bass track, combined melody track, bubble track, and hisses.

Also, the entire Kraftwerk backcatalogue 'til The Man-Machine, after which it's still good but not as good. IIRC, they just built all their own shit, too, but I assume someone here will gladly correct me.

$harkToootth wrote:Like I would love to know what THE JESUS AND Mary CHAIN used on PSYCHOCANDY

$harkToootth wrote:DRIVE was Cliff Martinez under the moniker KAVINSKY. I have an article I read about his recurring gear when I wanted to know what was going on with THE KNICK score. I will follow up on that later.

MechaGodzilla wrote:

$harkToootth wrote:DRIVE was Cliff Martinez under the moniker KAVINSKY. I have an article I read about his recurring gear when I wanted to know what was going on with THE KNICK score. I will follow up on that later.

Kavinsky is a french synthwave/80s soundtrack revival producer, they just used one of his songs in the film. iirc he mainly just uses in-the-box softsynths [youtube]http://www.youtube.com/watch?v=ErQNRwH-Hmk[/youtube]

bloatedsack wrote:

$harkToootth wrote:Like I would love to know what THE JESUS AND Mary CHAIN used on PSYCHOCANDY

Shin Ei fuzz wah.

$harkToootth wrote:Anyway, if people like Carlos. Check out Mort Garson 70's material. Used the Moog system. And if you don't know it, check out the score for INVOCATION OF MY DEMON brother. Mick Jagger did it on....a Moog system!