![]() ![]() Also while we’re talking about the Ageispolis bassline, what is going on with your remade version? It sounds like there are “drop-outs” in its sound which are caused by LFO, I assume? To my ears the original bassline doesn’t have that, it sounds pretty straightforward in that senseįrom what I understand, Richard had (at least) 3 synths at the time because the SAW 85-92 tracks generally have 3 melodic elements all working together. Are you sure the bassline on Ageispolis is triangle wave? Couldn’t it be sine wave from his FM synth? It sounds more like a sine wave to me but I might be mistaken. Doesn’t change much but I think it was a neat touch on the originalģ. I think he applied chorus effect to the bassline on Pulsewidth. ![]() Whether he had an additional homemade filter connected to his DX100 (I think DX100 was his main/only FM synth at the time), did some additional magic designing the synth presets or used another synth altogether, I do not knowĢ. I think the Ageispolis pad is key-tracked as well. I’m pretty sure that all the original parts which you recreated using DX7-V and the additional filter have attack on filter and probably on release too which gives them this “whiny” sound for a lack of a better word. However, there are some thing I want to point out.ġ. Great job recreating these tracks! As a long-time fan of Richard’s work, it was fascinating to read this article and listen to your remakes. The delay is 1/8 synced ping-pong delay set to 29% wet and the reverb comes from Valhalla VintageVerb at 32% wet with the EQ and damping controls opened up for plenty of high-end. There’s envelope modulation with a decay time of 350ms for the filter and 490ms for the VCA. My Prophet-5 V patch uses slightly detuned sawtooth and PWM waveforms with the filter cutoff set to 100Hz with keyboard tracking on. ![]() ![]() The reverb and delay actually contribute more to the sound than the basic synth patch. It doesn’t quite have the same sample repitching effect, but I think it sounds close enough. Instead, I decided to remake the part using a live plugin synth. Forum users often cite Neutron 9000’s Butterfly Holocaust as a possible influence for Pulsewidth as they have the same chord progression, however the synth is too dark to be a direct sample. The Pulsewidth sample is a single minor 7th chord, which could have been sampled from one of Richard’s synths or lifted from another song. The bouncy synth stabs that open Pulsewidth were likely sampled using Richard’s Casio FZ-10M, similar to the sampled brass of Ptolemy and the grainy vocal chords of Xtal, covered later in this article. There is a fair bit of widening in Selected Ambient Works 85-92, though this was likely added during the mastering phase. I replicated this using DX7 V’s global tuning knob at the top of the interface.Īs well as reverb from Valhalla VintageVerb, I also used Ableton’s Delay device for additional ambience, as well as iZotope Ozone Imager 2 set to 50%. Richard might have adjusted his DX7’s master tuning to make it flatter, which would explain this. The pad in Ageispolis is slightly out of tune, it’s flat by around 25 cents in relation to the bassline and melody. For Ageispolis, the filter is set to around 1.12 kHz. Richard mentioned in the Future Music interview that he had modded some of his digital devices with filters, and he may have added a filter to his DX7, as all the string pads on the album are processed with a filter. The synth patch in Ageispolis is Rom2A 08-STRINGS 5 with filtering and lots of reverb & delay. The spacey chords put the ambient in Selected Ambient Works 85-92, and they mainly come from the Yamaha DX7 or DX11, which are the only polyphonic synths that Richard owned around this time. ![]()
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