I haven't actually, I've been working on nailing other sounds. (which I have, after many years of on and off work - I'm slow like that. )matt222 wrote:Ahh I see. It's the closest I managed to get it on my NordleadAnalog-Umph wrote:In that case then my first post in this thread still stands. Comparing Jarre's and yours the differences are stark. You are using a subtractive synth, and that can never do additive timbres, especially in the very high frequencies, which is key to this sound.matt222 wrote:Absolutely!
Yes, the dry sound can be heard through the demo at the begining of this thread. You can hear me messing with settings on the Electric Mistress
You have a good understanding of the synthesis involved - I don't.
Have you made an example so I can hear what you mean?
But this one not yet.
Yeah, the reason why everyone fails with this particular sound is because of its unorthodox approach and treatment in the mix, it's literally also the only time Jarre himself has used a sound like that in any of his work. He never did it afterwards.
Now, what makes that sound so great is that it was recorded not only through a flanger pedal, to give it movement, but upon tape. And that made a really grating, unnatural and inorganic timbre sound even more pleasing to our human ears.
It's why old movies work, when handling sci fi subject matter, because of that same analog approach (besides better writing and more relevant human themes). This same thing applies to music, the inferior technology actually made for a more pleasing human listening experience when the sound was produced on really unnatural sounding instrument - and there is no more unnatural sounding sound generator than an additive synth, which are perfect at creating unnatural timbres, esp. in those early days, before all of the latest synthesis types were born.
When you understand all this, and when you look at things through an visual EQ spectrum, you approach the sound from a different perspective, and then nailing it becomes a possibility.