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Oxygene 4 RMI lead

Post Posted Mon Aug 24, 2020 1:00 am

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Posts: 579
Location: Sydney, Australia
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matt222 wrote:
Analog-Umph wrote:
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
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.
Ahh I see. It's the closest I managed to get it on my Nordlead

You have a good understanding of the synthesis involved - I don't.

Have you made an example so I can hear what you mean?
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. :smoke: )

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.
Without faith nothing is possible. With it, nothing is impossible.
Post Posted Fri Jan 29, 2021 9:39 am

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Posts: 201
Location: France

matt222 wrote: Mon Jul 27, 2020 7:45 pm
It is quite a thin sound in isolation and only becomes 'The Oxygene Sound when put through the Electric Mistress pedal
Hi Matt, very nice work on that damned sound, really hard to simulate !

You're definitly right about the mistress, it's a big part of that sound. On the Marigny Concert during the "warm up" you can hear the clean sound, then the sound with the mistress. I try as much as i can to emulate that sound, looking for the setting of the partials in the RMI, but no way i didn't figure it out.

Like AnalogUmph says, you have to add more bells on it if you can, with some extra partials and make it more percussive .

Well done !
Concerts attends :
EIC Versailles, September 1993
Oxygen Tour Paris, October 1997
Electronic Night Paris, July 1998
Marigny, December 2007
POPB, March 2010
Electronica TOUR POPB (Accor Hotel Arena), December 2016
Post Posted Fri Feb 12, 2021 9:28 am

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Posts: 579
Location: Sydney, Australia
Likes given: 3

There's something suss about that sound. You know why?

I've never heard it re-created live, ANYWHERE, since he first created, played and recorded it in 1976.

Every single case of that sound being used in a new arrangement, throughout the years, it's the same original tape recording.

If JMJ has not recreated it properly, still owning the same and functional additive synth it was originally done on, then those who love his synth work and are musicians themselves, and who don't have that very specific synth, have their work cut out for them!
Without faith nothing is possible. With it, nothing is impossible.

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