Hay
zo unic gaan we vangelis nadoen
die discussie loopt ook nog over de vpro tune
ik denk weer de arp ps , de trompet
er zitten denk ik nog meer arpgeluiden in
die yamaha was wel het lieverdje van hem, maar de geluiden hebben hetzelfde karakter
het is of de yamaha of de arp, of weer de yamaharp
zo een yamaha zal niet goedkoop zijn , zo een arp ps kan wel goedkoop zijn
hier een lijst met gebruikte gear, van de nemo studios
NEMO STUDIOS -- SELECTED EQUIPMENT 1975-87
1975-77
KEYBOARDS/SYNTHS
• ARP Pro Soloist
• Bösendorfer Imperial Grand Piano
• Dubrecq Stylophone 350S
• Elka Rhapsody 610
• Farfisa Syntorchestra
• Fender Rhodes Stage 88 electric piano
• Hammond B3 organ
• Hohner Clavinet (customised, with built-in stereo EQ section)
• Korg 800DV
• Korg Mini 700
• Korg Poly Ensemble
• Roland SH3A
• Roland SH1000
• Roland System 100
• Steinway Grand Piano
• Selmer Clavioline
• Tornado keyboard
RECORDING
• API mixer (customised)
• Scully 16-track recorder
• dbx noise reduction
• Klark-Teknik graphic EQs
• Roland RE201 Space Echos
• Binson Echorecs
• Urei LA2A compressors
1977-83
KEYBOARDS/SYNTHS
• ARP 2600 modular
• Korg PSS3300
• Moog Minimoog
• Moog Satellite
• Oberheim 4-Voice
• Oberheim 8-Voice
• Roland Jupiter 4
• Roland VP330 Vocoder Plus
• Sequential Circuits Prophet 5
• Sequential Circuits Prophet 10
• Yamaha CP80 electric grand
• Yamaha CS80
• Yamaha CS40M
• Yamaha GS1 FM synth
RECORDING (FROM 197
• Quad/Eight Pacifica mixer
• Lyrec TR55 24-track tape machine
• Ampex ATR100 2-track tape machine
• dbx noise reduction
• Lexicon 224 reverb (from 1980)
• AKG BX25 spring reverb
• MasterRoom spring reverb (with 7-second decay)
• Tannoy Dreadnought monitors
DRUM MACHINE/ELECTRONIC DRUMS
• Linn drum machine
• Simmons SDS5 electronic drum kit
SEQUENCERS
• ARP sequencer
• Roland CSQ100 sequencer
• Roland System 700 sequencer
SAMPLER
• Emu Emulator
hou dit in de gaten met vangeis namaken
Together, Keith and Vangelis followed a spontaneous method of working, which they tried to preserve through the lengthy, overdub-ridden process of recording. Keith: "Most of Vangelis's music was created through overdubbing; there was no other way. With no MIDI then and only primitive sequencers, every instrument had to be played. Even some of the simpler lines were in fact frequently made up from several unison parts, to create the right tonal colour."
When recording just synths, compression and EQ proved less important than for an acoustic session: "In general, EQ was only used on keyboards to overcome the limitations of the technology. Most of those early machines were noisy or had very strange artefacts. The Elka Rhapsody had a process that was used to 'multiply' the sound to make it seem orchestral. Although it wasn't very noticeable on a single track, string lines would be built up of maybe 10 parts, and then that processing effect would be as noticeable as the music. We developed complex EQ templates to reduce that. Sometimes, on some of the more resonant sounds, if they were being used with a chorus effect and some other modulation, I might have used low-ratio compression or peak limiting, just to catch the odd stray peak. However, Vangelis is very skilled at playing within a limited dynamic range, and he would control his levels for the effect he wanted.
hier mijn sample, die niet zo een chorusseffect heeft en naar mijn idee out of tune is
veel succes met je composities
greetz turtel
).
