Podcast appearances and mentions of roland jupiter

What's up, dudes? “Gremlins” is a classic holiday horror, made better by Jerry Goldsmith's score and the killer hits of Michael Sembello and Peter Gabriel. Kevin Williams from ‘Tis the Soundtrack joins me to really dig into a couple of cues from the “Gremlins” score and dish about music theory of it all as well.We first get into the mega madness with the Sembello track. Played during the bar scene, the uptempo dance song set the stage for the “Maniac”-like antics of the dancing green creature. The film also features a track by Quarterflash and Darlene Love's epically classic “Christmas.”Goldsmith's penchant for atonality shines forth in the frantic cue ‘No Santa Claus.' The Stravinsky-esque eighths are composed of dueling tritones E-Bb and D-Ab and immediately transition to alternating bars of 5/8 and 7/8. Subsequently, all this segues quite nicely into held sonorities overlaid with “Silent Night” as Kate begins her tale of holiday woe. Talk about harmonization!Altered mystic chord? Check. Catchy mogwai theme? Got it. Synthesizer? Yes, but only if there's 7 different types! So grab your Roland Jupiter-6, join the orchestra, and play along to this episode all about the “Gremlins” score and soundtrack!‘Tis the SoundtrackYouTube: @TisTheSoundtrackIG:  @tisthesoundtrackNicolas Delage solving the mystery of Gizmo's voice!Be sure to check out the brilliant publication of Goldsmith's work by Chris Siddall, which made this analysis possible. Give us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Episode 113 More Electronic Music for Astral Tripping Playlist Earthstar, “Part 1, Sirens” from French Skyline (1979 Sky records). Recorded at Klaus Schulze Studio, Hambühren, W. Germany in 1978 and 1979. Bass, Electronics, Norm Peach; Choir, Craig Wuest, Joan N., Marla T., Phil N.; Electric Guitar, Treated Guitar, Electronics (Tonewall), Dennis Rea; Flute, Woodwind, Tim Finnegan; French Horn, Flute, Marla Thomson; Producers, Craig Wuest, Klaus Schulze; Moog Modular System Programming, Technical Advice, Klaus Schulze; Sitar, Dirk Schmalenbach, Synthesizer, Sequencer, Mellotron, Biotron, Piano, Sitar, Harp, Effects, Voice, Vocoder, Bells , Percussion, Tape loops, Electronic Treatments, Craig Wuest; Violin, Phil Novak; Violin, Viola, Electronics, Louis Deponté; Violin, Electronics, Daryl Trivieri. (06:18) Edgar Froese, “PA 701” from Macula Transfer (1976 Brain). The material was composed during different flights during '75 and '76 while on tour with Tangerine Dream. Instruments, Composed By, Produced by, Edgar Froese. I'm not certain, but all of the tracks are named after airline flight numbers. I think this one was on Pan American. Recorded in June 1976 at Amber Studio, Berlin. (07:33) Beaver and Krause, “Gandharva” and “By Your Grace,” from Gandharva (1971 Warner Brothers). The Moog Modular is played by Bernie Krause, the pipe organ by Paul Beaver. Baritone Saxophone, Gerry Mulligan. Recorded at Grace Cathedral, San Francisco, February 10-11, 1971. This recording came at the height of the Moog craze (for which Beaver and Krause were largely responsible) and this music took a decidedly thoughtful turn with its jazz guests and spacious live sound recorded in a church. Having the Moog Modular in a live performance was a challenge and its presence is only apparent in the opening and several moments on this side of the album. But the organ and baritone saxophone alone provide a beautiful sonic experience. (06:29) イノヤマランド = Inoyama Land, “Mizue” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track was made by Inoue which he described as him “playing with repetitive octave, machine-like signal sounds.” (02:31) Arp, “Nzuku” from Ensemble—Live! (2019 Mexican Summer). Arp is Alexis Georgopoulos, an American electronic musician, composer, and music producer based in New York. Includes music from his LP, Zebra, as well as four original tracks. Zebra saw the diverse, New York-based artist exploring Fourth World, Japanese avant-garde, minimalism, kosmische, dub, cosmic jazz and more. This album was recorded live in the studio. Limited edition of 500 copies. (06:36) Ariel Kalma, “Reternelle” from Ariel Kalma (1975 Astral Muse). A spacey work for dual saxophones and tape echo, played by Kalma. (12:08) Masuko Shinji, “Woven Music for Silver Ocean” from Woven Music (2011 Jagjaguwar). Japanese singer and guitarist. Some soothing guitar electronics bordering on noise. Let your thoughts wander. (13:50) イノヤマランド = Inoyama Land, “Apple Star” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track by Inoue came about by his “synchronizing the Jupiter 8 auto arpeggio with the System100M analogue sequencer with the sequencer VC (voltage control), which generates a curious phrase automatically.” (05:57) White Gourd, “La Lune” from Hermit / La Lune (2013 Psychic Sounds). “White Gourd is the solo work of Suzanne Stone. In addition to being a visual artist, herbalist, teacher, master gardener, and beekeeper, she is well known for involvement as vocalist & saxophonist in the experimental ensemble Million Brazilians.” This recording illustrates the dreamy nature of Stone's sound material used in her live performances; found objects, gongs, 78 player, piano and audio cassette loops. (18:10) Somei Satoh, “Echoes” from Emerald Tablet / Echoes (2020 WRWTFWW). Echoes taken from Somei Satoh's Echoes, Edition Omega Point (2003). It was composed for the "Mist, Sound, and Light Festival", held on May 20-19, 1981 at Kawaji, Tochigi Prefecture, Japan. Composed and performed by Somei Satoh. For this event, Satoh composed music for the 10-day event organized by the hot spring tourist association of Kawaji. The work was played at the Kawaji hot spring's Ojika river valley using 8 gigantic loudspeakers set-up on hills surrounding the stream, with music played through an 8-channel-tape system. The echoes created by the work were accentuated as they reverberated through the outdoor location. (30:27) Less Bells, “Bird in Hand” and “Forest Ghosts” from Solifuge (2018 Kranky). Less Bells is Julie Carpenter. All Songs by, Violin, Cello, Synthesizers, Fender Rhodes Electric Piano, Omnichord, Julie Carpenter; Optigan Electric Organ, Buchla Music Box, Moog Modular Synthesizer, Dain Luscombe; Synthesizer, mixed by, Kenneth James Gibson; Vocals, Leah Harmon. Violinist/composer Julie Carpenter “. . . weaves orchestral and electronic textures to inhabit that boundary between storm and sun.” Can you say happy astral tripping? (08:39)   Opening background music: Ariel Kalma and Richard Tinti, “Forest Ballad” from Osmose(1978 SFP). Organ, Flute, Ariel Kalma; sound effects, Richard Tinti.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

More from Monte and Christian about Spark's 1982 party-starter Angst In My Pants! Plus, a short history lesson on the man behind Ron's original "Ronald" synth. Monte Mallin has a brand-spankin' new YouTube series about Sparks! Check it out! Link below. Feel free to drop me a line at podcastsparks@gmail.com or Facebook Links:Ikutaro Kakehashi | NAMM.org Sparks - Entertainment and Art! Episode One - YouTube MetaSparks - YouTube Sparks Talk (sparkstalkbypenny.blogspot.com) Roland - JUPITER-8 | Software Synthesizer

Welcome to Music Around The World. Each week we showcases a collection of artists and their music from different parts of the world. In this episode, we present to you an impressive lineup of artists including MoveTown, Timelock, Angel Heredia, Sean Tyas, Vinyl's From The Past and Music News. https://75dc83.p3cdn1.secureserver.net/wp-content/uploads/2023/03/MFAW-EP-85.mp3 Music From Around The World Episode 85: Transcript Intro: 0:00 to 0:14Mason Paine here and this is episode 85 of Music From Around The World. In this episode I will be featuring music from:  MoveTown, Timelock, Angel Heredia, Sean Tyas, Vinyl's From The Past and Music News. MoveTown: Start – 0:15  and   End -4:21MoveTown is a renowned duo consisting of DJs and producers Andrea Picar and Cha Cha Chrisar. Hailing from Germany, their music style has gained worldwide recognition for its influences from Romanian House, Dance and Pop House. They recently teamed up with American Singer and Songwriter Ray Horton for “Oh My My (My Love)”; take a listen here. “Oh My My (My Love)” is out now via ZYX Music and its available on all streaming platforms. For the latest on Movetown visit: Instagram.com/movetown.official; Instagram.com/M-O-V-E-T-O–W-N DOT O-F-F-I–C-I-A-L Timelock: Start – 4:22   and   End – 11:41Hailing from Skarmiel, Israel is  Psychedelic Trance DJ and Producer Timelock. Having launched his career as a DJ back in the late 90's, Timelock is renowned for his high-powered sets that combine techno, trance and house music. Take a listen to his latest track “Atomic” “Atomic” is out now via Iboga Records and it's available on all streaming platforms. Timelock stands out as a figure of great influence on the Israeli trance scene; not only is he an esteemed Producer and DJ, but he is also the co-founder of BNE Records. For the latest on Timelock latest projects visit: Instagram.com/timelock_ofc; that's Instagram.com/T-I-M-E-L-O-C-K UNDERSCORE O-F-C Vinyl's From The Past: Harold Faltermeyer – Axel F: 11:43 to 15:56We are going to take a quick break for Vinyl's From The Past. This limited run series examines the influential artists that helped shape the world of EDM. In this segment we will be featuring German Musician and Producer  Harold Faltermeyer.  Harold worked with Donna Summer and Giorgio before he  caught his big  break with film director Martin Brest; who hired him to compose music for his film “Thief of Hearts” in 1984.  This opportunity opened the door for more high profile work. The same year he did the “Thief of Hearts” soundtrack he was hired to compose the theme for the 1984 film “Beverly Hills Cop”, starring Eddie Murphy.  Here is a listen to that track “Axel F”. Harold Faltermeyer's iconic hit, "Axel F", was one of the biggest breakthroughs in EDM music in the U.S., shooting to number three on the Billboard Top 100 Hot Chart. The interesting thing about this track is that Harold used three pieces of equipment to create this song; the Roland Jupiter-8, JX-3P and TR-808. He used the arpeggiator on the Jupiter to loop the complicated chords to be played with one finger. This song is still popular till this day. That's it for Vinyl's from the past. Now let's get back to more music. Angel Heredia: Start -  15:57   and    End -23:39Our next artist is Latin Tech House, DJ and Producer Angel Heredia. At the age of 16 Angel was given a set of turntables and started DJ-ing. As he got older he wanted to expand his musical talents further, so he moved to Madrid to study sound engineering. Once he was finished with his studies, he returned to his hometown of Malaga with a better understanding of EDM, which helped him as a DJ. He quickly caught the attention of club promoters and was invited to play at some of Europe's largest festivals. He has released tons of tracks that have charted on Beatport, Tech-House Top 100. Here is a listen to one of his latest tracks “Bam Pum”.

This week's episode is devoted to a deep dive into the track "Prelude," the introductory piece to the forthcoming Night Demon album Outsider. Not only does it set the tone for the album, but it also introduces the title track and lead single. The guys explain how "Prelude" began with a bass riff that Jarvis wrote back in early 2020.  They then walk you through the layer-by-layer build of the track, including utilization of a Roland Jupiter 8 synthesizer, a piano, guitar parts, and ultimately drum parts performed by all three members in unison.  You'll hear how every piece of "Prelude" came together, with an Easter egg linking this song to a very obscure sound effect in a particular horror movie soundtrack. The band teases how this intro might be performed live in the months and years to come. They also describe how they view this song as a natural progression from the intro to "Welcome to the Night" on the Darkness Remains album.Become a subscriber today at nightdemon.net/subscriber. This week, subscribers have access to the bonus content below:“Prelude” (Album Teaser) VideoAudio:  “Prelude” Jarvis Bass Bass Demo - 01/06/20Video:  “Prelude” Jarvis Bass Recording - 09/11/20Video:  “Prelude” Armand Piano Recording - 09/11/20Video:  “Prelude” Armand Synth Recording (3 different videos) - 09/15/20Video:  “Prelude” Full Band Drum Recording - 09/15/20John Carpenter - https://www.imdb.com/name/nm0000118/Roland Jupiter 8 - https://www.roland.com/us/products/rc_jupiter-8/Stephen King Christine - https://stephenking.com/works/novel/christine.htmlDecibel Magazine - https://www.decibelmagazine.com/ Listen at nightdemon.net/podcast or anywhere you listen to podcasts! Follow us on Instagram Like us on Facebook

Guests Paulee Alex Bow - composer, musician Youtube Video version: https://youtu.be/VHWwJPyeveA Ad Free and preshow chat on our patreon.com/sonicstate Sign up for iZotope's Music Production Suite Pro for 24.99 a month, or Producers Club for $19.99 a month, and you get access to the most up-to-date versions of our plug-ins as well as the latest features and updates as they are released. No upgrade fees. And, you can tap into iZotope's expert knowledge with exclusive product tutorials and videos on mixing, mastering, and more. Head over to iZotope.com now to get a 7-day free trial.   Babyaudio.com - save 15% on any purchases of their range of creative effect plugins, designed to add color and depth to your mixes. When checking out, use the code ST15 00:00:00  Intro chat with Paulee 00:16:33 AD: iZotope Music Producers Club 00:18:49 MPC Key 61 00:41:35 Roland Jupiter 4 Cloud 00:48:47 Softube Wasted Space 00:50:31 Cherry Galactic Reverb Where to Watch/Listen - We now stream the live show to Youtube Live, Facebook Live as well as at Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

British music producer TEED, aka Totally Enormous Extinct Dinosaurs, has collaborated with some of the biggest names in music including Mark Ronson and Banks and released a steady flow of EPs, singles and remixes. But what are his studio phobias? Which affordable microphone travels the world with him, and why doesn't he want the mega polysynth that has become a mainstay of Forever Studios past?Season 4 is sponsored by EVO by Audient: https://evo.audio/STUFF WE TALK ABOUT (SPOILERS!)https://en.wikipedia.org/wiki/Totally_Enormous_Extinct_Dinosaurshttps://www.apple.com/uk/shop/buy-mac/mac-pro/towerhttps://www.dynaudio.com/professional-audio/core/core-47https://earthworksaudio.com/vocal-microphones/sr314/https://en-de.neumann.com/kms-105https://www.eventideaudio.com/rackmount/h3000/https://www.eventideaudio.com/rackmount/h9000/https://truetone.com/v3-h2o/https://en.wikipedia.org/wiki/Roland_Jupiter-8https://www.yamaha.com/en/about/innovation/collection/detail/2117/https://sg.yamaha.com/en/products/musical_instruments/pianos/disklavier/index.htmlhttps://www.nordkeyboards.com/products/nord-stage-3https://reverb.com/p/yamaha-cs-80-synthesizer-1980

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Джефф Бек и Джонни Депп записали совместный альбом. 29 мая Депп неожиданно присоединился к Беку на концертах последнего, и они вместе исполнили каверы на песни Джона Леннона (John Lennon), Марвина Гэйя (Marvin Gaye) и Джими Хендрикса (Jimi Hendrix). Позднее Депп ещё несколько раз составил Беку компанию на его концертах. При этом мало кто знал, что Джонни Депп и Джефф Бек в течение трёх последних лет работали над совместным альбомом. Пластинка получила название "18": по словам самих музыкантов, совместные импровизации вызвали у них ощущение, что им обоим снова по 18 лет. Альбом выйдет 15 июля. Пилотный сингл - это песня "This Is a Song for Miss Hedy Lamarr", которую Джонни Депп написал в память об австрийско-американской актрисе и изобретательнице Хеди Ламарр, голливудской звезде 1930-1950-х. Депп известен прежде всего как актёр, однако на гитаре он играл ещё до начала своей звёздной карьеры. В 1980-х он был членом группы The Kids, с которой выступал на разогреве у Игги Попа (Iggy Pop), Ramones, Pretenders и Talking Heads; уже будучи состоявшимся киноактёром он записывался с Oasis и выступал со многими другими музыкальными знаменитостями. В фильмах "Шоколад" и "Однажды в Мексике" он участвовал не только как актёр, но и как музыкант (и композитор). C 2012 года Депп - участник супергруппы Hollywood Vampires, которую создал вместе с Элисом Купером (Alice Cooper) и Джо Перри (Joe Perry). В 2015 и 2019 годах они выпускали студийные альбомы, для которых Депп записывал вокал и партии слайд-, ритм- и лид-гитары. В записи второго альбома - Rise - отметился и Джефф Бек. Panic! At The Disco возвращаются с новым альбомом и ретро-видео. Брендон Ури (Brendon Urie) анонсировал скорый выход седьмого альбома "Viva Las Vengeance", поделился заглавным треком и видео на него, а также объявил о туре 2023 года. 1 июня герои инди-поп презентовали клип на "Viva Las Vengeance". Добро пожаловать в Viva Las Vengeance", - приглашает группа в анонсе. Альбом "Viva Las Vengeance", релиз которого ожидается 19 августа, выйдет на лейбле Fueled By Ramen. - Это история о взрослении в Лас-Вегасе. О любви, славе, выгорании и обо всем, что происходит между этими событиями. "Viva Las Vengeance" - это взгляд на то, кем я был 17 лет назад, и кем я являюсь сейчас, - говорит Брендон Ури. В клипе он исполняет роль тапера, играющего на пианино на сцене прокуренного ретро-TV. Ури говорит, что альбом будет посвящен "тонкой грани между молодостью и взрослением". Музыканты попытались дать в нем "интроспективный взгляд на более чем десятилетнюю карьеру Panic! At The Disco". В возрасте 72 лет умер Дэйв Смит, создатель MIDI и синтезаторов Prophet. Музыкальный мир постигла ещё одна огромная потеря: 31 мая скончался Дэйв Смит (Dave Smith), инженер, чьи разработки во многом определили развитие отрасли электронных музыкальных инструментов на протяжении последних сорока с лишним лет. Родившийся в 1950 году, Смит окончил Университет штата Калифорния в Беркли, получив степени в области информатики и электроники. В 1974 году он основал фирму Sequential Circuits: его первой разработкой стал аналоговый секвенсор. В 1977 Смит создал инструмент Prophet-5. Это был первый в истории аналоговый синтезатор на базе микропроцессора и первый программируемый полифонический инструмент. В 1981 году Смит представил на съезде американского Общества аудиоинженеров (Audio Engineering Society - AES) научную работу, где предлагалось создать универсальный интерфейс, который позволил бы электронным музыкальным инструментам обмениваться взаимопонятными данными друг с другом. Из этой идеи родился протокол MIDI (Musical Instruments Digital Interface - цифровой интерфейс музыкальных инструментов), который позволял, в частности, управлять сразу несколькими электронными инструментами с одной клавиатуры (или другого управляющего устройства). Это очень упростило жизнь музыкантам и на сцене, и в студии. MIDI позднее многократно совершенствовался, получал множество надстроек, но его основной принцип остаётся неизменным и сегодня. Подавляющее большинство синтезаторов, сэмплеров, секвенсоров, драм-машин и других инструментов, выпущенных позднее 1985 года, оснащены характерными MIDI-разъёмами (или беспроводными модулями аналогичного назначения). В январе 1983 года на выставке NAMM MIDI был впервые продемонстрирован публике: синтезатор Prophet-600 и Roland Jupiter 6 были подключены друг к другу и воспроизводили звук одновременно. В 2013 году Смит и инженер Roland Икутаро Какехаси (Ikutaro Kakehashi), вдохновивший Смита на создание MIDI, получили за эту технологию давно заслуженную "Грэмми". К сожалению, уже в середине 1980-х Sequential Circuits оказалась в сложном финансовом положении. К моменту выхода своей компании из бинеса, однако, Смит успел разработать инструмент под названием Prophet VS, в котором впервые была представлена технология "векторного синтеза". Это был первый цифровой инструмент Sequential Circuits - и последний. Каждый патч синтезатора формировался четырьмя цифровыми осцилляторами (источниками звука), а джойстик позволял динамически регулировать их соотношение, плавно меняя характер звучания "на лету". В 1987 году активы Sequential выкупила Yamaha. Технологию "векторного синтеза" она адаптировала для своих синтезаторов серии SY, но в остальном Yamaha использовала эту технологию в своих синтезаторах серии SY, но это оказалось единственной пользой, которую компания смогла извлечь из покупки Sequential Circuits. Сам Смит вскоре оказался в Korg, и технология "векторного синтеза" составила основу серии синтезаторов Korg Wavestation. В 1994 году Смит стал президентом молодой компании Seer Systems и подключился к созданию программных синтезаторов. В 1996 году компания заключила контракт с Creative Labs, и в комплекте с картами SoundBlaster AWE64 стал поставляться программный синтезатор Creative WaveSynth, разошедшийся в итоге 10-миллионным тиражом. Эта разработка была тесно интегрирована с аппаратной частью аудиоинтерфейсов, но уже в 1997 году Seer выпустили разработанный первый профессиональный программный синтезатор - Reality. Отраслевая пресса моментально назвала продукт революционным, и небезосновательно. Специально под него даже был выпущен патент 5,886,274 ("Система и метод генерации, распространения, хранения и воспроизведения файлов, содержащих музыкальные работы"). Патент был выдан на имя основателя Seer Стэнли Юнглайба (Stanley Jungleib), который также был сооснователем MIDI Manufacturers Association и сам был тесно связан с разработкой MIDI. Тем не менее можно смело сказать, что направление программных синтезаторов, в итоге получивших колоссальное распространение и в профессиональной сфере, возникло при прямом участии Смита. К началу 2000-х Смиту, видимо, надоело возиться с программными синтезаторами и он создал Dave Smith Instruments, новую компанию по разработке аппаратных инструментов. На свет появилась линека инструментов Evolver. А в 2008 году он выпустил на рынок Prophet'08, обновлённую версию своего классического инструмента - как раз снова в моду вошли аналоговые синтезаторы. За этим последовали Prophet X, Prophet-6 и OB-6, совместная разработка с другим корифеем синтезаторостроения - Томом Оберхаймом (Tom Oberheim). В 2018-м Yamaha безвозмездно передала Смиту права на исторический бренд, и он переименовал Dave Smith Intsruments в Sequential. Уже под этим названием продолжал выпускать новые вариации на тему Prophet, а заодно перевыпустил оригинальные версии Prophet-5 и Prophet-10. В 2021 году Sequential была продана британской компании Focusrite, но с сохранением операционной и инженерной независимости. Последним инструментом, над которым успел поработать Смит, стало их новое совместное с Оберхаймом детище OB-X8, впервые представленное несколько недель назад на выставке Superbooth 2022. "С тяжёлым сердцем мы извещаем, что Дэйв Смит скончался, - говорится в опубликованном на сайте Sequential сообщении. - Мы опустошены, и нас лишь немного утешает тот факт, что он до конца занимался тем делом, которое любил, вместе с членами семьи, друзьями и артистами". Информации о причинах смерти пока нет. В наследии Смита самое поразительное - это то, насколько устойчивыми и долгоиграющими оказались его разработки и достижения. Синтезаторы Prophet, и классические, и новые, до сих пор пользуются немалым спросом. И, скорее всего, ещё долго будут сохранять популярность. Протокол MIDI, как уже сказано, до сих пор является магистральной технологией, и за 40 с лишним лет никто так и не предложил сколько-нибудь значимой альтернативы, только дополнения и расширения. Сегодняшние вездесущие программные синтезаторы фактически ведут свой "род" от Reality. Журнал Electronic Musican в 1998 году присудил ему награду "Выбор редакции", а в 2017-м - когда, казалось бы, уже все забыли, что это такое, - снова присвоил ему эту награду в ретроспективе, как разработке, которая в конце 1990-х "определила способ создания музыки". Наконец, Korg продолжает использовать принцип векторного синтеза в своих синтезаторах и рабочих станциях: например, совсем недавно свет увидел Korg Wavestate, обновлённая версия Wavestation. Кроме того, этот же метод используется во множестве программных синтезаторов от самых разных разработчиков. Смит и его соратники действительно во многом определили, как именно выглядит вся отрасль музыкальных инструментов с технической точки зрения. И в плане звучания тоже. Как заявил глава Focusrity Тим Кэрролл (Tim Carroll), в последнее время Смит занимался разработкой синтезаторов следующего поколения. Остаётся надеяться, что эта работа будет продолжена в память о нём.

PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!!I just setup an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love youCheck out Emlyn in the Mix on YouTube!!https://www.youtube.com/c/EmlynInTheMix

STUFF WE TALKED ABOUT  • So insanely super  • Ties that bind  • Music share: Behold your new god (ca. 1981), the Roland Jupiter-8 synthesizer  SOME LINKS TO STUFF WE TALKED ABOUT  • Roland Jupiter-8 image: https://greatsynthesizers.com/wp/wp-content/uploads/2020/04/Roland-Jupiter-8-Synthesizer-01.jpg  • Synthmania: Jupiter-8 https://www.youtube.com/watch?v=cW-OfQA1K4s Send us your vintage synth faves! You can contact us at bros@itsjustcalledtwobrothers.com, on Twitter at @ijc2b, and on Facebook at https://facebook.com/ijc2b/  Marcus's languishing blog is at https://marcusharwell.com/  Archived episodes are at https://www.itsjustcalledtwobrothers.com/  Our theme is by Matt Mahaffey & sElf

Join us for part 2 of the "Welcome to the Night" deep-dive. We explore the now-iconic intro to the song, from the decision not to deploy it as a standalone track to scrutiny of each sonic layer and the vintage gear used to record it. You'll hear about its impact at live shows, the longstanding intro it replaced, and the band's pre-show playlist ritual. From there, we turn our gaze to the "Welcome to the Night" single, the single cover artwork, the origins of the Night Demon sigil, and its deep connection to the fans. Be on the lookout for Part 3 of the "Welcome to the Night" discussion, coming next week!Become a subscriber at nightdemon.net/subscriber to unlock more bonus content! This episode’s bonus content includes:Welcome to the Night pencil sketch by Brian CrabaughWelcome to the Night rough color sketch by Brian CrabaughFirst draft sketch of Welcome to the Night artwork featuring original sigil designFirst draft of Night Demon sigilXmas card sent to Jarvis from Brian Crabaugh (featuring original artwork of King Diamond by Time Warrior)Jarvis showing and talking about original painting of cover artPictures of the gear used on the intro (Roland Jupiter 8, Admira nylon string acoustic, Epiphone FT-365 string acoustic)Welcome to the Night Intro (Demo)Riddle of Steel (ND intro)Night Demon pre-show playlist

Body Electric - Magic Electronic DL Here https://hypeddit.com/track/sf1rvg I Got Many Request About That Song When Played My Version In The Past. They Called It An Another Holy Grail Thing. So Here You Go. Stream It Or Downloud It For Free. Yours Mr. Turner ❤️ BODY ELECTRIC’s „Magic Electronic“ and „5595“ are truly masterpieces of electropop/italo disco. Originally released in 1984 as a 7“ on Danish label Harlekin (HMK 1319), Steen Gjerulff’s electropop project BODY ELECTRIC now sees a „re-issue“ on Dutch electro/italo label Moustache Records. Steen used a Roland VP-330 Vocoder Plus, Roland Jupiter-4 Analog Synthesizer, Simmons SDS-V and Micromoog Analog Synthesizer to create the two high-class electropop-italo gems. Used Instruments: Roland VP-330 Vocoder Plus Roland Jupiter-4 Analog Synthesizer Simmons SDS-V Micromoog Analog Synthesizer

we made this track with Roland Jupiter 8, Roland Juno 60, SC Pro one, Yamaha DX 7. Oberheim DMX. All vocals Joya

the inovative electronic work of Tim Friese-Greene made this song important for our workshop. We made it with Roland Jupiter 8, Roland TR808, Oberheim OBXa , Simmons SDS5, PPG 2.3. Hammond Organ. Non eletronic instruments are Kramer fretless and Kramer freds, Pearl Drum, Acusitic Guitar, Piano, all vocals joya

1980s teletype computers, music and talks about electornics, history, 80s 80s 80s and quantum conputing. IBM, the future, 80s computer ads, sound effects, your computer, Windows 95, Microsoft, Start Button, Moog, Roland Jupiter 8

Today 5pm-6pm EST 2pm-3pm PDT 10pm-11pm BST bombshellradio.com stereoembersmagazine.comAlex Green #Interview w/ Dream System 8#StereoEmbers #podcast #RadioShow #AlexGreen #Alternative #NewMusic #Nowplaying #BombshellRadio#DreamSyndicate“David Klotz Nursed His BrokenHeart With Vintage Synthesizers”A few years ago David Klotz had two heartbreaks going on at once: the break-up of his band,(the critically acclaimed sepia pop outfit Fonda) and the break-up of his marriage. And it turnedout that both events were intertwined, as Klotz was married to Fonda singer/keyboardist EmilyCook. So David Klotz did what anyone would do in this situation: he began collecting vintagesynthesisers. While amassing an arsenal that included a Roland Jupiter 4, a Crumar Performerand a Korg Rhythm 55-B, Klotz met singer/songwriter Erica Elektra. The two found they shareda love of The Human League and OMD and from there, Dream System 8 was born. Klotz, whois an Emmy-Award winning Music Editor (“Stranger Things,” “Game Of Thrones”) talks to Alexabout finding a musical partner whose tireless work ethic rivals his own. He also talks aboutMy Bloody Valentine, raising his son in a digital age and why he doesn’t write when he’s heartbroken.

“David Klotz Nursed His Broken Heart With Vintage Synthesizers” A few years ago David Klotz had two heartbreaks going on at once: the break-up of his band, (the critically acclaimed sepia pop outfit Fonda)and the break-up of his marriage. And it turned out that both events were intertwined, as Klotz was married to Fonda singer/keyboardist Emily Cook. So David Klotz did what anyone would do in this situation: he began collecting vintage synthesizers. While amassing an arsenal that included a Roland Jupiter 4, a Crumar Performer and a Korg Rhythm 55-B, Klotz met singer/songwriter Erica Elektra. The two found they shared a love of The Human League and OMD and from there, Dream System 8 was born. Klotz, who is an Emmy-Award winning Music Editor (“Stranger Things,” “Game Of Thrones”) talks to Alex about finding a musical partner whose tireless work ethic rivals his own. He also talks about My Bloody Valentine, raising his son in a digital age and why he doesn’t write when he’s heartbroken.

In this episode Todd Barton takes us on a musical and literary journey back to 1985 when he worked with Ursula K. Le Guin, famous for the EarthSea novels. Todd Barton created the musical score for Ursula’s fascinating novel, Always Coming Home, which focuses on a people that might have lived a long time ago in Northern California, and the book came with a cassette tape of music, songs and poems for The Kesh co-created by Ursula and Todd. The music for Always Coming was originally created using authentic acoustic instruments and Todd’s Roland Jupiter 8. Unfortunately he sold the Jupiter 8 many years ago, so has re-created the sounds from the track Music of the 8th House using the Buchla Music Easel.

赛博世界的迷失和伤感聊《银翼杀手》原声音乐作者：马海平从《银翼杀手》到《银翼杀手：2049》整整三十五年，这部史上最重要的科幻电影把人工智能和生物科技的主题推到人类的面前。《银翼杀手》的地位如此崇高，除了其科技上的前瞻性和寓言性，还因为它建立了“赛博朋克”美学的模板，影响了之后的影视，音乐，时尚，游戏众多领域。如今我们可以把《银翼杀手》看成一个系列，按照时间线来看还包括1997年的同名电子游戏，和今年的三部短片《银翼杀手：2022黑暗浩劫》，《银翼杀手：2048无处可逃》，《银翼杀手：2036复制人黎明》，这里我想来聊的是这个系列的原声音乐。由于1982年版《银翼杀手》影片票房惨败的副作用，其原声唱片同样扑朔迷离，版本混乱。直到影片上映十二年后的1994年才发行了官方版本的电影原声，但这并不影响非官方的版本在粉丝之间疯狂流传。正如电影本身的意义在十多年后才开始发酵一样，希腊音乐家Vangelis的这部作品已经影响了80年代至今的几乎所有流派的电子音乐。Vangelis在采访中提到，他在创作《银翼杀手》的原声之初就和导演Ridley Scott达成一致，音乐将不同于《漫游太空2001》的古典音乐嫁接，也会区别于《星球大战》的史诗风格，《银翼杀手》大量运用电子合成器的音色作为声音的基调。“我首先用电子乐器找寻和搭建曲子的基础结构，然后往上加我想要的管弦乐，定音鼓，木琴和打击乐等音色。我创作并非靠纸和笔写乐谱，更多的是依靠磁带录音机记录我所演奏的内容。一层一层的叠加尝试着不同的可能性，最后确定我想要的声音。” Vangelis在采访中说道。 也正因为如此，Vangelis一个人几乎掌控了该电影的原声的所有作曲、演奏、录音、后期的工作，他把所有的素材都录制在磁带录音机上，在工作室里一边看着电影片段一边实时作曲，这和传统的电影音乐制作方式完全不同。更像如今的电子音乐家在自己的“卧室工作室”工作。事实上范吉利斯在八十年代的作品已经大量采用合成器作曲。在制作《银翼杀手》原声音乐的这段时间里，他的工作室里堆满了各种电子乐器，最主要的是Yamaha公司出品的CS-80电子合成器，我们在影片中听到的大多数高声部的电子管弦乐和贝斯都来自这台乐器。Roland 公司出品的VP-330合成器则负责的电影原声中的音效。传奇的Rhodes Fender电钢琴也在影片中有着出色表现。制作过程中还使用的乐器包括Prophet 10, Roland Jupiter 4,MiniMoog一系列经典的合成器…这些乐器依然足以让现在的电子音乐家两眼放光。除了电子乐器以外Vangelis还收集大量不同的打击乐器，我们在影片开场听到的辉宏的定音鼓，动物市场那场戏的非洲鼓，这些声音都来自他的工作室。1997年出版的电子游戏版本中也套用了82年电影的原声。 也许是因为82年版本的原声音乐太难以超越，《银翼杀手：2049》的原声却十分难产，导演Denis Villeneuve曾经邀请与其合作过多部电影的冰岛作曲家Johann Jahannsson 为《银翼杀手：2049》作曲，但最后导演觉得他的作曲离原版风格太远，转投近年好莱坞炙手可热的配乐大咖Hans Zimmer和Benjamin Wallfisch。笔者虽然非常喜欢Johann Jahannsson为《降临》做的原声音乐,但也相信如果配成极简主义的学院派风格，所有的粉丝都会骂街。Villeneuve没有下错棋，最终在电影院里我们再次体验到电子合成器音乐的魅力。电影系列还推出三部短片，也同样依照Vangelis的风格制作配乐，值得一提的是渡边信一郎执导的动画短片《银翼杀手：2022黑暗浩劫》的配乐找来黑人音乐家Flying Lotus操刀制作，结尾曲《Almost Human》的歌词 “I'm almost human. Finally breathing, what is this feeling? ”,点出仿生人身份迷失的主题。预料之中，无论新版制作再精良也无法动摇Vangelis版本的原声在粉丝心中的地位，老版的声音更细腻清晰，每首曲子更像一首完整的作品，可以在家细细回味。而《银翼杀手：2049》的原声唱片在声音设计上更花功夫，也许在影院的体验更为震撼，但整体可听性不如原版，也许由于近年来Hans Zimmer参与太多的好莱坞大片配乐，又正值《敦刻尔克》刚刚下线，这种声音炸耳朵的配乐让听众有些审美疲劳。 新旧两个版本的电影原声有些地方相互呼应。都有一首叫作《blade Runner》的曲子，都出现在片尾字幕处，老版本合成器琶音带来紧张的压迫感，而新版的《blade Runner》简直是老版本的加强版。同样的调式，更重的节奏，声音处理更震撼。新老版本都为女主角设计了专有的配乐，老版是《Rachel's song》新版是《Joi》。新旧两个版本中唯一一处旋律相同的曲子是《Tears in Rain》，这也是整个电影系列中最著名的曲子，老版中这段音乐出现老版在仿生人Roy临死前说完那段 “Tears in Rain”的经典台词之后，新版则出现在主角K完成自己的使命后倒在雪地里的奄奄一息的段落。 爵士老歌也是《银翼杀手》电影系列的特点，老版本的《One More Kiss, Dear》和新版本的《One for My Baby》,以及断断续续出现在地下舞厅那段戏的猫王名曲《Can't Help Falling in Love》。导演运用爵士歌曲和电子乐拉开音乐质感，凸显出剧情的张力，这些曲子都出现在激烈的打斗后，老版出现在Deckard猎杀仿生人Zhora之后，而新版则是在Reckard和K的打斗结束后，短暂的舒缓了观众的紧张情绪，也让我们深信仿生人是一种活生生的存在，他们拥有自己的情绪，性格甚至是音乐品味。日本动画导演押井守在他的影片《攻克机动队：无罪》和《空中杀手》故技重施，也用了爵士歌曲点缀影片的情绪。可以看出《银翼杀手》的影响力远远大于电影本身。就电子音乐来说，Vangelis影响了80年代众多的合成器摇滚乐队，而在美国芝加哥和底特律在80年代中后期兴起的House和Techno音乐从来不避讳的这张原声唱片对自己的影响，很多音乐家作品可以看做把《银翼杀手》的配乐舞曲化，唱片中的曲子也被后来的音乐人当做采样无数次的使用。再让我们回看《银翼杀手》的精神内核，人类与未来科技碰撞后的无助，无论是人类还是仿生人，他们依赖科技生活甚至因为科技而诞生，而“高科技”带来的却是“低生活”。整个电影的呈现出感觉光怪陆离的诡异感，但如果你只把好奇心放在视听的刺激上，那可能你并没有抓到重点。因为在我看来《银翼杀手》传递的是一种迷失和伤感。这部电影原声就是一个很好的证明，尤其是82版中大量的蓝调音乐元素，《love Theme》和《Blade Runner Blues》都加入了萨克斯风的演奏，这样忧伤的音乐，无论你身处洛杉矶，伦敦或是北京上海，生活在当下大都市的人们能感受到这种迷茫的共鸣。而政治和社会的因素也埋藏在电影中，比如《银翼杀手：2049》出现的苏联CCCP标志和俄国芭蕾舞的虚拟投影，是因为在Philip K. Dick的原著小说《仿生人会梦见电子羊》的世界设定中苏联是依然存在的。82版电影中大量日本和东方的元素，是由于80年代日本经济对世界经济的巨大影响，正因为如此，影片中也出现了日本能剧的音乐。 谈论科幻电影绕不过《银翼杀手》，谈论电子音乐绕不过《银翼杀手》的电影原声。无论是“赛博朋克”或者“废土文化”这些名词其实都无法精准的定义《银翼杀手》这个电影系列，严格的说,如果“赛博朋克”以1984年William Ford Gibson的小说《神经漫游者》为起点的话，《银翼杀手》要比其早两年上映。所以我并不想对《银翼杀手》系列过度解读，因为正如电影本身一样，很多经典的桥段出于歪打正着的偶然，有些是出于拍摄经费捉襟见肘的无奈之举，而电影上映之初票房和人气也算不上一部成功的商业电影，哪怕《银翼杀手：2049》这样新世纪的大制作依然属于较好不叫座。应该说《银翼杀手》虽然名气很大，但始终是一部小众才能理解的电影，而正是这样的小众艺术潜移默化的影响了当今的科技和文化发展。《银翼杀手》系列配乐是《银翼杀手》美学的重要组成部分，在下一个三十五年里，这种音乐美学还会在电子音乐的世界里蔓延。 。

赛博世界的迷失和伤感聊《银翼杀手》原声音乐作者：马海平从《银翼杀手》到《银翼杀手：2049》整整三十五年，这部史上最重要的科幻电影把人工智能和生物科技的主题推到人类的面前。《银翼杀手》的地位如此崇高，除了其科技上的前瞻性和寓言性，还因为它建立了“赛博朋克”美学的模板，影响了之后的影视，音乐，时尚，游戏众多领域。如今我们可以把《银翼杀手》看成一个系列，按照时间线来看还包括1997年的同名电子游戏，和今年的三部短片《银翼杀手：2022黑暗浩劫》，《银翼杀手：2048无处可逃》，《银翼杀手：2036复制人黎明》，这里我想来聊的是这个系列的原声音乐。由于1982年版《银翼杀手》影片票房惨败的副作用，其原声唱片同样扑朔迷离，版本混乱。直到影片上映十二年后的1994年才发行了官方版本的电影原声，但这并不影响非官方的版本在粉丝之间疯狂流传。正如电影本身的意义在十多年后才开始发酵一样，希腊音乐家Vangelis的这部作品已经影响了80年代至今的几乎所有流派的电子音乐。Vangelis在采访中提到，他在创作《银翼杀手》的原声之初就和导演Ridley Scott达成一致，音乐将不同于《漫游太空2001》的古典音乐嫁接，也会区别于《星球大战》的史诗风格，《银翼杀手》大量运用电子合成器的音色作为声音的基调。“我首先用电子乐器找寻和搭建曲子的基础结构，然后往上加我想要的管弦乐，定音鼓，木琴和打击乐等音色。我创作并非靠纸和笔写乐谱，更多的是依靠磁带录音机记录我所演奏的内容。一层一层的叠加尝试着不同的可能性，最后确定我想要的声音。” Vangelis在采访中说道。 也正因为如此，Vangelis一个人几乎掌控了该电影的原声的所有作曲、演奏、录音、后期的工作，他把所有的素材都录制在磁带录音机上，在工作室里一边看着电影片段一边实时作曲，这和传统的电影音乐制作方式完全不同。更像如今的电子音乐家在自己的“卧室工作室”工作。事实上范吉利斯在八十年代的作品已经大量采用合成器作曲。在制作《银翼杀手》原声音乐的这段时间里，他的工作室里堆满了各种电子乐器，最主要的是Yamaha公司出品的CS-80电子合成器，我们在影片中听到的大多数高声部的电子管弦乐和贝斯都来自这台乐器。Roland 公司出品的VP-330合成器则负责的电影原声中的音效。传奇的Rhodes Fender电钢琴也在影片中有着出色表现。制作过程中还使用的乐器包括Prophet 10, Roland Jupiter 4,MiniMoog一系列经典的合成器…这些乐器依然足以让现在的电子音乐家两眼放光。除了电子乐器以外Vangelis还收集大量不同的打击乐器，我们在影片开场听到的辉宏的定音鼓，动物市场那场戏的非洲鼓，这些声音都来自他的工作室。1997年出版的电子游戏版本中也套用了82年电影的原声。 也许是因为82年版本的原声音乐太难以超越，《银翼杀手：2049》的原声却十分难产，导演Denis Villeneuve曾经邀请与其合作过多部电影的冰岛作曲家Johann Jahannsson 为《银翼杀手：2049》作曲，但最后导演觉得他的作曲离原版风格太远，转投近年好莱坞炙手可热的配乐大咖Hans Zimmer和Benjamin Wallfisch。笔者虽然非常喜欢Johann Jahannsson为《降临》做的原声音乐,但也相信如果配成极简主义的学院派风格，所有的粉丝都会骂街。Villeneuve没有下错棋，最终在电影院里我们再次体验到电子合成器音乐的魅力。电影系列还推出三部短片，也同样依照Vangelis的风格制作配乐，值得一提的是渡边信一郎执导的动画短片《银翼杀手：2022黑暗浩劫》的配乐找来黑人音乐家Flying Lotus操刀制作，结尾曲《Almost Human》的歌词 “I'm almost human. Finally breathing, what is this feeling? ”,点出仿生人身份迷失的主题。预料之中，无论新版制作再精良也无法动摇Vangelis版本的原声在粉丝心中的地位，老版的声音更细腻清晰，每首曲子更像一首完整的作品，可以在家细细回味。而《银翼杀手：2049》的原声唱片在声音设计上更花功夫，也许在影院的体验更为震撼，但整体可听性不如原版，也许由于近年来Hans Zimmer参与太多的好莱坞大片配乐，又正值《敦刻尔克》刚刚下线，这种声音炸耳朵的配乐让听众有些审美疲劳。 新旧两个版本的电影原声有些地方相互呼应。都有一首叫作《blade Runner》的曲子，都出现在片尾字幕处，老版本合成器琶音带来紧张的压迫感，而新版的《blade Runner》简直是老版本的加强版。同样的调式，更重的节奏，声音处理更震撼。新老版本都为女主角设计了专有的配乐，老版是《Rachel’s song》新版是《Joi》。新旧两个版本中唯一一处旋律相同的曲子是《Tears in Rain》，这也是整个电影系列中最著名的曲子，老版中这段音乐出现老版在仿生人Roy临死前说完那段 “Tears in Rain”的经典台词之后，新版则出现在主角K完成自己的使命后倒在雪地里的奄奄一息的段落。 爵士老歌也是《银翼杀手》电影系列的特点，老版本的《One More Kiss, Dear》和新版本的《One for My Baby》,以及断断续续出现在地下舞厅那段戏的猫王名曲《Can't Help Falling in Love》。导演运用爵士歌曲和电子乐拉开音乐质感，凸显出剧情的张力，这些曲子都出现在激烈的打斗后，老版出现在Deckard猎杀仿生人Zhora之后，而新版则是在Reckard和K的打斗结束后，短暂的舒缓了观众的紧张情绪，也让我们深信仿生人是一种活生生的存在，他们拥有自己的情绪，性格甚至是音乐品味。日本动画导演押井守在他的影片《攻克机动队：无罪》和《空中杀手》故技重施，也用了爵士歌曲点缀影片的情绪。可以看出《银翼杀手》的影响力远远大于电影本身。就电子音乐来说，Vangelis影响了80年代众多的合成器摇滚乐队，而在美国芝加哥和底特律在80年代中后期兴起的House和Techno音乐从来不避讳的这张原声唱片对自己的影响，很多音乐家作品可以看做把《银翼杀手》的配乐舞曲化，唱片中的曲子也被后来的音乐人当做采样无数次的使用。再让我们回看《银翼杀手》的精神内核，人类与未来科技碰撞后的无助，无论是人类还是仿生人，他们依赖科技生活甚至因为科技而诞生，而“高科技”带来的却是“低生活”。整个电影的呈现出感觉光怪陆离的诡异感，但如果你只把好奇心放在视听的刺激上，那可能你并没有抓到重点。因为在我看来《银翼杀手》传递的是一种迷失和伤感。这部电影原声就是一个很好的证明，尤其是82版中大量的蓝调音乐元素，《love Theme》和《Blade Runner Blues》都加入了萨克斯风的演奏，这样忧伤的音乐，无论你身处洛杉矶，伦敦或是北京上海，生活在当下大都市的人们能感受到这种迷茫的共鸣。而政治和社会的因素也埋藏在电影中，比如《银翼杀手：2049》出现的苏联CCCP标志和俄国芭蕾舞的虚拟投影，是因为在Philip K. Dick的原著小说《仿生人会梦见电子羊》的世界设定中苏联是依然存在的。82版电影中大量日本和东方的元素，是由于80年代日本经济对世界经济的巨大影响，正因为如此，影片中也出现了日本能剧的音乐。 谈论科幻电影绕不过《银翼杀手》，谈论电子音乐绕不过《银翼杀手》的电影原声。无论是“赛博朋克”或者“废土文化”这些名词其实都无法精准的定义《银翼杀手》这个电影系列，严格的说,如果“赛博朋克”以1984年William Ford Gibson的小说《神经漫游者》为起点的话，《银翼杀手》要比其早两年上映。所以我并不想对《银翼杀手》系列过度解读，因为正如电影本身一样，很多经典的桥段出于歪打正着的偶然，有些是出于拍摄经费捉襟见肘的无奈之举，而电影上映之初票房和人气也算不上一部成功的商业电影，哪怕《银翼杀手：2049》这样新世纪的大制作依然属于较好不叫座。应该说《银翼杀手》虽然名气很大，但始终是一部小众才能理解的电影，而正是这样的小众艺术潜移默化的影响了当今的科技和文化发展。《银翼杀手》系列配乐是《银翼杀手》美学的重要组成部分，在下一个三十五年里，这种音乐美学还会在电子音乐的世界里蔓延。 。

Jan Hammers Soundtracks are legendary and influenced also the dance music. We made that sond with Roland Jupiter 8, MiniMoog, Yamaha DX7, Lindrum, Ober heim OBXa and Faitlight Sounds. The guitar sounds are made with DX7 and a Marshal Amp like the original.

01. Technics WSA-1R: Clouds Testers — Fire of Love (Album Version) 02. Roland MKS-80: al l bo — History (Dub Mix) 03. Roland Jupiter-8: Arne Woutersax — Theme of Monaco 04. E-MU UltraProteus: al l bo — Because I Love You 05. E-MU Planet Phatt: al l bo — King of the Pop (Instrumental Mix) 06. Oberheim Matrix-1000: al l bo — Around The World 07. Dave Smith PolyEvolver: al l bo & Syntheticsax — Sax-O-Matica 08. Crumar Bit-01: al l bo — Walls of Tears 09. Novation Ultranova: al l bo — Love Affect (The Soap Opera Remix) 10. Waldorf Blofeld: al l bo — supernow (The Soap Opera Remix) 11. Dave Smith Prophet-08: al l bo — Jetpack (Album Mix) 12. Moog Voyager: al l bo, Syntheticsax — Theme of California 13. Moog Opus-3: al l bo — Solar Aqua (The Soap Opera Remix) 14. ARP Odyssey: al l bo — Staying Alive 15. Moog Model-D: Arne Woutersax — Theme of San Remo «Микшер Русской кибернетики» — еженедельный DJ-спецпроект, дополняющий основной час радиоэфиров национального клубного проекта «Русская кибернетика». В «Микшере» мы слушаем диджейские миксы и общаемся с их авторами — расширяем музыкальный кругозор, узнаём больше об особенностях профессии диджея. Гости делятся творческими и техническими секретами, рассказывают о наиболее ярких случаях гастрольной жизни, отвечают на не всегда простые вопросы. Ведущий «Микшера» — арт-директор «Русской кибернетики» Александр Киреев, ему ассистирует руководитель проекта Евгений Свалов (4Mal). Новые эпизоды «Микшера» вы всегда найдёте онлайн: Soundcloud: https://soundcloud.com/russiancyber/ iTunes: http://itun.es/i67C749 Instagram с анонсами и эксклюзивами: https://instagram.com/ruscyber Сообщество в Фейсбуке: https://www.facebook.com/russiancyber Сообщество в ВК: https://vk.com/ruscyber Отправить ваши треки в редакцию: http://promo.russiancyber.net/ Отправить заявку на вечеринку «Русская кибернетика» или 4Mal DJ-сет: http://dj.russiancyber.net/

01. Technics WSA-1R: Clouds Testers — Fire of Love (Album Version) 02. Roland MKS-80: al l bo — History (Dub Mix) 03. Roland Jupiter-8: Arne Woutersax — Theme of Monaco 04. E-MU UltraProteus: al l bo — Because I Love You 05. E-MU Planet Phatt: al l bo — King of the Pop (Instrumental Mix) 06. Oberheim Matrix-1000: al l bo — Around The World 07. Dave Smith PolyEvolver: al l bo & Syntheticsax — Sax-O-Matica 08. Crumar Bit-01: al l bo — Walls of Tears 09. Novation Ultranova: al l bo — Love Affect (The Soap Opera Remix) 10. Waldorf Blofeld: al l bo — supernow (The Soap Opera Remix) 11. Dave Smith Prophet-08: al l bo — Jetpack (Album Mix) 12. Moog Voyager: al l bo, Syntheticsax — Theme of California 13. Moog Opus-3: al l bo — Solar Aqua (The Soap Opera Remix) 14. ARP Odyssey: al l bo — Staying Alive 15. Moog Model-D: Arne Woutersax — Theme of San Remo «Микшер Русской кибернетики» — еженедельный DJ-спецпроект, дополняющий основной час радиоэфиров национального клубного проекта «Русская кибернетика». В «Микшере» мы слушаем диджейские миксы и общаемся с их авторами — расширяем музыкальный кругозор, узнаём больше об особенностях профессии диджея. Гости делятся творческими и техническими секретами, рассказывают о наиболее ярких случаях гастрольной жизни, отвечают на не всегда простые вопросы. Ведущий «Микшера» — арт-директор «Русской кибернетики» Александр Киреев, ему ассистирует руководитель проекта Евгений Свалов (4Mal). Новые эпизоды «Микшера» вы всегда найдёте онлайн: Soundcloud: https://soundcloud.com/russiancyber/ iTunes: http://itun.es/i67C749 Instagram с анонсами и эксклюзивами: https://instagram.com/ruscyber Сообщество в Фейсбуке: https://www.facebook.com/russiancyber Сообщество в ВК: https://vk.com/ruscyber Отправить ваши треки в редакцию: http://promo.russiancyber.net/ Отправить заявку на вечеринку «Русская кибернетика» или 4Mal DJ-сет: http://dj.russiancyber.net/

Stay Tuned on Fb > www.facebook.com/8daymtl Follow 8day > @8day-montreal Patrick & Steve aka " Eligia " from Toulouse, France, delivers a unique track on Free Download, exclusively on 8day! Their musical journey begun in the 90's, when they started experimenting djing and producing with analog synths like Roland Jupiter 4, Juno 106, drum machine like Roland TR 808 and an atari 1040. Follow ans support Eligia > https://soundcloud.com/eligia_official https://www.beatport.com/artist/eligia/578708 Download for free on The Artist Union

We made this track with Oberheim DMX drummachine , Roland Juno 60, ARP 2600, Roland Jupiter 8, Piano, alt sax

Charanjit Singh creatied this song in 1982 . The forst song that used the tb303 in a techno style way long befor it was used in this way from the Detroit Techno scene in 1986. We made it with Roland TB303, Roland TR808 and Roland Jupiter 8. This time not an original rebuilt. We left the melos out.

this song from the first album of Depeche mode combined solid british songwriting with electronic sounds. We made this track with Roland Jupiter 8, mini moog, ARP 2600. All vocals Joya

this track was about hypnotic groove with clear sounds combining sexiness with the innocence of children. We made it with Roland Jupiter 8, Prophet 5, ARP 2600 eventide harmonizer. Non electronic instruments are Pearl Drums, Timbales, Kramer Bass, Fender Stratocaster. All vocals Joya

Knarf a la 5G la moins rapide du monde pour vous parler du Moog Mavis et du Roland Jupiter 4. Heureusement qu'il y a Asmoth pour faire la topo sur la FX Collection 3 ! L'émission lundimadaire en live avec toute l'équipe. Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Ce soir, tentez de remporter un une licence Gforce Software OB-E (valeur £149.99) https://www.gforcesoftware.com/products/ob-e/ Le site d'Edouard : https://edouard.digital/ Mixed in Key : https://mixedinkey.com/harmonic-mixing-guide/ Moog Mavis : https://www.moogmusic.com/products/mavis Le live du Moog Mavis : https://youtu.be/q0qBHD4yB_0 Arturia FX Collection 3 : https://www.arturia.com/products/software-effects/fx-collection/overview Tracktion NOVUM : https://www.tracktion.com/products/novum Steinberg VST Live : https://www.steinberg.net/fr/vst-live/ Roland Jupiter-4 en plugin ACB (Roland Cloud) : https://www.roland.com/global/products/rc_jupiter-4/?lang=en-JM UVI Promos fête de la musique : https://www.uvi.net/fete-de-la-musique?ruf=107 Analog Lab Intro (Arturia) : https://audioplugin.deals/analog-lab-intro-by-arturia/ Native Instruments Summer of Sounds : https://lessondiers.com/ni ---- SOUTENEZ NOUS ---- Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers Disponible aussi via Patreon ! https://patreon.com/lessondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par nos partenaires magasins français, via ces liens affiliés, ça fait une grosse différence pour nous ! Woodbrass : https://lessondiers.com/woodbrass Michenaud : https://lessondiers.com/michenaud Native Instruments : https://lessondiers.com/ni Plugin Boutique : https://lessondiers.com/pluginboutique Baby Audio : https://lessondiers.com/babyaudio ​ ​Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com​​ ​ Suivez nous sur Twitch : https://twitch.tv/lessondiers​​ ​Twitter : https://twitter.com/lessondiers​​ ​Instagram : https://instagram.com/lessondiers​​ ​Facebook : https://facebook.com/lessondiers​​ YouTube : https://youtube.com/lessondiersFR​ 00:00 Intro 00:53 Début de l'émission 04:12 Concours GForce Software 09:50 Bootlegs / WTF 25:00 Moog Mavis 30:00 Arturia FX Collection 3 38:00 Tracktion Novum 41:40 Roland Jupiter-4 ACB 51:30 Analog Lab Intro gratuit 53:50 CLAP 01:03:50 Edouard Digital 01:05:45 Steinberg VST Live 01:10:10 UVI Fête de la musique 01:11:30 Native Instruments Summer of Sounds