Podcasts about yamaha cs

Episode 134 From Organ to Synthesizer: The Evolution of the Yamaha Electone Playlist   Time Track Time Start Introduction –Thom Holmes 06:56 00:00 Electone E-1, home style cabinet, transistorized oscillators, analog, two manuals, pedalboard, two built-in speakers.     1.Hidemi Saito, Tadashi Yoshida, “Kiriko No Tango” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 03:32 07:14 2.Hidemi Saito, Tadashi Yoshida, “Furare Jyozu Ni Hore Jyozu” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by, Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. 02:54 10:42 Electone B-6, home style cabinet, transistorized oscillators, analog, two manuals (44 notes each), pedalboard, two built-in speakers.     3.Koichi Oki, “September In The Rain” from  Swingin' Electone! (1967 Takt). Arranged by, Electone organ, Koichi Oki; Bass, Masanaga Harada; Drums, George Otsuka, Akira Ishikawa; Guitar, Masaaki Fujita; Tenor Saxophone, Yasushi Ashida. The Electone model is not specified but it had two manuals and is likely a model A-3. 03:22 13:38 Electone EX-42, space age cabinet, like the GX-1, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, portamento strip, pedalboard.     4.Shiro Michi, “Hey Jude” from Let's Learn Electone/Shiro Michi Electone Course Vol. 5/ "All About The Rhythm" (1970 CBS/Sony). Drums, Takeshi Inomata; Electone, Yuri Tashiro; Percussion – Tokyo Cuban Boys Percussion Group. Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 03:29 16:56 5.Shiro Michi, “Summertime” from Let's Learn Electone/Shiro Michi Electone Course Vol. 6 Jazz Standards and New Hits (1971 CBS/Sony).1970 — EX-42. Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. Famous Electone players such as Shigeo Sekito used this instrument to make the "Special Sound Series.” Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. 02:17 20:20 6.Koichi Oki, “Light My Fire” from Yamaha Superstar! (1972 Universal Summit). Oki was known as the “world's leading Yamaha Electone player” in the liner notes. Uses the Yamaha Electone EX-42. 02:59 22:32 7.Koichi Oki, “Spring” and “Summer” (side 1) from Exciting Keyboards - Four Seasons (1973 CBS/Sony). Arranged by, ARP Synthesizer, Electone [Electone  Koichi Oki;Drums, Akira Ishikawa; Guitar, Ken Yajima. Music by Vivaldi, Koichi Oki. This release was dated 1978 but the recordings were made in 1973. Oki was a musician working for Yamaha in the early seventies, providing demonstrations of their Electone organ. The model used here was an EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. 21:34 25:30 8.Yuri Tashiro, “Summertime” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:00 47:16 9.Yuri Tashiro, “Jazz Samba” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. 04:35 52:28 10.   Archie Ulm, “Popcorn” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. The classic Gershon Kingsley Moog tune played on the Electone EX-42. Percussion by Paul Hergert. 03:55 55:48 11.   Archie Ulm, “Harlem Nocturne” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. Percussion by Paul Hergert. 05:20 59:42 Electone E-70, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, built-in speakers. Same circuit board as used in the Yamaha CS-80 synthesizer.     12.   Denny Hinman, “How Deep is Your Love?” from Denny Plays The Yamaha Electone E-70 (1980 Yamaha). Ued the E-70 One of the first home-based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet. The E-70's architecture resembled the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000. 02:46 01:04:58 Electone D-80, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, pedalboard, built-in speakers.     13.   Bob Hacker, “Rocky Top” "One Man Opry" Bob Hacker Plays The Yamaha Electone D-80 (1980 Yamaha). Used the three-manual Yamaha Electone D-80. 04:01 01:07:46 Electone FX-1, space age cabinet, like the GX-1, integrated circuits, program cartridges, three manuals, pedalboard.     14.   Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. An interesting rendition of a Vangelis song. 03:22 01:11:44 15.   Claude Dupras, “The Spring” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. A little bit of Vivaldi. 03:32 01:15:06 Electone 7000, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, two speakers.     16.   Jim Levesque, “Moonlight Sonata/Night and Day” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) was a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 03:49 01:18:36 17.   Tracy Hammer, “Top Banana” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). Used the Electone 7000 (aka E-75 in Europe/Japan), a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 01:43 01:22:22 18.   Debbie Culbertson, “Ice Castles” from  Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) is a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. 04:09 01:23:58 Electone EL-90, home style cabinet, integrated circuits, disc recording of programming, two manuals, pedalboard, two built-in speakers. Introduced new synthesizers, filtering, and expression technologies that made instrument voices on the Electone closer to digital samples.     19.   Unknown Artist, “Prime Time,” Yamaha Electone EL-90 the Demonstrations (1991 Yamaha). A cassette demonstration tape showcasing the Electone EL-90 in various musical settings. 03:50 01:28:04   Opening background music: Hidemi Saito, Tadashi Yoshida, side 1 from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp. Electone Museum online. Electone Technology The Organ Forum  

Seja talks to her guest Joe Goddard (Hot Chip) about his new solo album Harmonics and all the amazing collaborators on the album. They talk about keeping electronic music interesting both in the studio and live, how having someone else listen to your music can change the way you hear it too, and how to harvest the energy in the room when working with a collaborator. Joe tells Seja about working with Katy Perry, Jarvis Cocker, Peter Gabriel, Robert Wyatt, Sleaford Mods and Brian Eno. They chat about how Joe owns Seja's dream synthesiser (Yamaha CS-80), getting ideas down quickly, how hard editing down is and how to know when a song is done. Joe's strange show story was illustrated by @matthewthegardener. You can see more of his stuff on instagram @matthewthegardener. All illustrations can be seen on instagram @hearsejpodcast or on the HearSej facebook page.

A dramatic rendition of T. S. Eliot's 1922 poem "The Waste Land," considered by many to be the most important poem of the 20th century, its echoes heard long into the 21st. Put to music by me.  Equipment used consisted soft synth versions of the Sequential Prophet-5, Yamaha CS-80, Yamaha DX7, ARP Solina, Oberheim Matrix-12, Moog Mini, Moog Modular, Buchla Easel, Fairlight CMI, Mellotron, Eventide Harmonizer.  For more, check out Magick.Me, our school for Magick, Meditation and Mysticism: www.magick.me. You can start with a free meditation at start.magick.me.

The supergroup U.K. was founded by former King Crimson percussionist Bill Bruford (also a former founder of Yes) and bassist and vocalist John Wetton (also a former member of Uriah Heep, and Roxy Music).  After failing to reform King Crimson, each of the two brought in a musician they thought would work well in the group.  Wetton brought in Eddie Jobson, violinist and keyboardist from Frank Zappa's band.  Bruford brought in Allan Holdsworth on guitars (who had worked on Bruford's prior solo project.  Their self titled debut album was released in May, 1978.  Although a couple of songs were edited for single release, the album U.K. is best known as a prog rock masterpiece, and is cited as inspirational to many musicians who followed in the prog rock genre. After an extensive tour supporting the album, Wetton and Jobson had a falling out with Holdsworth and fired him.  Bill Bruford left at that time and was replaced by Terry Bozzio, another alumnus of Frank Zappa's band and a future founding member of Missing Persons.  John Wetton would go on in the days after U.K. to be the front man for Asia.Rob brings us the prog rock monster-piece.   In the Dead of NightThe track that leads off the album was one of two songs to be edited for release as a single.  On the album it is the first of three songs which form a continuous suite on the first album side.  The 7/4 time and the synthesizer - the Yamaha CS-80 had just been released - are prog rock hallmarks.  The electric violin is an unusual addition.By the Light of DayThis track is the second movement of the "In the Dead of Night" suite.  Rather than have a clear change in tracks, there is a slow transition via a "spacey" interlude into the new song of the suite.  "Black clouds moving gray skies to thunder.  Kinetic sunrise fever and flood.  Fire and water element anger horizon melting to blood."Presto Vivace and RepriseThis is the third movement of the "In the Dead of Night suite.  This is a much faster piece (as the term Vivace would suggest) before transitioning back into a reprise of "In the Dead of Night."Time to KillThe abrupt start to this song is due to the way the tracks drift into each other.  The concept is that of boredom, of being stuck in a place.  "Time to kill, going nowhere, killing time, staying where there's time to kill, going nowhere..." ENTERTAINMENT TRACK:That'll Be the Day by Buddy Holly (from the motion picture "The Buddy Holly Story") Gary Busey was nominated for the Oscar for his portrayal of early rocker Buddy Holly in this film.  Busey would sing and play for the part. STAFF PICKS:Goodbye Girl by David Gates Bruce leads off the staff picks with a soft rock solo from former Bread front man David Gates.  The song is from the Neil Simon movie "The Goodbye Girl," which would lead to Richard Dreyfuss becoming the youngest man to win an Oscar for Best Actor at the time.    Lay Down Sally by Eric Clapton  Brian presents a pop hit from Clapton's album Slowhand.  It went to number 3 on the Billboard Hot 100.  It was written by Clapton, George Terry (guitar), and Marcy Levy (who sings the female parts on the song).  It was written in the country blues style of J.J. Cale, and hit number 26 on the Hot Country Songs chart, Clapton's best showing on that chart as a crossover.Ain't It Fun by Dead BoysWayne features a song from Cleveland's own Dead Boys.  This song appears on their second studio album, "We Have Come for Your Children."  They were known as one of the rowdiest bands on the punk scene.  It hit number 8 on the Mainstream Rock charts, and is an ode to the punk rock lifestyle.With a Little Luck by WingsRob brings us Paul McCartney with a song recorded largely in the Virgin Islands on a yacht equipped with a 24-track mobile recording studio installed on it.  This single from the album "London Town" hit number 1 on the pop charts.   INSTRUMENTAL TRACK:Alaska by U.K. This instrumental lets us do some double dipping with the track that leads off side 2 of the U.K. album.

Composition by Simon Woods.  "All sounds on this journey were either the original field recordings or the, long obsolete, Yamaha CS-01 synth with many tape machine plugins along the way for company." This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

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.

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Talking Synths is a weekly podcast where Syntaur's crew chats about all manner of synthology. In this Patreon episode of Talking Synths, Sam and Carlos talk about the  Yamaha CS-60, the little brother to the CS-80. This CS-60 belongs to John King of The Dust Brothers and will be for sale shortly.

On this episode: TQ4 returns to jam w Man using his TQ404 synthesizer w influences from : Oberheim OB-Xa · 9. Roland JD-800 · 8. Yamaha CS-80 · 7. Korg Wavestation · 6. Yamaha DX7 · 5. ARP 2600 · 4. PPG Wave 2.2/3 · 3. Mini Moog · ARP 2600 · Korg MS-20 · Sequential Circuits Prophet 5 · Oberheim OB-Xa · Roland Jupiter 8 Roland TB-303 (1982) ; 5 & 6. Roland TR-808 TX81Z Garritan (Every ARIA based products) Makemusic (Finale 2009-v27) AVID Technologies (Sibelius 5-2021.12) Microsoft (Songsmith) SONY Creative Software (Acid Pro 7) AKAI (EWI-USB) Geniesoft (Overture 4.0) A Designs Reddi Moog Minimoog ARP Odyssey Farfisa Rhythm Unit 10 & Vox Percussion King (customised) Farfisa Professional Piano Schulte Compact Phasing A Mutron Biphase A Designs Pacifica ADT Toolkit x4 Akai S950HXC AKG Contact Mics Alice Mixer Allen Heath Mix Wizard Allen Organ Spring Reverb AMS RM16 API 3124+ API 550A API 550A orig API 550B API 560 API 8200A ARP 2500 Atari 1040 + Midi Expansions + HXC Avedis E27 Bode Vocoder Boss BX16 Boss BX8 Boss GE7 Buzz Audio Arc1.1 Calrec Minimixer Calrec RQP3200 Casio FZ10 + FZ20M + NXC Chandler Delay Black Chandler Delay Cream Chandler Zoner Limiter Cirklon Sequencer Court Acoustics Graphic Crumar Bit01 White Cwejman RES4 x3 Cwejman VC06 Disklavier MKIV Pro Custom DPA 4052 Drawner Stereo Gate Dytronics FS1 Elysia Mpressor EML 101. modded EMS 2000 Vocoder EMT 140 Plate/Stereo/Tube EMT 240 Gold Foil EMT 252 FX EMT 258 x4 Filters Ensoniq ASR10 Eventide DSP4000 Eventide H3000 DSE Eventide H949 x4 Focusrite ISA110 Orig x8 Focusrite ISA430 Fulltone Tape Echo Harrison 32EQ GR500 HAT Mechanical Drums Helios x2 Intellijel Rubicon JH ARP Quadra Phaser JH Storm Tide FLanger x2 JH Tau Phaser Jomox Sunsyn V1 x2 Kawai K5000R Klark Teknik DN780 Korg DS8 Korg Minipops7 Midi. sepouts Korg PS3200 Korg PS3300 x3 Lexicon 480L Lexicon PCM70 LPG Lynx Aurora 16 Make Noise DPO Marion PROSynth x2 Meinl Water UDU Micmix Dynaflanger Micmix Masteroom 2 Midas Venice Desk Midimoogs x2 Modular Systems/Eurorack Moog Memory Lintronics MIT Ensemble Mum & Dad Vocals Musicmaid Claptrap x4 Nagra IV-S Neotek Elite 64 Channel Custom Neumann V473 x2 Oberheim OBX, racked Oberheim Modular SEMs, racked Orla DSE24 Pearl SC40 Pearl Syncussion, racked/midi/mod x4 Plugins, various Pultec EQP-1A3 Quad Eight 248 x2 Quantec Room Simulator Retro Instruments Powerstrip Rhodes Chroma RME Fireface800 RMI Harmonic Synth Roland 101s, modded Roland CE1 Roland D550 Roland MK550 Roland MK570 Roland R8/ROM(?) Roland TR606 / 666?, modded Roland TR808 Sci Prophet VS Sci Prophet5, racked/keyboard Sennheiser VSM201 Serge Modular 9-panel Shure Auxpander Siemens V78 x2 Simmons SD53(??) SM Pro PEQ505 Songbird Tri Chorus x2 Sound Devices 772 Soundcraft Ghost Soundworkshop 262 SPL TD4 SSL 4000 Channel Strips x5 SSL X desk Studio Electronics Code8 Full Synthoma Elkorus Synton Syntovox 221 x2 Tantek Flanger/Delay TC1210 Tongue Drums TR727 TR9090 Valley People Gain Brains Valley People Kepex x10 Wildlife Yamaha CS80 Yamaha D5000 Yamaha DX100, modded Yamaha DX11 Yamaha EX42 Yamaha FS1R Yamaha RX11 Yamaha TX16W x2 Zither AFX-scale Nord Lead 2 synthesiser - Studio Electronics SE1 - optical drives - four Kawai K-5000 synthesisers - Quasimidi QM-309 Rave-o-lution synthesiser - Tascam DA-88 8-track digital audio recorder - 4 Roland mixers - Doepfer Regelwerk MIDI Fader Box / Sequencer - 2 Doepfer MAQ 16/3 sequencers - Doepfer Schaltwerk sequencer - Doepfer A-100 modular synthesiser - Doepfer MMR4/4 - miniature MIDI keyboard custom-made by Doepfer - Doepfer LMK2 master keyboard (customised) - Waldorf Microwave - Boss SE50 effects processor (at least 4 of these) - 4 Akai samplers - Robovox (see 1990 entry below) - laptop computer - Eventide effects processor - Sony disk drive

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

The album Fieldfunk - ” The Journey " continues a series of ambient releases on the label Fieldfunk Records. This album was recorded almost entirely on the plug-in emulator of the legendary analog synthesizer Yamaha CS-80, which was produced in 1976-1980. Its incredible sound was ahead of its time. On CS-80 wrote music Vangelis (OST "Blade Runner"), it was used by ambient musicians of the early 80's. Some sounds can be heard from "Underworld "and the legendary" The Orb " in the albums of the 90s. We would like "The Journey" to become a real time travel and be perceived as a return to the roots of electronic music

Anlässlich zur Tastenwoche 2020 hat sich Stadtfilter Musikredaktor mit Musiker & Produzent Ruedi Tobler (Playmob.il)nach Fribourg ins SMEM (swiss museum for electronic music instruments) begeben und präsentieren für das Radio alte Tasten-Schätze. Mehr Infos zum SMEM: http://www.smemmusic.ch/ Mehr Info zu Playmob.il: https://soundcloud.com/playmob-il

In Episode 25, we’ve seen things you wouldn’t believe. A guest synth expert to tell us all about the great Yamaha CS-80’s attack and delay, and the shoulders of its Orion filter envelopes. We’ve watched Vangelis glitter in the dark, near Wagner’s Tannhäuser Overture. All these moments will be recorded in time, on podcast recording equipment, and released online, like tears in rain. Episode notes: 3:20 – A special Art of the Score guest 4:57 – A history of Blade Running 12:21 – The Vangelis sound 16:34 – Sound design versus music 20:37 – The Blade Runner main theme 26:48 – Synth talk with Seja: the Yamaha CS-80 31:52 – Aftertouch 35:32 – Oscillators and ring modulators 40:22 – The pitch ribbon 43:20 – Seja recreates the Blade Runner theme 52:44 – Pronunciation fun with Dan 55:02 – Tears In Rain 56:51 – Blade Runner and the film noir sound, from Double Indemnity to L.A. Noire 1:10:33 – The Blade Runner Blues 1:14:34 – Rachel’s theme 1:19:15 – The Love theme 1:23:49 – The ‘ethnic’ influences on the score – Blush Response 1:26:22 – Tales of the Future 1:31:10 – Damask Rose 1:36:15 – One More Kiss Dear and Blade Runner’s world of jazz 1:40:11 – The End Titles We love to hear from our listeners – get in touch via Twitter, Instagram, and Facebook, and if you like The Art of the Score, please take a moment to subscribe, rate and comment.

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。 。

Sommar i Synthsverige, men Blå måndag tar ingen lång semester när Skåne gör entré i podden genom Pål Roos, känd som ”Dr Synth” eller ”Monopål”. Vi pratar om synthlivet i Landskrona på 80-talet och diskuterar Yamaha CS-serien med Pål. Pål lyckas också välja låtar som först får Måns att utbrista ”sämsta låten i podden hittills” men med senare val lyckas golva oss.

We have an oversized episode of Trick or Treat Radio for your earholes this week! First up, we review the post-apocalyptic zombie film from Australia, Wyrmwood: Road of the Dead! Then, we bring back the Ask The Deadites segment! We reached out to our peers and listeners for questions and they came through in a big way! We touch upon our songwriting process, monster hunting, show promotion, film, gear, our history and soooo much more! So grab your zombie powered snow suit, your outback jacket and strap on! Topics discussed: VHS video labels, our favorite episodes, Tron: Legacy, Josh Gravel, the Yumbo, razor boomerang, the influence of Dawn of the Dead, Burger King, vagina drugs, Dynamo's second published comic work controversy, "the other ones" and their jobs, Turkish films, how foxy Mz. M is, Ravenshadow's snow outfit, Tiny's Twix disaster, GSBHs Lowell adventures, Unchayned with Bobby Chaynz, bad internet connection, GGTMC Facebook controversy, Dynamo not drinking, Australia, live show photography, Digging up the Marrow, Adam Green, sibling filmmakers, what to do with permission slips, Dynamo's diet week 5, Enjoy the Covers, videos on the Internet, Jack Link’s beef jerky, Stanley Kubrick, Kit Kats tasting bad, how hot Oracle is, Chaynz and MonsterZero romance, getting suplexed by Ares, Road Warrior, TubeSynch, Rocky Dennis, superhero film shaming, Zero and Ravenshadow's heritage, zombie comedies, Tom C appearance, XSplit, The Deadites’ theatricality, Gateway from the X-Men, the zombie cliche of the jerk, Rocky's surgery, Deadites documentary?, Andy Christ, katanas and cavalry sabres, Bad Taste, FatherZero, Aquaphobic, Ravenshadow's 8x10, Deadites Deathmatch, Ethan Magloofabits, naming characters after other iconic film characters, Roky Erickson, film subtext (put your monocle on), Yamaha CS-80, Toxic Avenger, dirty fighting, CDR, Tiny & his mask, zombie breath, snow pants & snow suits, Jeanette from Haunting TV, Wyrmwood: Road of the Dead, writing new music, The Preview Channel, Jodorowsky's Dune, Andy Christ's impersonations, Beyond The Black Rainbow, Mike Allred, Stephen Scarlata, R.A. Salvatore, George Kirschner And Turkish Exorcist!Support the show (https://www.patreon.com/trickortreatradio)

...Несостоявшемуся освоению космического пространства посвящается... Эта экспериментальная работа в стиле Electronic / Berlin School включает в себя все интересные мне моменты в творчестве талантливого электронщика Gert'a Emmens'a. Стиль микса сильно отличается от всего, что делалось раньше. Рекомендуется для серьёзного, вдумчивого прослушивания. Джерт Эмменс (Gert Emmens) - голландский композитор электронной музыки - родился 12 декабря 1957 года. С 1965 года в течение 3 лет получал уроки классического органа. В 1976 с товарищами написал первую композицию. В 1978 он впервые сыграл в музыкальном коллективе на ударных установках. После приобретения в 1979 году своего первого синтезатора Yamaha CS-10, Джерт начал экспериментировать в жанре электронной музыки. Одновременно он до 1989 года играл на клавишных и ударниках в разных группах играющих в стиле 'pop-music'. В 90-ые Джерт Эмменс вновь открыл для себя электронную музыку и в 1996 году записал трек 'Movements' - позже ремикс-версия этой композиции была включена в первый полностью электронный альбом Джерта Эмменс под названием 'Elektra'. Джерт Эмменс - действительно уникальный художник. Иногда он подходит достаточно близко к той черте, за которой его можно было заподозрить в копировании метров жанра - 'Tangerine Dream' или Schulze (например, когда он использует звучание Mellotron). В другое время он кажется абсолютно оригинальным, все еще оставаясь в пределах "традиционной" электронной музыки. Тем не менее, несмотря на все сказанное - Джерт является 'настоящим синтезаторщиком', в его музыкальных произведениях можно услышать разнообразные звуки, которых вы не услышите у кого-нибудь другого! Музыку Эмменса можно охарактеризовать как 'живая электроника'. Многие признают Джерта Эмменса одним из наиболее талантливых и интересных продолжателей традиций Берлинской электронной школы, музыка которого, однако, отличается яркими, запоминающимися, и даже захватывающими мелодиями и ритмическими рисунками. Ковёр

...Несостоявшемуся освоению космического пространства посвящается... Эта экспериментальная работа в стиле Electronic / Berlin School включает в себя все интересные мне моменты в творчестве талантливого электронщика Gert'a Emmens'a. Стиль микса сильно отличается от всего, что делалось раньше. Рекомендуется для серьёзного, вдумчивого прослушивания. Джерт Эмменс (Gert Emmens) - голландский композитор электронной музыки - родился 12 декабря 1957 года. С 1965 года в течение 3 лет получал уроки классического органа. В 1976 с товарищами написал первую композицию. В 1978 он впервые сыграл в музыкальном коллективе на ударных установках. После приобретения в 1979 году своего первого синтезатора Yamaha CS-10, Джерт начал экспериментировать в жанре электронной музыки. Одновременно он до 1989 года играл на клавишных и ударниках в разных группах играющих в стиле 'pop-music'. В 90-ые Джерт Эмменс вновь открыл для себя электронную музыку и в 1996 году записал трек 'Movements' - позже ремикс-версия этой композиции была включена в первый полностью электронный альбом Джерта Эмменс под названием 'Elektra'. Джерт Эмменс - действительно уникальный художник. Иногда он подходит достаточно близко к той черте, за которой его можно было заподозрить в копировании метров жанра - 'Tangerine Dream' или Schulze (например, когда он использует звучание Mellotron). В другое время он кажется абсолютно оригинальным, все еще оставаясь в пределах "традиционной" электронной музыки. Тем не менее, несмотря на все сказанное - Джерт является 'настоящим синтезаторщиком', в его музыкальных произведениях можно услышать разнообразные звуки, которых вы не услышите у кого-нибудь другого! Музыку Эмменса можно охарактеризовать как 'живая электроника'. Многие признают Джерта Эмменса одним из наиболее талантливых и интересных продолжателей традиций Берлинской электронной школы, музыка которого, однако, отличается яркими, запоминающимися, и даже захватывающими мелодиями и ритмическими рисунками. Ковёр