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Vectorman

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  • Website URL
    https://davidvector.com/

Member Information

  • Gender
    Male
  • Location
    Michigan

Music Fandom

  • Last Rush Concert Attended
    2002
  • Favorite Rush Song
    Force Ten
  • Favorite Rush Album
    impossible to pick just one
  • Best Rush Experience
    Feeling so grateful to see them back and reinvigorated on the Vapor Trails tour, after that dark period when many of us thought Test for Echo would prove to be their final bow.
  • Other Favorite Bands
    Yes, Steven Wilson, The Fixx, Thomas Dolby, Patrick O'Hearn, etc.
  • Musical Instruments You Play
    keyboards, bass, smidgen of guitar
  1. And now that cool and surprising announcement is followed by completely unexpected sad news. https://www.synthtopia.com/content/2022/06/01/sequential-founder-father-of-midi-dave-smith-has-died/
  2. It definitely is a cool and inspirational thing to see a new entry in the Oberheim OB series for the first time in SO long. A few years ago, I probably wouldn't have bet $10 on it ever happening. Hard to say how long the wait could be for those looking to buy the UB-Xa. According to what was stated by Behringer, the only holdup now is getting sufficient quantities of components for a big enough batch to justify starting production, but that might be a while yet. I'm in no big hurry for any of these, though. Leaving aside sentimental factors, my occasional desires for an Oberheim-like texture in a new song are probably, in all honesty, satisfied by software solutions like Synapse Obsession.
  3. The new synth has aspects of the Oberheim OB-X, OB-Xa and OB-8 all rolled up in one. The oldest of those three, the OB-X, was of course the source of the "Tom Sawyer" filter sweep, as well as the poly sounds on "The Camera Eye" and "Subdivisions", etc. Not cheap at $5K, but I guess it's a bargain compared to original OB-X's which are now going for close to $20K. www.oberheim.com
  4. I had posted about what looks like a forthcoming new Oberheim OB-X (or OB-X-inspired synth), but I think the post was lost when there was a glitch with the board. Another short teaser has come out in the interim. Looks like it may be another project done in tandem with Sequential (like the OB-6 from a few years ago). No word on any specifics or expected release schedule.
  5. American Horror Story (on season 1, had never watched it before). And also Lost in Space, season 3 on Netflix. The latter made me physically jump when they suddenly threw in "Tom Sawyer" - on Lost in Space, of all things. I think it was episode 6?
  6. Had no idea there had been new PT available for the last week. This is SO much more instantly engaging than Steven's last two solo albums (especially TFB which, even though I'm very fond of a lot of electronic music, just didn't really grab me). Granted, this track or at least the core of it probably dates back to the earlier 2010's when Steven was still doing (IMO) great solo work. It is rather interesting to see this happening after Steven said that he had become bored with doing guitar-driven music. It's really been a year of things one had given up expecting to see happen...happening. Geddy and Alex announcing a new album in the works with Stewart Copeland is surely right around the corner, LOL.
  7. The first thing that popped into my mind in pure stream-of-consciousness fashion was Misfits of Science, of all things. One of Courtney Cox's first TV roles, I believe.
  8. The Colin Farrell version of Fright Night. October is always "slip in as many horror movies as I can" month.
  9. Thanks for posting! I thought I remembered the full length version maybe having been played on MuchMusic back in the day (whereas it was definitely just the shorter edit on MTV), but I can't remember for sure now. (Of course, that was 36 years ago...)
  10. I'm sure some things were written down the old fashioned way in the early days. Later on though, with instruments that could save patches to cassette and then diskette or memory cards/cartridges or even computer-based editors, I'd expect the archiving was digital. A lot of times, we didn't actually get exact recreations of studio sounds live. For the intro chords on "The Big Money", for example, on the PoW and HYF tours, we didn't get that big, layered sound...Geddy was just playing a single PPG synth brass patch. Several sounds were played on completely different synths where you wouldn't even be able to transfer patch settings because the newer synths had different architectures. Like on the HYF tour, where he played the "Tom Sawyer" lead on a square wave unison mode preset from the Prophet VS (that was...different!), or played the "Subdivisions" poly parts on the PPG and the leads on the Roland D-50. Or the "Red Sector A" arpeggiator bass played on a Prophet VS preset on the HYF tour. "Red Sector A" went through a lot of changes regarding the sounds used over different tours. Seems like there was a fair bit of just looking for the closest approximation on whatever new instruments had been incorporated into the setup. And then, of course, from the Presto tour onwards, we hit that stage where, for some parts, they just started sampling synth bits from the original masters and triggering samples live. That's when the "Big Money" chords started sounding like the album and various things from the "Camera Eye" OB-X parts to the main chords from "Between the Wheels" were just triggered samples. If you watch him play on vids from the last several tours, there's a lot of just pressing one key and getting a chord or an entire phrase going on.
  11. I can get a reasonable approximation of this on my OB-X synth, so I always guessed that's what it was. But it does almost sound like something else with how distinct and percussive it is. Watching some P/G footage, he appears to turn to his PPG Wave to make this sound when playing it live on that tour (although his OB-Xa is tied up with playing the choir patch). The sound is also a lot more drawn out and synthy compared to the original recording. Yes, on the OB-X. You aim for a celesta patch, which takes on a music box/toy piano tonality in higher octaves. Plink around, then drag that index finger up and down the white keys. Perhaps a Synth/Synth Settings appendix would be a champion idea for the memoir. You don't suppose the editor would dismissively chortle at the idea, do you? Ooooo....it would be great if Geddy had a chapter called Synthworld in the memoir! I'd love to hear him talk more about that stuff and not just give the standard "I just got tired of playing triads and not playing bass" thing he's been saying for the last 10+ years. It would be nice to see something like that, definitely. Though I suspect that, like Terry Brown, there are probably a lot of details he just doesn't recall by now, especially since synths apparently haven't been a major source of interest for him for the last three decades. Not that he completely abandoned using them and stopped following any tech developments - I did see him on the Access Virus user list, so I presume he probably picked one up when they were relatively new and hot and maybe used it on MFH. But obviously you don't commit all the details to memory the same way you do with something that is a real passion. It occurred to me that if I was asked about the details of what I used on this or that thing from like 1993 when I was recording stuff for my first attempt at an album...I'd probably be almost as clueless. Which sound from the Samplecell II library (there's a blast from the past) or the Kurzweil or whatever did I use on that chordal part? Uhm...dunno...that was more than half a lifetime ago...couldn't tell you if the fate of the world rested on it. And of course Rush's synth heyday dates back even further than that.
  12. iirc, when we used to do "Subdivisions" in cover bands eons ago, I just had some sort of swimmy, ethereal PWM sound with a moderately low filter cutoff tuned an octave up that I would bring in on top of the main sound for the intro/outro...I think I had it programmed to come in when I flicked the modwheel to active position. It's interesting that I can't recall Geddy himself ever incorporating that detail live. Regarding the DEW intro, I doubt that was accomplished with the onboard capabilities of any synth/sampler in his setup at that point. To my knowledge, the only sampling capability Geddy had on P/G was the Waveterm, and I don't think the lowpass-only filtering one could do in the Wave 2.2 with a Waveterm sample would accomplish what we hear on the album. To me it sounds more like some sort of noise source run through outboard effects units (possibly a chain of them). Sounds like there's a phaser in there. I remember several years ago, (I think) Howard Scarr very quickly whipped up a patch for u-he Zebra by request on the KVR forum for that sound that was sort of evocative of it but not quite there. Btw, the vocal sounds Geddy referred to on "Afterimage" I'm guessing are the "aaaah" and "ooooh" drones you hear in the midsection after the second chorus. The stuff that almost reminds me of some of the male choir samples from the Spectrasonics Symphony of Voices library. If anything, it actually became easier to identify sound sources from HYF and after because it seemed like there started to be less bespoke synth sounds and more use of presets. HYF is full of Prophet VS presets. Roll the Bones has a lot of Wavestation and JD800 presets on it.
  13. Complete OT, but I was listening to a Youtube demo of a software synth with a groove patch playing in the background while browsing TRF, and when I scrolled down this thread, the groovin' kitty in your sig was in PERFECT sync with the beat from the Youtube audio and stayed locked in for a good 20 seconds or more. :7up:
  14. I see it was Geddy's newer Taurus 3 pedals, the ones Moog put out around 2008-ish. (But then, who knows if he even still has any sets of the original Taurus pedals by now.)
  15. I've watched it a couple of times. IMO, a vast improvement over the theatrical version. Much more backstory and depth. One can see, based on this version, how much edge was taken off the theatrical version, which felt somehow a little too cutesy and leaned a bit too much on comedy. It's unfortunate that, now that they salvaged that film and made us want more, they're apparently playing the reboot game AGAIN with yet another Batman. They're never going to give the MCU a run for its money if they can't make up their minds what they want to do and stick with something for more than 2 or 3 movies.
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