"The new theme was arranged by Peter Howell using his Yamaha CS-80, ARP Odyssey and Roland Jupiter 4 synthesisers as well as his EMS Vocoder, and some additional processing to that recording. [...] The opening and closing themes followed the pattern set in 1970 [...] However, Howell's theme began in the key of F-sharp minor. This obligated incidental music composers to end their final cue of the episode in the highly unusual key, or something complimentary. Howell therefore has called himself "the guy who just made it difficult for everybody". (DCOM: Meglos) Beyond this unusual feature, his opening remained unchanged aside from some very minor alterations to coincide with the revised Sixth Doctor opening sequence from The Twin Dilemma and his closing included the "middle eight" and ended with an explosive sound (nicknamed the "sonic boom" and complimented by the white-out effect at the end of the credits). This theme was used from Season 18 through Season 22."
youtube
Season 23
"Season 23 saw another new arrangement by Dominic Glynn. It was more haunting and ethereal than the previous themes, but very similar to Peter Howell's arrangement in most respects (enough so that the opening graphics remained unchanged from the final Howell season). The theme was in the E Minor key."
"Axel F" is an electronic instrumental by German musician Harold Faltermeyer. It served as the theme for the 1984 film Beverly Hills Cop, starring Eddie Murphy, and became an international number one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK and West Germany.
Background
The title comes from the main character's name in the film, Axel Foley (played by Eddie Murphy). It is composed in the key of F minor.
Faltermeyer recorded the song using five instruments: a Roland Jupiter-8 provided the distinctive "supersaw" lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming.
According to Faltermeyer, the initial reaction to his premiere presentation of the cues to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm.[4]
In addition to the Beverly Hills Cop soundtrack, the song also appears on Faltermeyer's 1988 album Harold F. as a bonus track. Reportedly, Faltermeyer was against including it, but MCA insisted as it was his most recognizable track.[citation needed]
Roland TR-808, Roland Júpiter 4 & Sequential Pro-one
Upstairs at Eric's - The title of this masterpiece refers to Eric Radcliffe's recording studio, who already worked with Vince on Speak and Spell, the album was recorded almost entirely with a Sequential Pro-one, Daniel Miller's Arp 2600 was used on the don't go riff, the RSF kobol expander in the only you sequence and I think the Jupiter in the goodbye 70 riff.
This is an album that always fascinated me, an absolute masterpiece of electronic music, I was able to see them live at Sonar on the reconnected tour
Written by drummer, Roger Taylor, Radio Gaga by Queen uses the LinnDrum drum machine (Linn LM-1) as well as a number of other electronic instruments.
Synthesizers
https://www.youtube.com/watch?v=_6FBfAQ-NDE
Out of Depeche Mode’s four band members, three contributed to the iconic synthesizer sounds in Just Can’t Get Enough. Martin Gore used the Yamaha CS-5 synthesizer, Vince Clarke used the Kawai 100F and Roland Jupiter-4 synthesizers, and Andy Fletcher used the Moog Prodigy synthesizer. Together, the synthesizers used create an upbeat and funky sound.
Hey guys!
The 12 Days of Synthmas! Here we go!
On the 12th day of Synthmas, myself had gave to me…
12 Roland D-50’s
11 DX7’s
10 Moog System IIIP’s
9 Sub 37’s
8 Jupiter 8’s
7 Juno-X’s
6 OB-X8’s
FIVE KORG M1’s!!!!!
4 Prophet-5’s
3 DFAM’s
2 MiniMoogs
And a Yamaha CS-80!
~~~~
For My synth and electronic music enthusiasts out there, along with anybody who loves a good laugh, regardless…
AMSynths AM8109SE - аналоговые фильтры нижних и верхних частот Jupiter-8 в Eurorack
AMSynths AM8109SE сжимает аналоговые фильтры низких и высоких частот Roland Jupiter-4/8 в новом модуле фильтров Eurorack.
(со страницы AMSynths AM8109SE - аналоговые фильтры нижних и верхних частот Jupiter-8 в Eurorack)
"Rio" is a 1982 song by British band Duran Duran. It was first released late that year as the group’s seventh single, but did not attract much notice in the US. However, after their breakthrough hit "Hungry Like the Wolf" stormed MTV and scaled the American charts in December 1982, radio programmers (particularly the influential KROQ in Los Angeles) began to play the similar "Rio". Capitol Records decided to reissued the single in March 1983 and by June it became the band's 2nd US top 20 hit (peaking at #14).
The keyboard pattern for the song, well-known among Duran Duran fans and synthesizer enthusiasts, was produced by an arpeggiator—a tool which can play the individual notes in a chord in a chosen pattern. It was once rumored that the synthesiser used to achieve this was a Roland Jupiter-8. However, it has been said by Nick Rhodes to actually be a Roland Jupiter-4 using the random mode on the arpeggiator with a Cmaj7 chord.
Director Russell Mulcahy filmed the now-iconic music video for "Rio", which featured images of the band in Antony Price suits, singing and playing around on a yacht speeding over the crystal blue Caribbean Sea. Short segments show band members trying to live out their assorted daydreams, only to be teased and tormented by body-painted vixen Reema Medawar.
The video was shot over the course of three days in May 1982 on the island of Antigua and further scenes were added in June. The yacht footage was filmed on the bay at English Harbour, the beach scenes at Miller's Beach, and the segment featuring the raft at Shirley Heights. Some close ups were filmed later on the Solent due to a film processing error.
My mum offered to help me train up, since Hop's busy and Jamie's just got a lot on his plate.
It's really hard to forget that she's a former Gym Leader, but it's getting been getting easier to beat her each year. She decided to bring a full team of six, three of which were her old gym battlers, so here's a quick fact about all six species.
Aegislash: Roland, this sweet steel bastard, has a tendency to do very stupid things. He is nocturnal, he can float through walls but he makes stupid loud metal screeching noises when he does, and just. Floats. Menacingly. I love him, he's just terrifying if I don't expect him.
Bisharp: Juno is a surprisingly nice Bisharp, so I've had some fun experiences with these sharp chess piece pokemon. They aren't very loving parents, mostly, but if a Pawniard's blade chips, the Bisharp parent will take extra care of that specific Pawniard until they're once again an equal in the group. Usually, that's about a month or two.
Corviknight: Morgan is a very smart, albeit shy, bird. Since she's got soft feathers on her underwings, I'll sometimes hang out under there since she likes me. She's also had a few nests, and sometimes her birdy babes from the year before come to help her raise her new hatchlings. This is common behavior for the line, and it's adorable.
Roserade: Adonis was raised by my mum since she was a little girl in Kalos, and she openly admits that he's her favourite. Wild Roserade poison is much more potent, but a domestic one has bigger and brighter flowers. Domestic rosies are usually much heavier than wild ones, too.
Gallade: Jupiter has, and forgive me for saying this, pretty much become my uncle by this point. The adults of the line tend to do that with human children. Funnily enough, Gallades are much more likely to hang around human civilizations than any other member of their line. It's actually kind of hilarious, seeing a wild Gallade sitting on a bench in the middle of Motostoke.
Lucario: Athena isn't particularly skilled at being a Lucario, since she just evolved and is very insistent on battling to get better. Anyways, she spent the entire battle telepathically asking me and Mum questions about how she could do better, something about 50% of Lucario trainers might have to deal with upon evolution. It was kind of a shock at first, but it was like answering a 10-year-old's questions after a while.
Oh, and bonus battling tip: Make sure your moves have variety to them. Grandma Aubrey got through almost the entirety of the Kalos League with only a Delphox, a Chandelure, and a Houndoom. She kept their moves varied, and only got knocked out at a Water-type Specialist Elite 4 member, not Siebold because he wasn't born yet.
I, meanwhile, managed to make it two years with Loki only knowing physical Dark-type moves. I managed to get her through the League in a half-year, and then after 18 months Dean asked me to battle him the next day. (For reference, he uses mostly Fighting-types.) I ended up teaching Loki Play Rough beforehand so that she had at least one counter. She's now got a revolving door of moves, with Beat-Up being the only consistent move she has. It's made battling a lot easier, now that I actually have more counters to other types.
Vangelis at Nemo Studios in London’s Marble Arch, which at its peak was equipped with a Minimoog, SCI Prophet 10, Roland SH3a, Roland Jupiter 4, Roland Promars MRS2 Compuphonic, Roland VP330 Vocoder Plus, Roland System 100, Yamaha CS40M, Yamaha CS80, Fender Rhodes, Elka Rhapsody 610, Roland SH2000, Emulator, Yamaha GS2, Roland Juno 106, Roland CR5000 Compurhythm, Drumulator and a Linn Drum Computer.
AMDEK RMK-100 x 2 アムデックのトホホなDIYリズムボックス!
KORG DDD-5 長く使用。ベロシティ・パッドと音色カードが新しかった
KORG DRM-1 すぐ売り飛ばした。私にラックは合わない
KORG PSS60 なんで買ぅたんやろ?
KORG WAVEDRUM Mini 和太鼓 和太鼓とWaveDrum Miniとがニコイチ!和のこころとSondius XG!
Roland CR-78 我が家のクロック・ソースでした!
Roland CR-68 日影もんですが、良い音します
Roland TR-606 フォークソングおっさんが呉れた!!!!
Roland TR-707 かなり故障中
Roland TR-626 なんでうちにあってんろ?
Roland R-70 リズムパターン自動生成。エスノなのは下手。ポジショナルパッドよろし。外観ポップ
Roland R-8 MKII 永遠の名機。外観も硬派。'80年代後期はこれでしょう
KORG SQ-8 x 2 DW-8kワーステ化をもくろむも変態さを自慢して終わり
KORG SQ-1 これほしかった!S/H波LFOの代用になるし安いし USB-CV/Gate I/F になるし
Make Noise 0-CTRL これもなんちゃって���ックラ素晴らしい!!!
Roland MC-500 バルクライブラリアン最高! タイ航空ステッカー最高!
Roland MC-500 mkII クロックが揺れず、ダイアル一発でリタルダントとかできて良いらしい
Roland MC-50 mkII 最後の単体ハードシーケンサーSMF互換ロングセラー
YAMAHA QX5 多機能やねんけど使いにくくて、と思ったらもっぺん来た笑
YAMAHA QX3 これ、はやりましたな!
KORG MS-03 x 2 Pitch to CV変換機、謎リヴィジョン違い
KORG KMS-30 DIN同期とMIDIとを変換するレアなボックス貴重
Oberheim Cyclone アルペジエイターのみの変態マシン
Oberheim Strummer ギター奏法を再現というが、なかなか半端
Roland ASC-1 "Arabic Scale Converter" x 2 知られざる変態MIDI変換マシン
Sigboost “midiglue” 史上初MIDI/CV Programmable Processorメルカリ!
BOSS HF-2 "High Band Flanger" 高い周波帯だけフランジングするアイディア商品
BOSS MZ-2 "Metalizer" その名も凄い、アナログ歪み+デジタルかな?によるコーラス
BOSS XT-2 "Xtortion" その名も凄い、効果もエグい、でもアナログ歪み
BOSS DM-2W "Delay" アナログディレイ技ペダル、あやしいBBDだそうでよくぞ頑張ってくださいました感涙
BOSS VT-1 変態ボイスチェンジャー、某公共事業に寄贈
BOSS WP-20G GK P.Uが要るのにどないすんねん
BOSS RE-20 "Space Echo" 極上のテープエコーをモデリング、綺麗な音
BOSS SL-20 "Slicer" シーケンシングに匹敵するツインペダル!
HeilSound Talking Modulator ほとんど使わず、めっさ重たい
Ibanez SDR1000+ 2連MIDIタイム可変高音質デジリバ死語SONY製
KORG SDD-3300 3連モジュレーション・ディレイで変態
Roland RE-101 やっぱテープエコーですよ、800DV 等にかけっぱなし
Roland RE-201 名機なのは分かるけど、この機種のみ有名なのは何故?
Roland Revo30 x 2 珍品レスリーFX、非常にチープな音
Roland SDD-320 言わずと知れたディメンジョン、プロ5と相性抜群、取っ手もかっこいい
Roland SDE-3000A ビット数が粗いのがかえって名機となるも、結局使わず
Roland RSP-550 x 2 当時ボコーダーがほしくて入手
Roland E-660 x 2 中古で入手するにもほどがある、エディット時の反応が遅すぎ!
Roland EF-303 x 2 友人にあげたらフォノイコになった!!
SONY DPS-F7 ウソっぽいフィルターで硬い音のシンセにもなるがその音もウソっぽい、でもSONYシンセ!
YAMAHA REX50 まともな使い方せず遊んだ青春、世界初デジタルディストーション
なんやしらん緑の小さな Ring Modulator ただ歪むだけ
なんやしらん光学式のワウ 口に入れたり脇にはさんだりしてワウる
Roland A-880 MIDIマージ重宝したMIDIパッチベイ
Roland A-110 ただのにぎやかしになるMIDIノート表示板
Roland M-480 48chラック型ミキサー! 経年劣化でノイズ
Roland M-240 24ch 据置型ミキサー! 経年劣化でノイズ
KORG KMX-122 フロントにイレギュラー入力は便利だがすぐ歪む
(Roland)Cakewalk UA-1G カミさんの Mac 用、借りて使って使いやすさにびっくり
(Roland)EDIROL UA-101 私の Mac 用、大活躍だが生産完了になってから入手したので老兵
Roland UA-1010 "Octa-Capture" UA-101 の後釜。Auto-Sens 機能便利
Roland Rubix44 Octa-Capture後釜、4ch充分、Generic driver充分
Fostex X-28H VUではなくLEDレベルメーターに未来を感じた青春
TEAC TASCAM Porta One "MINISTUDIO" ピンポン録音だ!
TEAC TASCAM Porta Two "MINISTUDIO" 入力端子が多くて当時アマにグッド!
TEAC TASCAM 688 "MIDISTUDIO" カセットで8トラ! 使い倒した!
Roland VS-1680 "V-Studio" w / CDR-88 ピンポンしても音が劣化しないのに仰天! CD焼けてバックアップまでできて、また仰天!
Roland CD-5 使わずじまい、っていうか使えずじまい??
ableton Live w / various VST plug-ins Ver.1.0から使ってておもろかったけど安直に曲できすぎて飽きた
ableton Live Lite 8 のばちょんのオマケ、VSTホストとして使うつもりが使わずじまい
Apple Garage Band 当時これで同時録音可能音声トラックが8トラあったら充分やったのに
Apple Logic Express 9 ガレバンが↑だからこれを買うはめに。凄い万能ぶりにぼーぜん
Apple Logic Pro 9 なんせ最上位機種がダウンロード販売で1万7千円しかせんのでぼーぜん
Apple Logic Pro X ゼロからの再出発
Apple Garage Band iOS まさか8トラが32トラになって無償になるとは!
Arturia Pigments 3 これはあたらしい音がするねぇ
Arturia CS-80V ヴァンゲリス御大の神器、実物80kgもして所有不可なのでソフトで
Arturia prophet-V キャンペーンでタダで入手!!プロ5とプロVS合体がいい
Arturia minimoog V Original キャンペーンでタダで入手!!太い音しますねー
Arturia Matrix-12 V Xpanderの代わりに入手、やっぱ LFO ×5基は凄いねぇ
DEXED これは使いやすいDX7完全再現フリーウェアしかも今風の音もいろいろあり
Garritan World Instruments 安い音質だが打楽器豊富、常にマルチ音源なのがちょっと
KORG LegacyCollection MS-20 単品売りで安価、少々時代を感じる操作性だけど個性派
KORG M1Le キャンペーンでタダで入手!! レゾナンス無いし M1 そのもの
Miroslav Philharmonik CE 格安キャンペーンで入手、原音忠実すぎて音域限定は使い辛い
Media OverKill Waverazor もっともぶっとんだイカれた壊れたイカしたソフトシンセ!!
Native Instruments Razor この変態音源が最高、なんせリバーブまで 320 倍音加算合成!
Native Instruments Prism 変態打楽器物理モデリングシンセ、持続音にするとなお変態で良い
Native Instruments Micro Prism 変態打楽器モデリングシンセ簡易版、遊ぶだけなら充分
Native Instruments Scanner グラニュラーで遊びたくて、しかも安かったし
Native Instruments FM8 まぁクロノスとDX互換させたかったので、って変な理由ですね
PPG WaveMapper2 奇才ジジイ極変態ウェーヴテーブルを超越タイムコレクテッド音源、楽しい!
UVI 各種デモ版ばっか走らせるもスタンドアローンで弾けず
waldorf largo 変態シンセメーカーの集大成的変態シンセが楽しい
W. Taylor Holiday Audulus おそろしく基礎から始めさせられるモジュラーシンセ
じつは膨大なフリーウェア音源とエフェクトたくさんたくさん
"Planet Earth" begins with a mid-tempo synthesised sweep backed with sequenced electronic rhythm, but the real rhythm section of throbbing bass and crisp drums soon kick in. Muted guitar carries the up-and-down throbbing as the singer joins in.
The sequenced part on this song is a Prophet-5 synth, while a Roland Jupiter-4 and a Crumar Performer were used for strings and other sounds.[1] The flanging intro sound was the Jupiter 4 processed by an MXR flanger.[2]
The song was the first to explicitly acknowledge the fledgling New Romantic fashion movement, with the line "Like some New Romantic looking for the TV sound".
The original demo had an extra verse at the end, as can be heard in the Manchester Square Demo version, released in 2009:
"I came outside I saw the nightfall with the rain, Sheet lightning flashes in my brain, Whatever happened to the world we used to know? I've got you coming over fear now."
"Planet Earth" is the debut single by the English pop rock band Duran Duran, released on 2 February 1981.
It was an immediate hit in the band's native UK, reaching #12 on the UK Singles Chart on 21 February, and did even better in Australia, hitting #8 to become Duran Duran's first Top 10 hit anywhere in the world.
The song later appeared on the band's eponymous debut album Duran Duran, released in June 1981.
MUSIC VIDEO - MGMM STUDIO
The music video for the song was directed by future film director Russell Mulcahy, who would go on to direct a dozen more for the group.
Fairly primitive by the band's later standards, the video features the band (dressed in New Romantic fashions) playing the song on a white stage tricked out with special effects to look like a platform made of ice or crystal. Interspersed with the performance are shots of the band members alongside the four elements. The video focused closely on the band's faces. The instrumental middle section features two friends of the band from the Rum Runner nightclub nicknamed Gay John and Lavinya[3] dancing in their full New Romantic regalia. In an apocalyptic science-fiction style, various world facts slide cross the bottom of the screen as the video plays, including: "the area of the surface of the earth is 196,937,600 miles"; "247,860 people are born every day"; "the oldest known song is the Shadoof Chant"; and then it ends with a warning of "Doomsday." At the end of the video, singer Simon Le Bon leaps from the stage, caught in a freeze frame shot above an apparently bottomless abyss.
The video was recreated in the music video for The Dandy Warhols' "You Were the Last High" (which was produced by Nick Rhodes, the band's keyboardist).