Really educational to listen to a masterclass of what goes on behind the scenes of a piece of music like this. Most of us would have given up in an afternoon.
That's really cool. I don't play but I've loved the Bladerunner soundtrack since it came out after the movie and then, for us fans of that music, there was this rumor (pre-and early-internet) of this mysterious bootleg version of the soundtrack (with the actual original music) out there including several songs that weren't on that original LP.
Thanks. You know more about the history of the soundtrack than I. I know there was that substandard release with someone else's versions. The first time I was able to get any recordings was on the CD Themes from 1989. I didn't have most of it until the 25th anniversary trilogy. It's pretty confusing why possibly the best soundtrack of all time didn't have a proper release immediately.
@@TaurusTarkus I believe Vangelis wanted to release the music early on but had contractual limitations with the producers of the movie. I did eventually get the 3-CD set with other songs that weren't used in the movie, and they're just as wonderful as those that were included in the movie.
Thanks so much for your comments! I was fairly insecure when I started doing these because I assumed that they would be watched by the wrong people, but I'm delighted when they find the right audience like you.
Thank you for demonstrating your work progress and yes I too love programming and tweaking sounds almost as much as composing. I have tried many different Vangelis patches from other authors and even made 2 of my own but when you listen to the patches referenced with the original you can clearly hear the difference this is what made Vangelis one of a kind. not only was he a master of many synths he was also a sound designer in the way he treated each instrument and understood the sounds around him like nature. Excellent work my friend you nailed the sound down very well huge like !!!!!!!!!!!!
Thanks! Yes, he was just so brilliant at making electric instruments sound so organic, warm, and alive. If anyone else had come up with the Blade Runner Blues lead sound, they would be using all the time, but I don't think I hear it on anything else.
Yes Vangelis was a musical genius and he never learned to read or write music just played live from start to end in one session now that takes skill !!!!@@TaurusTarkus
Thanks for the insights on your process. I agree about Vangelis's earlier period with the ebb and flow on his rhythms and blending instruments...especially prevalent in his earlier organ and clavinet period...a very sensual effect on the music.
Thanks for the comments. Yes, he had an unbelievable ability to make electronic instruments sound organic, natural, and beautiful. It must have taken a long time, but I like that period more than when it became easier with MIDI. (Although, obviously I love MIDI.)
I've already learned a lot from your covers and breakdowns, but your observation about the looser timings from the 'Nemo' period really helps. I'm a big fan of Vangelis' even earlier work where he plays the essential parts of Bladerunner on organs, Rhodes and a couple of old Echorec units and the feel is the same. It's the playing style and arrangement more than the particular Synth that makes it 'Vangelis.' But I still want a CS80 softsynth lol. Thanks for your faithful rendering of such wonderful music and even more thanks for showing the rest of us how to approach the style. ❤😊
Thanks so much! I agree; it is the playing style and arrangements that give his music that organic feel and deep emotion. I didn't notice the loose feel until I started listening at slow speeds. - Fortunately, there are some cheap CS-80 softsyths out there for you. I keep looking at various instruments to really replicate the CS-80, including analog oscillators and filter, polyphonic aftertouch and a great feeling ribbon controller, but such an instrument doesn't seem to exist. ...which is probably good for my bank account!
@@TaurusTarkus Yes, the slow motion shots as she’s breaking through the glass. What a scene. It’s strange how the mellowness of the music drives that scene home.
本当にありがとう！ 日本に住んでいますか？ 私の日本と韓国への旅行ビデオでご覧いただけるように、私は浜松にある素晴らしいヤマハ株式会社ミュージアムを訪れ、そこで同社の CS-80 を演奏することができました。 東京のFive G Musicに行くのも楽しかったです。Thanks so much! Do you live in Japan? As you can see in my travel video to Japan and Korea, I visited the wonderful Yamaha Corporation museum in Hamamatsu, where I was able to play their CS-80. I also enjoyed going to Five G Music in Tokyo.
Damn brother you killed it. Truly!!! Favourite soundtrack of all time, my dad and brothers as well, big vangelis fan and i dont want to toot your horn too much but man i didnt think a cover of that song could be done so well, and now i know it can and i couldnt be more stoked😂 truly inspiring vid and as a music producer myself im super thankful on the making of video especially dude! always wanted to create the love theme from the blade runner score but that electronic sax sound is so unique, maybe its easier to make or find than i think? Anyways incredible job sir🙏🏻
Thank you so much for your very kind comments! As I said toward the end of this video, comments like yours really keep me going. Love Theme is a track that I have wanted to do as well, and it is high on my list. I have always assumed that the saxophone is real, and it is the reason that I haven't done it yet. I have a friend who plays sax, and I am hoping that we can get to it this year. Thanks again!
@@TaurusTarkus youre probably right man, i just assumed vangelis figured out a way to get an insanely real sax sound into one of his synths 😂 i remember enigmas micheal kretu had some pretty real sounding virutal wind instruments way back when so i thought maybe that was the case lol
I think analog synthesizers aren't very good at getting real sax sounds, although some people think Steve Winwood's MicroMoog leads were real saxophones. ...I can get those sounds on my Prophet, but the real sounds needed some help from sampling.
Many thanks! It seems like all the keyboards have their advantages and disadvantages, and most of us can only keep a limited number. The Rev2 continues to keep me satisfied. I think I would always keep at least the module version, especially because I have made so many great sounds for it. But who knows. I think I would replace the Hydrasynth before replacing the Rev2.
Great to hear your insights, and thought process with CS-80 architecture! My blues patch is similar to what you describe... saw, with thin PWM pulse on layer one -- and using a triangle on the second layer to emphasize the fundamental (rather than sine)... I applied reverb on both layers, but I think the high pass filter on first layer is key, as you point out... gonna experiment with that... and maybe go for the res filter sine wave rather than triangle on second layer. Your patch sounds super accurate! And well played. Thanks for the info!
Thanks for your feedback! Then you would have had the closest to my version. I think the prettiest version that I heard was the Luftrum one for Omisphere, although I think it is just one saw, which threw off the overall character. I do think the sine wave is the major factor that every version seemed to be missing. I'm now wondering about it regarding some of the GX-1 sounds that I try to get, although that had even more oscillators to add in. I'm always wondering what the best instrument would be to imitate a CS-80. I was just looking at the UDO Gemini after someone mentioned it. Have you looked into it? The ribbon controller and keyboard certainly look more luxurious than the Hydrasynth, but it's also much more expensive. Sometimes I like the Hydrasynth and sometimes I don't. I love that you gave us the VCM templates for it!
@@TaurusTarkus I'm definitely interested in the Gemini... Hoping to get a chance to play it a bit, once there's a floor model at Perfect Circuit or somewhere else in LA... Overall, I'm feeling like there's not a ton of new sound design territory it would cover for me... with Rev2, Polybrute, 3rd Wave and others on hand... but am guessing I'll fall in love with the Fatar PolyAT keybed, and the unique CS inspired interface... just sorta wondering what will be next from Sequential and Groove Synthesis... I'm guessing their next offerings may include the same Fatar PolyAT keybed, but with even deeper / more versatile sound engines. Will definitely be giving the Gemini a test drive though.
Yes; you give a good reminder to watch out for what is next from some of these companies. The Hydrasynth demonstrated that many of us are interested in a PolyAT keyboard, and I think we will start to see more of them now. A lot of what interests me about the Gemini is simply the Fatar PolyAT keybed combined with a better ribbon controller. Vangelis used the ribbon for vibrato, which works well on the luxurious Yamaha ribbons but not with the Hydrasynth. I'd love to see Sequential do something along these lines.
❤❤You're incredible Mr, really good work, i think not easy... You did it. Bravo from France. Subscribed. I' ve just discover your Channel and i'm happy for that. Megan, your daughter has an incredible voice. Thanks
Merci beaucoup! Thank you for your wonderful comments! I really appreciate it and hope you enjoy the rest of the channel. I have only been to Paris and am eager to return to your beautiful country. I will retire in a few years, and then we will go back to see more.
You nailed it again, the best Vangelis Covers we will ever find, not just the beautiful patches but amazing performance as well. Could you please consider doing some from 1492 Conquest Of Paradise? Many beautiful Vangelis compositions in there too.
Thanks for your kind comments! (Nice job on the cover of Time.) I always think that the main Conquest Of Paradise track would be a mistake to try to cover; it's just too big and beautiful. There is one track on the album that I have my eye on to do someday. What would be your favorite?
Thank you making this! Very interesting details on the programming process. I don’t have a Rev2, but it gives me some ideas that I now want to try out on my own synths!
Though the explanation was way over my skillset, I appreciate hearing the nuances in the explanations. As well as the cover itself. And your visual musical montage if your visit to Greece was majestic
That sounds like heaven on earth! I deeply loved traveling in Italy (and have a travel video on my channel from our trip) and will definitely return someday. Another obsession of mine is the field of longevity, and so I am slightly familiar with Sardinia as it is often studied because it has one of the longest lifespans on earth.
Sì è vero qua c'è una grande percentuale di centenari forse grazie a tanti fattori come la qualità della vita molto sedentaria, l'inquinamento molto basso e poi prodotti alimentari davvero ottimi!! Mi ha fatto piacere conversare con te, ti auguro un felice anno nuovo!!! Ci vediamo alla tua prossima performance!!!👍👍👍
Ok so first, sizzling sound comes from “thin” saw that you don’t have on REV2 (saw plus triangle is the closest) sp you try to bandpass to get it. That saw is CS80 staple. There is no pulse/square whatsoever in this patch. I think the sound source is the main thing, then 2 pole filter rather than 4 pole - also, REV2 filter is a bit brassy, but it does work here. Lack of sustain on CS80 creates that chop once you reach the decay, and although the patch is “dragging”, you can still play thrills. The sine wave thing is interesting, I have it on DD, but never thought of it as a fundamental of this sound. Rather, detune the oscillators by few cents, tring to match the beating speed with the original. Another staple of the sound is that first filter envelope crunch, feels like ripping paper, dunno why I have that feeling. It must cut through (that’s what I found dull on hydra, it wouldn’t do it just enough), and then fade quickly when the key is released. I tried multiple renditions of this patch, on so many synths. I think that poly aftertouch and the way you play it with all that expressiveness is also very important. I would also revert to the string machine - very underestimated sound design. The way they worked is assigning individual LFO to each voice to create a vibrato effect and then, because all lfos were random, you would get a feeling of the orchestra where there is a little offset on each string instrument. I mean ,you already have V340 that is the clone of Roland v330, used on Blade Runner soundtrack. Great work.
Thanks so much for your comments! I agree that the oscillators on the Hydra are a little dull compared to the Rev2 and CS-80. (I did use the 2 pole.) Do you get closer to the CS-80 shark tooth with the saw/triangle or with the saw... perhaps with some wave shaping? What E.G. setting do you use to get the first filter envelope crunch/ripping sound that you refer to? I saw you mentioned elsewhere about Vangelis using a lot of chorus on his string sounds, which is something I haven't yet tried. Thanks so much!
@@TaurusTarkus As for the shark fin/tooth saw, I think that you can get very close with saw + triangle, however, you need to dial a bit of waveshaping. This opens up extra possibilities for the patch, as you can get that sizzle high end you are using pulse with pwm for now, just modulate it slowly from 20 to 50 % roughly. Re : Envelope - on REV2 filter envelope is - fast attack (I can check later exact values for the patch), but I do change this depending of the type of play I want - If I want BR Blues, and to be able to play the thrills, attack is relatively short. Decay is maybe at 70%, Sustain at 20-30. Release also depends on the patch. REV2 also gives you chance to be more expressive and add velocity to the filter envelope, as well as tracking (very minimal) that is called “brightness” on CS/DD. You may want to add DC in the mod matrix to the tracking (note value) just to see if it works for you. I find it easier to fine tune tracking like that then with the pot. Re: chorus - Vangelis used both analogue and digital Choruses - Roland Tape Echo and Dytronic TS-5 for various flanging and chorusing effects. Also, given that this OST was recorded on 24 channel tape recorder (and I used to work with tape in the nineties, so the practice is very familiar), vocals and lead lines for synths, guitars etc would be double tracked. Later you could comp the takes and mix them down to a single channel, which would add extra chorusing - I wonder if that is the root you are trying to sub with the sine wave. I am sure Vangelis double tracked almost all of the synths, especially pads, and used Dytronic panner on top to give it extra dimension. When I create this patch on Jupiter 6 or Super 6 and turn on the chorus 1, it usually sounds very close to the harmonica patch, as processed on the recordings. Of course, due to the nature of the patch (which is just two saws “chasing each other wavelengths and beating”, the root of the patch is in something similar to chorusing, so adding too much chorus might just be meh.
Thanks for the wonderful details and such a great answer! With all of the instruments available, there still doesn't seem to be an ideal instrument for those of us who want to get the CS-80 sounds. Compared to the Hydrasynth, the UDO Super Gemini looks very interesting with the better looking ribbon controller and analog filters/VCA... and yet it doesn't have a 2-pole, no shark fin, etc...How are you getting your favorite version of the "Blade Runner Brass" patch as used on the Main Titles? What instrument? Do you use chorus on it? Thanks again!
@@TaurusTarkus if I had to pick one, I would say deffo Deckart’s Dream with Bricasti reverb, no chorus. Then OB 6 (another 12 db filter), Prophet 10, REV2, Jupiter 6, UDO Super 6 (cheating here, I use single cycle waveform from CS60 on DDS1 and super mode that adds that detune element), Instruo Saich-based modular patch. Effects: Eventide hall + chorus sometimes and Echofix EF-X3.
Thanks for such clear answers. You have some impressive equipment! That Bricasti is a serious reverb. I was hoping that you wouldn't say the Deckart's Dream. 😞 It's an expensive instrument that I don't want to desire. Numerous people have said that it doesn't really capture the CS-80 sound, and so I have tried to forget about it. So it's the closest overall to a CS-80 for you? The OB-6 is a great option I had not thought of. Can its variable oscillators get you that Sharkfin? Thanks for sharing your knowledge.
That's interesting, especially as I used some EQ on this lead sound, which I don't usually do. I know he used it on his Fender Rhodes. Perhaps I should use that more often. Any information or pictures of how he would set it?
Thank you for your wonderful comments! I do write sometimes. For example, the very beginning of this video; the Vangelis parts start at 1:22. But like most people, my stuff is never half as good as the great music that is out there by better musicians. I think great composition is much more likely for those who write large quantities of music, such as we see in the great film composers. Perhaps when I retire and have more time, I will be able to spend more time on writing. Regarding subscribers, I appreciate your comments because they are the best way to get TH-cam to show my videos to more people. So thanks!
That's right. It can be challenging to decide what to buy and what to keep. And the time involved was immense. I was very aware that, if I was trying to make a living with music, I wouldn't have been able to spend so much time on one labor of love.
Aw this is so kind of you doing this video. I get to know you better and feel we have a shared obsession in patch design. I understand what you mean when you say you spend months on a patch but never get to finishing a piece. Thank you for these clarifications and especially the cs80 architecture. I’ll try to make the patch on my Solaris John Bowen and let you know how I fare, that synth is a surgical knife , but digital, so curious. I thought the lower keyboard was your prophet X ? FYI Vangelis used to EQ the hell out of things . Sometimes over eq’ing stuff which was difficult for the mix .
Thanks! These videos are very fun (without all the work) and feel like a visit with my keyboard friends. The Solaris is a serious instrument, and as I recall from my brief time with it in a store, it had my favorite synth style keybed: the Fatar TP-8? (I'd love to have that keybed on my Rev2.) The Solaris has four filters, but I don't know what kind? I don't own the Prophet XL, although it looks like an amazing machine. That's interesting to hear about Vangelis and EQs! I didn't know that (apart from the EQ on his Rhodes). That's interesting because I did some EQ on this lead patch which I usually don't do. Yes, please let me know how you make out with the patch.
Also a huge caveat on “not having a sustain” - on CS80, and DD, indeed, there is no sustain control - that is because sustain level is there by default, and it is basically whatever value you dial in for the cutoff - once the decay stage is done, it stays sustained at the value of the cutoff frequency set by the slider until you release the key. VCA envelope does have a sustain slider, tho.
Very interesting! I just looked into this, and I now think the Filter Sustain is in effect set with the brilliance slider in the performance controls at the bottom of the panel. Perhaps that is what you mean. This is very helpful!
Right, this is a bit tricky : I was talking about the filter envelope only. It is unique in design but it does have sustain. Again, sustain level is the cutoff frequency you set. That is the only step in the ADSR envelope that is not time -defined, it is just a level, right? So, whatever you set for the cutoff value is your sustain. "IL" and "AL" respectively “lift up"/"bring down" the envelope above the cutoff frequency, and what you get combining attack and decay with IL and AL is basically ADSR envelope ABOVE certain value (set cuttoff), your classic ADSR shape is there, just as an offset. You can have filter opened (sustained) as long as hold the key and then dropping under the cuttoff frequency at the release stage. Now, the tricky part: the “sustain” control on the bottom panel can be deceiving. It controls sustain of the different voice modes. There are two modes of voice assignment - round robin and reset. With reset you get the effect of “cutting tail” of the previous voice.( This was “stolen” by UDO and implemented in Super 6 as “Poly 2” option, btw) Sustain on the performance panel serves the purpose of dialling in the length of the note you want to play before the reset. It has nothing to do with the filter envelope, although in the broader context it might seems like it is affecting overall sustain, so I get why most people think it is connected to the filter envelope. Nuances like that make this instrument unique.
Thanks for correcting me on this! I made a correction (and mention you) in the video description. I spent some time with the CS-80 manual and think I understand it now. It's been a few years since I read it. By the way, I was referring to the Brightness lever before... found between the Mix and Resonance levers. That lever could be thought of as part of the Sustain level in that it affects the Filter Cutoff. I hate when I make mistakes in a video!
@@TaurusTarkus Oh cheers mate, for the video tag :) I understand now what you mean , indeed, brilliance on the performance panel is indeed controlling global cutoff and therefore, sustain level too. Also you are doing great job with these videos, don't be bothered with the nuances - this instrument indeed is a quirky one, how about the fact that the sliders are working upside down to mimic the organ on performance panel only! It has so many quirks that make it unique.
Thanks for the encouragement. Regarding the CS-80: indeed, and yet I want one even more! I just saw one announced for sale for only 50,000. Some company will bring out something like it one of these years.
That's an amazing recreation of the lead sound on a Rev2. I wouldn't have thought a Dave Smith DCO synth could do that convincingly. I have a Rev2 and I don't think I could have coaxed that sound out of it. You would think a Prophet 5 would be a better choice, but it doesn't have a sine wave that you can mix in to fatten the sound. Maybe there's a work around to get a third oscillator sound out of a P5, but it's over my head. You didn't mention (did you?) whether you pitched one of the layers a fifth above or below the other. I've always thought the oscillators were pitched a fifth apart in the BR Blues, but maybe I'm wrong. I was amused by your description of the hiccup on the VC-340. I hate that hiccup! It's one of the reasons I don't use it more often. I'd be curious to know whether the VP-330 had the same hiccup. I suspect it did not.
Many thanks for your comments! Of course, the Prophet 5 is an amazing instrument, although I have managed to resist the urge to get one. I think the lack of stereo outs does a lot to remove my desire. It would be perfect for a studio that does multiple layers, but I do a lot of live playing. The VCM templates that I mention here give the Rev2 a lot of the analog warmth of the new Prophet 5's. I frequently wonder what the best instrument is for those of us who would like a CS-80. I enjoyed your Blade Runner Main Titles cover, and you must love having that CS-60! I did not detune the oscillators on this lead... (other than the slight detuning of the VCM step sequencer.) You raise a great question about the VC-340; I should test a VP-330 the next time I get the chance. I use a lot of reverb with the string sounds, and so I think that smooths out the hiccup and allows it to add some analog interest without the annoyance of the dry sound. Regards!
Thanks for your comment. I know a lot of players enjoy and value the sharing patches. To be honest, I haven't found much value in it. I haven't found much free that has been helpful, while on the other side, I have purchased many sets, which have been enormously helpful. They say the best patches will be the ones that you program yourself, and that has now become true for me. I'm currently spending a great deal of time programming patches which I plan to sell for the Prophet Rev2, and perhaps one day I will do the same for the Hydrasynth. On the other hand, sometimes I think I may one day sell it. If that happens, I will first share my patches.
i'm struggling with the stage 73 sustained notes (i do use virtual instruments and i have a couple of midi controllers with ableton live) seems to me that there's either a sustain pedal that I don't see or I'm failing at understanding something fundamental about the base notes on that stage 73 sound. anyhow amazing work! i hope one day to reach your level of improv, still learning a lot since i come from a guitar background and just picked up midi and synths like a couple of months ago PS: nevermind, I reached the point in the video where you say you split your midi controller into 2 parts (((: and that got me into that "aha" moment
I don't know that anyone has ever been able to improvise like Vangelis; I certainly can't. In an effort to recreate his pieces, I embark on the much slower process of analyzing and figuring out all the notes, notating them in some way, and then working to learn the notes (as well as programming the sounds). If you haven't already, please check out my first three "Making of a Cover" videos as well, where I talk about getting the sounds, etc. In addition to the split, I also think I talk somewhere about adjusting the "release" of the Fender Rhodes patch so that I don't have to use a sustain pedal with it. Keep working at it; I have been playing synthesizers since the '80s.
![La Petite Fille De La Mer [Lyre Harp Cover] by Vangelis](http://i.ytimg.com/vi/_gsALCn-RLU/mqdefault.jpg)
![La Petite Fille De La Mer [Lyre Harp Cover] by Vangelis](/img/tr.png)
Another day in paradise... Such a dedication to the original... Keep these videos coming! We DO appreciate ALL of them 🙂
Thanks for the encouraging comments!
Really educational to listen to a masterclass of what goes on behind the scenes of a piece of music like this. Most of us would have given up in an afternoon.
Thank you so much for your kind words. Comments like yours help to keep me going when I want to give up!
That's really cool. I don't play but I've loved the Bladerunner soundtrack since it came out after the movie and then, for us fans of that music, there was this rumor (pre-and early-internet) of this mysterious bootleg version of the soundtrack (with the actual original music) out there including several songs that weren't on that original LP.
Thanks. You know more about the history of the soundtrack than I. I know there was that substandard release with someone else's versions. The first time I was able to get any recordings was on the CD Themes from 1989. I didn't have most of it until the 25th anniversary trilogy. It's pretty confusing why possibly the best soundtrack of all time didn't have a proper release immediately.
@@TaurusTarkus I believe Vangelis wanted to release the music early on but had contractual limitations with the producers of the movie. I did eventually get the 3-CD set with other songs that weren't used in the movie, and they're just as wonderful as those that were included in the movie.
I would think that the producers would have wanted the recordings to be available, but perhaps they couldn't agree on the money?
Please continue because it’s wonderful to listen.
Thanks for your encouragement. I've had some changes at work, which has affected my time, but I will get back to it soon enough.
Lovely work on this T T !
Many thanks!
This was very entertaining and informative. Thanks for doing this "Making Of' series.
Thanks so much for your comments! I was fairly insecure when I started doing these because I assumed that they would be watched by the wrong people, but I'm delighted when they find the right audience like you.
what an amazing video, so in depth, I love Vangelis and stuff like this helps me understand his work much better. Thank you
Many thanks for your kind comments!
Man you are really doing some amazing things there!!!!!!🤩 WELL DONE!!!!! 👍 👍👍👍👍👍👍👍👍👍👍👍👍 Great inspiration for all of us!!!!!
Thank you so much for your very kind words! I really appreciate it. I hope you enjoy my other 'Making Of' videos as well.
Thank you for demonstrating your work progress and yes I too love programming and tweaking sounds almost as much as composing.
I have tried many different Vangelis patches from other authors and even made 2 of my own
but when you listen to the patches referenced with the original you can clearly hear the difference this is what made Vangelis one of a kind.
not only was he a master of many synths he was also a sound designer in the way he treated each instrument and understood the sounds around him like nature.
Excellent work my friend you nailed the sound down very well huge like !!!!!!!!!!!!
Thanks! Yes, he was just so brilliant at making electric instruments sound so organic, warm, and alive. If anyone else had come up with the Blade Runner Blues lead sound, they would be using all the time, but I don't think I hear it on anything else.
Yes Vangelis was a musical genius and he never learned to read or write music just played live from start to end in one session now that takes skill !!!!@@TaurusTarkus
He was totally on a completely different level compared to most humans.
Your videos are pure gold.
Thanks so much for saying so!
The cover you did is very enjoyable. And now a tour of the keys? That's icing on the cake!
Thanks for sharing what you do.
Many thanks for your kind words! The tour of the keys is like having my keyboard friends over to the house for a visit!
@@TaurusTarkus Well we're your keyboard friends. :)
It's hard to find local people in the real world with the same interests!
Thanks for the insights on your process. I agree about Vangelis's earlier period with the ebb and flow on his rhythms and blending instruments...especially prevalent in his earlier organ and clavinet period...a very sensual effect on the music.
Thanks for the comments. Yes, he had an unbelievable ability to make electronic instruments sound organic, natural, and beautiful. It must have taken a long time, but I like that period more than when it became easier with MIDI. (Although, obviously I love MIDI.)
Wow brought me back to Tech school from 1973 in voice frequency Multiplexing. we just where adding data for modoms on a 600 channel relay radio
I had a few electronics classes in college but not at your level!
Dziękuję. Bardzo dobra robota.
Dziękuję za twoje komentarze! Mam nadzieję, że za rok lub dwa przyjadę do Polski.
I've already learned a lot from your covers and breakdowns, but your observation about the looser timings from the 'Nemo' period really helps.
I'm a big fan of Vangelis' even earlier work where he plays the essential parts of Bladerunner on organs, Rhodes and a couple of old Echorec units and the feel is the same. It's the playing style and arrangement more than the particular Synth that makes it 'Vangelis.'
But I still want a CS80 softsynth lol.
Thanks for your faithful rendering of such wonderful music and even more thanks for showing the rest of us how to approach the style. ❤😊
Thanks so much! I agree; it is the playing style and arrangements that give his music that organic feel and deep emotion. I didn't notice the loose feel until I started listening at slow speeds. - Fortunately, there are some cheap CS-80 softsyths out there for you. I keep looking at various instruments to really replicate the CS-80, including analog oscillators and filter, polyphonic aftertouch and a great feeling ribbon controller, but such an instrument doesn't seem to exist. ...which is probably good for my bank account!
NICE♪♥
Thanks so much!
Another great rendition. If I close my eyes, it almost feels as if I’m listening to the movie soundtrack.
Thanks! I had a listen yesterday and was picturing the scene when Deckard "retires" Zhora, and it gets you there.
@@TaurusTarkus Yes, the slow motion shots as she’s breaking through the glass. What a scene. It’s strange how the mellowness of the music drives that scene home.
That scene hits you like a bullet in the back... that goes straight for the heart.
すごい！ヴァンゲリスだぁ・・・
キレイな音色♫
本当にありがとう！ 日本に住んでいますか？ 私の日本と韓国への旅行ビデオでご覧いただけるように、私は浜松にある素晴らしいヤマハ株式会社ミュージアムを訪れ、そこで同社の CS-80 を演奏することができました。 東京のFive G Musicに行くのも楽しかったです。Thanks so much! Do you live in Japan? As you can see in my travel video to Japan and Korea, I visited the wonderful Yamaha Corporation museum in Hamamatsu, where I was able to play their CS-80. I also enjoyed going to Five G Music in Tokyo.
you are a Great Wizard! 🪄
Haha! Many thanks!
Damn brother you killed it. Truly!!! Favourite soundtrack of all time, my dad and brothers as well, big vangelis fan and i dont want to toot your horn too much but man i didnt think a cover of that song could be done so well, and now i know it can and i couldnt be more stoked😂 truly inspiring vid and as a music producer myself im super thankful on the making of video especially dude! always wanted to create the love theme from the blade runner score but that electronic sax sound is so unique, maybe its easier to make or find than i think? Anyways incredible job sir🙏🏻
Thank you so much for your very kind comments! As I said toward the end of this video, comments like yours really keep me going. Love Theme is a track that I have wanted to do as well, and it is high on my list. I have always assumed that the saxophone is real, and it is the reason that I haven't done it yet. I have a friend who plays sax, and I am hoping that we can get to it this year. Thanks again!
@@TaurusTarkus youre probably right man, i just assumed vangelis figured out a way to get an insanely real sax sound into one of his synths 😂 i remember enigmas micheal kretu had some pretty real sounding virutal wind instruments way back when so i thought maybe that was the case lol
@@TaurusTarkus I'm sure I read on the CD sleeve that the saxophone was in fact real, and played by a saxophonist.
I think analog synthesizers aren't very good at getting real sax sounds, although some people think Steve Winwood's MicroMoog leads were real saxophones. ...I can get those sounds on my Prophet, but the real sounds needed some help from sampling.
Thanks! I don't have the physical recording, so I don't have that. I bought them from iMusic/Apple Music. Good to know.
Thank you 🙏🏽 the making of my favorite BladeRunner tune
Many thanks! Definitely one of the best tracks on an amazing soundtrack.
@20:28 I agree totally
I didn't really notice the difference until I started listening to tracks slowed down. Thanks for the comment.
You've done a man's job, sir!
Haha. Many Thanks!
Ugh you're making me miss my Rev2!! Nice work. :)
Many thanks! It seems like all the keyboards have their advantages and disadvantages, and most of us can only keep a limited number. The Rev2 continues to keep me satisfied. I think I would always keep at least the module version, especially because I have made so many great sounds for it. But who knows. I think I would replace the Hydrasynth before replacing the Rev2.
Great to hear your insights, and thought process with CS-80 architecture! My blues patch is similar to what you describe... saw, with thin PWM pulse on layer one -- and using a triangle on the second layer to emphasize the fundamental (rather than sine)... I applied reverb on both layers, but I think the high pass filter on first layer is key, as you point out... gonna experiment with that... and maybe go for the res filter sine wave rather than triangle on second layer. Your patch sounds super accurate! And well played. Thanks for the info!
Thanks for your feedback! Then you would have had the closest to my version. I think the prettiest version that I heard was the Luftrum one for Omisphere, although I think it is just one saw, which threw off the overall character. I do think the sine wave is the major factor that every version seemed to be missing. I'm now wondering about it regarding some of the GX-1 sounds that I try to get, although that had even more oscillators to add in. I'm always wondering what the best instrument would be to imitate a CS-80. I was just looking at the UDO Gemini after someone mentioned it. Have you looked into it? The ribbon controller and keyboard certainly look more luxurious than the Hydrasynth, but it's also much more expensive. Sometimes I like the Hydrasynth and sometimes I don't. I love that you gave us the VCM templates for it!
@@TaurusTarkus I'm definitely interested in the Gemini... Hoping to get a chance to play it a bit, once there's a floor model at Perfect Circuit or somewhere else in LA... Overall, I'm feeling like there's not a ton of new sound design territory it would cover for me... with Rev2, Polybrute, 3rd Wave and others on hand... but am guessing I'll fall in love with the Fatar PolyAT keybed, and the unique CS inspired interface... just sorta wondering what will be next from Sequential and Groove Synthesis... I'm guessing their next offerings may include the same Fatar PolyAT keybed, but with even deeper / more versatile sound engines. Will definitely be giving the Gemini a test drive though.
Yes; you give a good reminder to watch out for what is next from some of these companies. The Hydrasynth demonstrated that many of us are interested in a PolyAT keyboard, and I think we will start to see more of them now. A lot of what interests me about the Gemini is simply the Fatar PolyAT keybed combined with a better ribbon controller. Vangelis used the ribbon for vibrato, which works well on the luxurious Yamaha ribbons but not with the Hydrasynth. I'd love to see Sequential do something along these lines.
❤❤You're incredible Mr, really good work, i think not easy... You did it. Bravo from France. Subscribed. I' ve just discover your Channel and i'm happy for that. Megan, your daughter has an incredible voice. Thanks
Merci beaucoup! Thank you for your wonderful comments! I really appreciate it and hope you enjoy the rest of the channel. I have only been to Paris and am eager to return to your beautiful country. I will retire in a few years, and then we will go back to see more.
@@TaurusTarkusHi Tarkus ...Thanks. to your answer. For me it would be a great pleasure to receive you in France AT my Home: you're Welcome.,...
That is very kind indeed! I would not impose, but I appreciate the offer. In what part of France do you live?
@@TaurusTarkus south east of France. In the countryside of The Town of Grasse: not so far away from Italy. Town of the perfume known in all the World.
You live around some of the most beautiful places on earth. The envy of much of the world.
You nailed it again, the best Vangelis Covers we will ever find, not just the beautiful patches but amazing performance as well. Could you please consider doing some from 1492 Conquest Of Paradise? Many beautiful Vangelis compositions in there too.
Thanks for your kind comments! (Nice job on the cover of Time.) I always think that the main Conquest Of Paradise track would be a mistake to try to cover; it's just too big and beautiful. There is one track on the album that I have my eye on to do someday. What would be your favorite?
Thank you making this! Very interesting details on the programming process. I don’t have a Rev2, but it gives me some ideas that I now want to try out on my own synths!
I hope you can find it useful. I think it would work on many instruments.
Thanks for sharing. Happy holidays!
Many thanks. I see on your channel that you like Transatlantic. I love their stuff and was able to see them a couple times.
Though the explanation was way over my skillset, I appreciate hearing the nuances in the explanations. As well as the cover itself.
And your visual musical montage if your visit to Greece was majestic
Many thanks for the kind words! Greece is wonderful, and we definitely plan to go back someday.
Thank you so much for sharing your work on this piece!
Many thanks for your comment!
Very interesting, Jason!
Many thanks!
very fun and helpful video, i especially liked the playing at the beginning. keep up the good stuff man! :)
Many thanks for the encouragement. I probably could have come up with a better improvisation than what I did at the beginning, but it was fun.
Grande Taurus!!!! E' sempre bello ascoltarti!!!! 👏👏👏👏
Grazie mille! (Vivi in Italia? Ci è piaciuto così tanto visitarlo e abbiamo intenzione di tornarci uno di questi anni.)
Si sono Italiano, precisamente vivo a Cagliari nella splendida isola della Sardegna!!!! (Un paradiso terrestre) 👋👋👋
That sounds like heaven on earth! I deeply loved traveling in Italy (and have a travel video on my channel from our trip) and will definitely return someday. Another obsession of mine is the field of longevity, and so I am slightly familiar with Sardinia as it is often studied because it has one of the longest lifespans on earth.
Sì è vero qua c'è una grande percentuale di centenari forse grazie a tanti fattori come la qualità della vita molto sedentaria, l'inquinamento molto basso e poi prodotti alimentari davvero ottimi!! Mi ha fatto piacere conversare con te, ti auguro un felice anno nuovo!!! Ci vediamo alla tua prossima performance!!!👍👍👍
Sembra meraviglioso lì! Sono sicuro che il tuo cibo è più sano/pulito. Saluti!
You're the best man!
Many thanks!
Ok so first, sizzling sound comes from “thin” saw that you don’t have on REV2 (saw plus triangle is the closest) sp you try to bandpass to get it. That saw is CS80 staple. There is no pulse/square whatsoever in this patch. I think the sound source is the main thing, then 2 pole filter rather than 4 pole - also, REV2 filter is a bit brassy, but it does work here. Lack of sustain on CS80 creates that chop once you reach the decay, and although the patch is “dragging”, you can still play thrills. The sine wave thing is interesting, I have it on DD, but never thought of it as a fundamental of this sound. Rather, detune the oscillators by few cents, tring to match the beating speed with the original. Another staple of the sound is that first filter envelope crunch, feels like ripping paper, dunno why I have that feeling. It must cut through (that’s what I found dull on hydra, it wouldn’t do it just enough), and then fade quickly when the key is released. I tried multiple renditions of this patch, on so many synths. I think that poly aftertouch and the way you play it with all that expressiveness is also very important. I would also revert to the string machine - very underestimated sound design. The way they worked is assigning individual LFO to each voice to create a vibrato effect and then, because all lfos were random, you would get a feeling of the orchestra where there is a little offset on each string instrument. I mean ,you already have V340 that is the clone of Roland v330, used on Blade Runner soundtrack. Great work.
Thanks so much for your comments! I agree that the oscillators on the Hydra are a little dull compared to the Rev2 and CS-80. (I did use the 2 pole.) Do you get closer to the CS-80 shark tooth with the saw/triangle or with the saw... perhaps with some wave shaping? What E.G. setting do you use to get the first filter envelope crunch/ripping sound that you refer to? I saw you mentioned elsewhere about Vangelis using a lot of chorus on his string sounds, which is something I haven't yet tried. Thanks so much!
@@TaurusTarkus As for the shark fin/tooth saw, I think that you can get very close with saw + triangle, however, you need to dial a bit of waveshaping. This opens up extra possibilities for the patch, as you can get that sizzle high end you are using pulse with pwm for now, just modulate it slowly from 20 to 50 % roughly.
Re : Envelope - on REV2 filter envelope is - fast attack (I can check later exact values for the patch), but I do change this depending of the type of play I want - If I want BR Blues, and to be able to play the thrills, attack is relatively short. Decay is maybe at 70%, Sustain at 20-30. Release also depends on the patch. REV2 also gives you chance to be more expressive and add velocity to the filter envelope, as well as tracking (very minimal) that is called “brightness” on CS/DD. You may want to add DC in the mod matrix to the tracking (note value) just to see if it works for you. I find it easier to fine tune tracking like that then with the pot.
Re: chorus - Vangelis used both analogue and digital Choruses - Roland Tape Echo and Dytronic TS-5 for various flanging and chorusing effects. Also, given that this OST was recorded on 24 channel tape recorder (and I used to work with tape in the nineties, so the practice is very familiar), vocals and lead lines for synths, guitars etc would be double tracked. Later you could comp the takes and mix them down to a single channel, which would add extra chorusing - I wonder if that is the root you are trying to sub with the sine wave. I am sure Vangelis double tracked almost all of the synths, especially pads, and used Dytronic panner on top to give it extra dimension.
When I create this patch on Jupiter 6 or Super 6 and turn on the chorus 1, it usually sounds very close to the harmonica patch, as processed on the recordings. Of course, due to the nature of the patch (which is just two saws “chasing each other wavelengths and beating”, the root of the patch is in something similar to chorusing, so adding too much chorus might just be meh.
Thanks for the wonderful details and such a great answer! With all of the instruments available, there still doesn't seem to be an ideal instrument for those of us who want to get the CS-80 sounds. Compared to the Hydrasynth, the UDO Super Gemini looks very interesting with the better looking ribbon controller and analog filters/VCA... and yet it doesn't have a 2-pole, no shark fin, etc...How are you getting your favorite version of the "Blade Runner Brass" patch as used on the Main Titles? What instrument? Do you use chorus on it? Thanks again!
@@TaurusTarkus if I had to pick one, I would say deffo Deckart’s Dream with Bricasti reverb, no chorus. Then OB 6 (another 12 db filter), Prophet 10, REV2, Jupiter 6, UDO Super 6 (cheating here, I use single cycle waveform from CS60 on DDS1 and super mode that adds that detune element), Instruo Saich-based modular patch. Effects: Eventide hall + chorus sometimes and Echofix EF-X3.
Thanks for such clear answers. You have some impressive equipment! That Bricasti is a serious reverb. I was hoping that you wouldn't say the Deckart's Dream. 😞 It's an expensive instrument that I don't want to desire. Numerous people have said that it doesn't really capture the CS-80 sound, and so I have tried to forget about it. So it's the closest overall to a CS-80 for you? The OB-6 is a great option I had not thought of. Can its variable oscillators get you that Sharkfin? Thanks for sharing your knowledge.
j adore si vous avez d'autres vidéo sur vangelis welcome
Merci beaucoup! Veuillez consulter ma liste de lecture Vangelis.
« On some instruments, Vangelis liked to shape the EQ himself, using 27‑band graphics. »
That's interesting, especially as I used some EQ on this lead sound, which I don't usually do. I know he used it on his Fender Rhodes. Perhaps I should use that more often. Any information or pictures of how he would set it?
Absolutely Sublime. Do you ever write your own music? Keep them coming. You so deserve more subscribers.
Thank you for your wonderful comments! I do write sometimes. For example, the very beginning of this video; the Vangelis parts start at 1:22. But like most people, my stuff is never half as good as the great music that is out there by better musicians. I think great composition is much more likely for those who write large quantities of music, such as we see in the great film composers. Perhaps when I retire and have more time, I will be able to spend more time on writing. Regarding subscribers, I appreciate your comments because they are the best way to get TH-cam to show my videos to more people. So thanks!
amazing. Best wishes for 2049 | 🎉 | your fan, Bartacuss. | Human |
Many thanks! Haha. Happy new year to you as well!
it helps to have the right equipment and the time to get the right sounds
That's right. It can be challenging to decide what to buy and what to keep. And the time involved was immense. I was very aware that, if I was trying to make a living with music, I wouldn't have been able to spend so much time on one labor of love.
Aw this is so kind of you doing this video. I get to know you better and feel we have a shared obsession in patch design. I understand what you mean when you say you spend months on a patch but never get to finishing a piece. Thank you for these clarifications and especially the cs80 architecture. I’ll try to make the patch on my Solaris John Bowen and let you know how I fare, that synth is a surgical knife , but digital, so curious. I thought the lower keyboard was your prophet X ? FYI Vangelis used to EQ the hell out of things . Sometimes over eq’ing stuff which was difficult for the mix .
Thanks! These videos are very fun (without all the work) and feel like a visit with my keyboard friends. The Solaris is a serious instrument, and as I recall from my brief time with it in a store, it had my favorite synth style keybed: the Fatar TP-8? (I'd love to have that keybed on my Rev2.) The Solaris has four filters, but I don't know what kind? I don't own the Prophet XL, although it looks like an amazing machine. That's interesting to hear about Vangelis and EQs! I didn't know that (apart from the EQ on his Rhodes). That's interesting because I did some EQ on this lead patch which I usually don't do. Yes, please let me know how you make out with the patch.
Also a huge caveat on “not having a sustain” - on CS80, and DD, indeed, there is no sustain control - that is because sustain level is there by default, and it is basically whatever value you dial in for the cutoff - once the decay stage is done, it stays sustained at the value of the cutoff frequency set by the slider until you release the key. VCA envelope does have a sustain slider, tho.
Very interesting! I just looked into this, and I now think the Filter Sustain is in effect set with the brilliance slider in the performance controls at the bottom of the panel. Perhaps that is what you mean. This is very helpful!
Right, this is a bit tricky : I was talking about the filter envelope only. It is unique in design but it does have sustain. Again, sustain level is the cutoff frequency you set. That is the only step in the ADSR envelope that is not time -defined, it is just a level, right? So, whatever you set for the cutoff value is your sustain. "IL" and "AL" respectively “lift up"/"bring down" the envelope above the cutoff frequency, and what you get combining attack and decay with IL and AL is basically ADSR envelope ABOVE certain value (set cuttoff), your classic ADSR shape is there, just as an offset. You can have filter opened (sustained) as long as hold the key and then dropping under the cuttoff frequency at the release stage.
Now, the tricky part: the “sustain” control on the bottom panel can be deceiving. It controls sustain of the different voice modes. There are two modes of voice assignment - round robin and reset. With reset you get the effect of “cutting tail” of the previous voice.( This was “stolen” by UDO and implemented in Super 6 as “Poly 2” option, btw) Sustain on the performance panel serves the purpose of dialling in the length of the note you want to play before the reset. It has nothing to do with the filter envelope, although in the broader context it might seems like it is affecting overall sustain, so I get why most people think it is connected to the filter envelope. Nuances like that make this instrument unique.
Thanks for correcting me on this! I made a correction (and mention you) in the video description. I spent some time with the CS-80 manual and think I understand it now. It's been a few years since I read it. By the way, I was referring to the Brightness lever before... found between the Mix and Resonance levers. That lever could be thought of as part of the Sustain level in that it affects the Filter Cutoff. I hate when I make mistakes in a video!
@@TaurusTarkus Oh cheers mate, for the video tag :) I understand now what you mean , indeed, brilliance on the performance panel is indeed controlling global cutoff and therefore, sustain level too. Also you are doing great job with these videos, don't be bothered with the nuances - this instrument indeed is a quirky one, how about the fact that the sliders are working upside down to mimic the organ on performance panel only! It has so many quirks that make it unique.
Thanks for the encouragement. Regarding the CS-80: indeed, and yet I want one even more! I just saw one announced for sale for only 50,000. Some company will bring out something like it one of these years.
That's an amazing recreation of the lead sound on a Rev2. I wouldn't have thought a Dave Smith DCO synth could do that convincingly. I have a Rev2 and I don't think I could have coaxed that sound out of it. You would think a Prophet 5 would be a better choice, but it doesn't have a sine wave that you can mix in to fatten the sound. Maybe there's a work around to get a third oscillator sound out of a P5, but it's over my head. You didn't mention (did you?) whether you pitched one of the layers a fifth above or below the other. I've always thought the oscillators were pitched a fifth apart in the BR Blues, but maybe I'm wrong. I was amused by your description of the hiccup on the VC-340. I hate that hiccup! It's one of the reasons I don't use it more often. I'd be curious to know whether the VP-330 had the same hiccup. I suspect it did not.
Many thanks for your comments! Of course, the Prophet 5 is an amazing instrument, although I have managed to resist the urge to get one. I think the lack of stereo outs does a lot to remove my desire. It would be perfect for a studio that does multiple layers, but I do a lot of live playing. The VCM templates that I mention here give the Rev2 a lot of the analog warmth of the new Prophet 5's. I frequently wonder what the best instrument is for those of us who would like a CS-80. I enjoyed your Blade Runner Main Titles cover, and you must love having that CS-60! I did not detune the oscillators on this lead... (other than the slight detuning of the VCM step sequencer.) You raise a great question about the VC-340; I should test a VP-330 the next time I get the chance. I use a lot of reverb with the string sounds, and so I think that smooths out the hiccup and allows it to add some analog interest without the annoyance of the dry sound. Regards!
Thanks for this video, can you provide (share) your Hydrasynth Deluxe patches ???
Thanks for your comment. I know a lot of players enjoy and value the sharing patches. To be honest, I haven't found much value in it. I haven't found much free that has been helpful, while on the other side, I have purchased many sets, which have been enormously helpful. They say the best patches will be the ones that you program yourself, and that has now become true for me. I'm currently spending a great deal of time programming patches which I plan to sell for the Prophet Rev2, and perhaps one day I will do the same for the Hydrasynth. On the other hand, sometimes I think I may one day sell it. If that happens, I will first share my patches.
i'm struggling with the stage 73 sustained notes (i do use virtual instruments and i have a couple of midi controllers with ableton live) seems to me that there's either a sustain pedal that I don't see or I'm failing at understanding something fundamental about the base notes on that stage 73 sound. anyhow amazing work! i hope one day to reach your level of improv, still learning a lot since i come from a guitar background and just picked up midi and synths like a couple of months ago
PS: nevermind, I reached the point in the video where you say you split your midi controller into 2 parts (((: and that got me into that "aha" moment
I don't know that anyone has ever been able to improvise like Vangelis; I certainly can't. In an effort to recreate his pieces, I embark on the much slower process of analyzing and figuring out all the notes, notating them in some way, and then working to learn the notes (as well as programming the sounds). If you haven't already, please check out my first three "Making of a Cover" videos as well, where I talk about getting the sounds, etc. In addition to the split, I also think I talk somewhere about adjusting the "release" of the Fender Rhodes patch so that I don't have to use a sustain pedal with it. Keep working at it; I have been playing synthesizers since the '80s.