Harold Faltermeyer, who produced Behavior of PSB said that he had 400 different samples of a tambourine and listened to them all with chris lowe to choose the best one.
What an awsome piece of art!, really great and beautiful, you buildt a time and space shift to a place full of joy, where one can dream of giving our happiness to enrich such place, it is wonderful. Thanks
Every PSB cover have not just been entertaining but exhilarating to listen to the sheer attention to details even the smallest amount makes up for great replication. You must have really listened to the track so many times to know what to add to the mix and when to add it Superb recreation yet again.@EstuaryMists
when you publish its usually PSB and its usually jaw-dropping emulation of their sound. I think you totally hit this one out of the park... if this was a blind test I would of thought this was a rare-instrumental from PSB themselves. Please keep doing more of these! @@EstuaryMists
ปีที่แล้ว +8
It's always very appreciated to see a Fairlight (and other synths) in action. I always thought all those Darabukas had a bit of work with the pitch wheel on the sequence, at least that's what my ears said - And you made it so easily with adding some delays. When I did my "Suburbia" reconstruction/cover time ago, it was tricky to get that rhythm pattern sounding the same as the original track. As usual, a brilliant job from you! I wonder what PSB song you will recreate next. Keep it up, mate! Cheers.
Thank your kind comment. Re. the Darabukas, I don't think your ears are deceiving you, as I thought exactly the same. When I recorded them, I tried using the pitch wheel but couldn't get the timing right (the FIII pitch wheel is a little spongy), so I opted for some vibrao applied in the FX page, plus the delays. As you say, it's more prominent in the Suburbia pattern and it's hard to get its sounding exactly as on the record. By the way, I had Suburbia 'on the blocks' and kind of ready to go but despite using the sounds per the record (as you have deduced), I wasn't happy with the overall sound of the track. I then stumbled across your recreation and it was so good (apologies for not leaving a comment), I decided not to take mine any further! Maybe I'll revisit it at some point, when time allows. The other PSB tracks I have more or less finished musically are One More Chance, Heart and a remade West End Girls, so I can demo the sounds. As usual, it's the lengthy video production and editing process that's delaying the uploads!
Great job with this! I always liked this track back in the day. Given Andy Richards typically used to do some quite sophisticated chord work on his productions, this one is somewhat more simplistic, for sure! To date, his Fairlight productions of this era define the Fairlight III sound for me. Thanks for posting this! 😎
Thanks - glad you enjoyed this one too! I agree this must have been quite simple for AR given his classical background but I think it's the simplicity, combined with a really interesting drum and percussion sequence and the choice of instrumentation that defines the beauty of this song. Totally agree that his productions define the FIII sound. Whilst I was aware of his contributions at the time though the occasional magazine article and sleeve notes, this depicted him more as a 'programmer' than musician and hence didn't describe the more profound input that he had to those records he worked on.
amazing as always. Thanks for this. My fav Pet Shop Boys song that got me into them. Andy Richards is a genious, a pioneer with sampling voices and turning into instruments. He sampled George Michael voice while working on Careless Whisper and used at the end of the song you can hear the pitch bending, well Andy worked on the Lady in Red by Chris de Burgh and the choir you hear is Andy Richards playing a vocal sample from George Michael. He said this on a podcast not long ago, back then wasnt clear what you could use or not in terms of sampling rights, My guess is that even George Michael wasnt aware of a number one song had is voice as a pad, beautiful choir sound by the way.
Yes, Andy Richards has a special talent. Always admired how he embraced technology to channel his classical training through to the pop world. Some of his chordal work is amazing. I too heard that podcast and it was fascinating to hear about him sampling George Michael to use on Careless Whisper and subsequently using that same sample (from his PPG?) on Lady in Red.
Ah excellent, looks like Santa delivered another Estuary extravaganza to enjoy! Have been listening to this one for a while and digesting it - as always, a fantastic recreation and meticulous deconstruction of a classic tune. One of the elements I've always loved most about this track is the relative simplicity of the chords and structure and how those are enhanced and validated so beautifully by the selection of such perfect sounds to create an unforgettable sonic palette. I also have a real affection for the "lift" of the bright cluster chords into the chorus, such a simple but uplifting moment each time around that gives the flow of the track such an addictive positivity and sensuality that could so easily have been lost. Interesting that you're pondering the source of that bassline too, I've never really been able to recreate an exact simile either. JP-8 is close but always feels a little too strident, and the PPG is a bit too clean and digital. Interestingly having messed around with a borrowed (and sadly now reluctantly returned) Matrix 6 a bit last year I'm wondering whether that's a possible late entry into this investigation. Something quite punchy but clean about the bottom end of that thing that instantly brought to mind the sort of nonchalantly precise tones of so many PSB tracks. Perhaps a bit of a moot point as presumably everything got sampled and filtered / compressed / eq'd, but it's interesting to wonder. Also hadn't thought of the low string note line being a composite sound - I'd always got close by hacking around the Marcato strings of the Emu and presumed it was something like that. But you're right, given that beautifully dirty PPG note layered up that would explain the slight edge at the front of the sound. Also similar to that dark chord in It's A Sin, so it makes sense in PSB canon too! As always, fab job and thanks for posting. Oh and you're right, the trumpet was far too good not to drop it in... it added such a wonderfully melancholic and ponderous touch to the end of a simple track, wouldn't be the same without it. PS - new OLED display for the JX? Classy... .
Glad you enjoyed it. SAW has always been my guilty pleasure. I have real admiration for what PW set up down in Borough, marrying the incredible ability of MS and MA to write hit after hit with the sophisticated production skills of Phil Harding et al.
Thanks. I had a classical upbringing and have a few years experience that makes deciphering songs a little easier! In terms of the bass sound, this is a patch that I inherited with my Series III twenty-odd years ago and I remember at the time thinking oh, this was the bass used for Rent. Per the FIII screen at c.3min30s, it's made up of three sub-voices (samples) that give it a decent range but none of these are labelled, hence there's no indication of the source synth it was sampled from.
There is so much YT Content. Big Channels and fancy Musicians... Its getting louder and louder. And then there is this channel. Every single piece is pure gold. What a quality. Your videos gave me so much inspiration. Cant tell how much I listened to the songs you covered, rebuilt patches and drumscenes. Especially the never ending story cover had a deep impact to my little hobby studio setup. Just wanted to thank you for that amazing work. Greetings from germany
Thanks for your kind words. I only do this for peoples' enjoyment, and perhaps being slightly older, I feel no need to engage in the click-bait type videos that seem to be more common now, so I really appreciate comments like yours, as it inspires me to keep uploading this type of content.
Mey man amazing job. thinking of if it's possible to get the isolated (stem) drum track in good quality, is it possible you share with me? I Love PSB thank you very much
I honestly don't know. It sounds like a random word spoken into a mic. Per the description at the start of the video, I sampled this from the record (the only sound I sampled), as without it, the drums and percussion sequence lost some impact.
Holy shite...my fav song on ACTUALLY. Love that trumpet sound from the CMI. I'm amazed at the aliasing on the CMI when you hold on the note! How did they mitigate that? Gates? My EII doesn't have that much aliasing. I still use an SPL Transient Designer on some percussion sounds to make them cleaner by trimming the sustain down. As far as I can tell, in the actual recording, there's an FM piano slightly off to the right and a synth pad off to the left...perhaps just a sampled string pad off to the left.
One of my favs too, although I prefer this particular mix over the 7" version. Maybe it was the involvement of François Kevorkian in addition to the usual production team. I agree that there's some interesting aliasing going on with the trumpet and in some ways that's inherent to the Series III when playing a ample away from its root note but a couple of points to note - Firstly it's a very breathy sample and secondly (and more importantly) the filters on the analogue cards on my FIII are seriously in need of calibration. I've been meaning to do this for some time but I currently don't have access to extender cards that are needed to do this. The EP sound is an interesting one. I thought this may be an FM epiano too but there's little evidence of Yamaha DX's being used in Andy Richards productions, so I settled on the JX-10, as it sounds quite similar and I believe he had an MKS-70 around that time.
That either came with my Series III when I acquired it 20-odd years ago or was from one of the many tape steamers or 8" disks that I converted some years back.
Harold Faltermeyer, who produced Behavior of PSB said that he had 400 different samples of a tambourine and listened to them all with chris lowe to choose the best one.
What an awsome piece of art!, really great and beautiful, you buildt a time and space shift to a place full of joy, where one can dream of giving our happiness to enrich such place, it is wonderful. Thanks
Every PSB cover have not just been entertaining but exhilarating to listen to the sheer attention to details even the smallest amount makes up for great replication.
You must have really listened to the track so many times to know what to add to the mix and when to add it
Superb recreation yet again.@EstuaryMists
its simple EstuaryMists posts .. instant click. Sounds Fantastic as usual
Thanks for your kind words. I hope my future posts can meet the same standards!
when you publish its usually PSB and its usually jaw-dropping emulation of their sound. I think you totally hit this one out of the park... if this was a blind test I would of thought this was a rare-instrumental from PSB themselves. Please keep doing more of these! @@EstuaryMists
It's always very appreciated to see a Fairlight (and other synths) in action.
I always thought all those Darabukas had a bit of work with the pitch wheel on the sequence, at least that's what my ears said - And you made it so easily with adding some delays. When I did my "Suburbia" reconstruction/cover time ago, it was tricky to get that rhythm pattern sounding the same as the original track.
As usual, a brilliant job from you! I wonder what PSB song you will recreate next. Keep it up, mate!
Cheers.
Your Suburbia remake is easily the best out there. Hats off.
Thank your kind comment. Re. the Darabukas, I don't think your ears are deceiving you, as I thought exactly the same. When I recorded them, I tried using the pitch wheel but couldn't get the timing right (the FIII pitch wheel is a little spongy), so I opted for some vibrao applied in the FX page, plus the delays. As you say, it's more prominent in the Suburbia pattern and it's hard to get its sounding exactly as on the record. By the way, I had Suburbia 'on the blocks' and kind of ready to go but despite using the sounds per the record (as you have deduced), I wasn't happy with the overall sound of the track. I then stumbled across your recreation and it was so good (apologies for not leaving a comment), I decided not to take mine any further! Maybe I'll revisit it at some point, when time allows. The other PSB tracks I have more or less finished musically are One More Chance, Heart and a remade West End Girls, so I can demo the sounds. As usual, it's the lengthy video production and editing process that's delaying the uploads!
Emu Emulator II was used there on that time.
Great job with this! I always liked this track back in the day. Given Andy Richards typically used to do some quite sophisticated chord work on his productions, this one is somewhat more simplistic, for sure! To date, his Fairlight productions of this era define the Fairlight III sound for me. Thanks for posting this! 😎
Thanks - glad you enjoyed this one too! I agree this must have been quite simple for AR given his classical background but I think it's the simplicity, combined with a really interesting drum and percussion sequence and the choice of instrumentation that defines the beauty of this song. Totally agree that his productions define the FIII sound. Whilst I was aware of his contributions at the time though the occasional magazine article and sleeve notes, this depicted him more as a 'programmer' than musician and hence didn't describe the more profound input that he had to those records he worked on.
Wow Jonas. This is just brilliant 🎊
Thank you!
amazing as always. Thanks for this. My fav Pet Shop Boys song that got me into them. Andy Richards is a genious, a pioneer with sampling voices and turning into instruments. He sampled George Michael voice while working on Careless Whisper and used at the end of the song you can hear the pitch bending, well Andy worked on the Lady in Red by Chris de Burgh and the choir you hear is Andy Richards playing a vocal sample from George Michael. He said this on a podcast not long ago, back then wasnt clear what you could use or not in terms of sampling rights, My guess is that even George Michael wasnt aware of a number one song had is voice as a pad, beautiful choir sound by the way.
Yes, Andy Richards has a special talent. Always admired how he embraced technology to channel his classical training through to the pop world. Some of his chordal work is amazing. I too heard that podcast and it was fascinating to hear about him sampling George Michael to use on Careless Whisper and subsequently using that same sample (from his PPG?) on Lady in Red.
Excellent!
Thanks!
Amazing!!!! the best ever cover Pet Shop Boys please remake Domino Dancing !!!
Ah excellent, looks like Santa delivered another Estuary extravaganza to enjoy! Have been listening to this one for a while and digesting it - as always, a fantastic recreation and meticulous deconstruction of a classic tune.
One of the elements I've always loved most about this track is the relative simplicity of the chords and structure and how those are enhanced and validated so beautifully by the selection of such perfect sounds to create an unforgettable sonic palette. I also have a real affection for the "lift" of the bright cluster chords into the chorus, such a simple but uplifting moment each time around that gives the flow of the track such an addictive positivity and sensuality that could so easily have been lost.
Interesting that you're pondering the source of that bassline too, I've never really been able to recreate an exact simile either. JP-8 is close but always feels a little too strident, and the PPG is a bit too clean and digital. Interestingly having messed around with a borrowed (and sadly now reluctantly returned) Matrix 6 a bit last year I'm wondering whether that's a possible late entry into this investigation. Something quite punchy but clean about the bottom end of that thing that instantly brought to mind the sort of nonchalantly precise tones of so many PSB tracks. Perhaps a bit of a moot point as presumably everything got sampled and filtered / compressed / eq'd, but it's interesting to wonder.
Also hadn't thought of the low string note line being a composite sound - I'd always got close by hacking around the Marcato strings of the Emu and presumed it was something like that. But you're right, given that beautifully dirty PPG note layered up that would explain the slight edge at the front of the sound. Also similar to that dark chord in It's A Sin, so it makes sense in PSB canon too!
As always, fab job and thanks for posting. Oh and you're right, the trumpet was far too good not to drop it in... it added such a wonderfully melancholic and ponderous touch to the end of a simple track, wouldn't be the same without it.
PS - new OLED display for the JX? Classy... .
Absolutely astonishing
Thanks for your kind words. Glad you enjoyed it.
So happy you made another video. I love psb and saw
Glad you enjoyed it. SAW has always been my guilty pleasure. I have real admiration for what PW set up down in Borough, marrying the incredible ability of MS and MA to write hit after hit with the sophisticated production skills of Phil Harding et al.
This sound in particular is very remarable and gives the whole track that special something that makes the whole thing so uniquely special🎉
Wooow, me ha encantado. Maravilloso. Muchas gracias por tu trabajo y compartirlo. 👏👏👏👏
Thank you. I'm glad you enjoyed it.
I got chills. Brilliant.
Thanks. I tried to capture the essence of the original.
Maravilloso trabajo 👏👏💪😎💕🎶👋🇦🇷🧉
Thank you!
Dont stop.
Just WOW!
Thanks!
Beautiful! Great work!
Thanks. Glad you enjoyed it.
Exceptional as always 🎹
Thanks. Appreciate that.
Just incredible. Loved every second of it! 🎉
Thank you. I'm glad you enjoyed it.
Awesome, thank you! 🙂
I'm glad you enjoyed it.
Marvelous!
Wow...just....speechless?
Thanks. Glad you enjoyed it.
You have incredible ears! As you said you didn't know which synth was used for the bass, does that mean you sampled it from the record?
Thanks. I had a classical upbringing and have a few years experience that makes deciphering songs a little easier! In terms of the bass sound, this is a patch that I inherited with my Series III twenty-odd years ago and I remember at the time thinking oh, this was the bass used for Rent. Per the FIII screen at c.3min30s, it's made up of three sub-voices (samples) that give it a decent range but none of these are labelled, hence there's no indication of the source synth it was sampled from.
@@EstuaryMists Thank you. Wherever it came from, it's a great patch!
There is so much YT Content. Big Channels and fancy Musicians... Its getting louder and louder. And then there is this channel. Every single piece is pure gold. What a quality. Your videos gave me so much inspiration. Cant tell how much I listened to the songs you covered, rebuilt patches and drumscenes. Especially the never ending story cover had a deep impact to my little hobby studio setup. Just wanted to thank you for that amazing work. Greetings from germany
Thanks for your kind words. I only do this for peoples' enjoyment, and perhaps being slightly older, I feel no need to engage in the click-bait type videos that seem to be more common now, so I really appreciate comments like yours, as it inspires me to keep uploading this type of content.
Incredible, actually.
Superb job 🙂
Thanks. Glad you enjoyed it.
Hello, great as usually...
Thank you for your kind words.
ABSOLUTELY 🔥🔥🔥 !!!!
Thanks!
another great video
Thank you.
Amazing¡¡¡¡¡¡ wooooww¡¡
Very nice job
Thank you.
Mey man amazing job. thinking of if it's possible to get the isolated (stem) drum track in good quality, is it possible you share with me? I Love PSB thank you very much
Awesome!!!!
А можете что-нибудь из Depeche mode ?
👌 perfect..but whats that Voice percussion sample in the drum sequence
I honestly don't know. It sounds like a random word spoken into a mic. Per the description at the start of the video, I sampled this from the record (the only sound I sampled), as without it, the drums and percussion sequence lost some impact.
Holy shite...my fav song on ACTUALLY. Love that trumpet sound from the CMI.
I'm amazed at the aliasing on the CMI when you hold on the note! How did they mitigate that? Gates? My EII doesn't have that much aliasing. I still use an SPL Transient Designer on some percussion sounds to make them cleaner by trimming the sustain down.
As far as I can tell, in the actual recording, there's an FM piano slightly off to the right and a synth pad off to the left...perhaps just a sampled string pad off to the left.
One of my favs too, although I prefer this particular mix over the 7" version. Maybe it was the involvement of François Kevorkian in addition to the usual production team. I agree that there's some interesting aliasing going on with the trumpet and in some ways that's inherent to the Series III when playing a ample away from its root note but a couple of points to note - Firstly it's a very breathy sample and secondly (and more importantly) the filters on the analogue cards on my FIII are seriously in need of calibration. I've been meaning to do this for some time but I currently don't have access to extender cards that are needed to do this.
The EP sound is an interesting one. I thought this may be an FM epiano too but there's little evidence of Yamaha DX's being used in Andy Richards productions, so I settled on the JX-10, as it sounds quite similar and I believe he had an MKS-70 around that time.
supeeeer
❤️🔥❤️🔥❤️🔥❤️🔥❤️🔥
And the next one, please? 😊
Amazing! from where you did get the custom samples of the Neil voice???!! let us know!
How'd you get the vocal sample?
That either came with my Series III when I acquired it 20-odd years ago or was from one of the many tape steamers or 8" disks that I converted some years back.
This guy must be rich or something! He has this many instruments, I think…