If you have a fairly standard analogue synth, though, you could give this a go. As for hardware, you could wait for the real thing, because as we go to press, Moog has announced that Minimoog Model D production is resuming (indeed, the company just presented one to none other than Gary Numan at Moogfest in recognition of his contribution to music – richly deserved, we reckon). You can buy different software versions, and freeware variants also exist. To recreate it You don’t need a Minimoog, although, of course, one would be nice. The story goes that he was looking for a new angle to move away from his punk roots, walked into the studio one day, played a sound on a Minimoog – which went on to be the sound on this track – and boom: synths = popular. He insists he didn’t invent synth pop – not intentionally, anyway. We love Gary Numan – he is one of the most self-effacing rock stars you can meet. Why not latch and play with the filter for some extras that Giorgio couldn’t do at the time? 4: Gary Numan – the beefy pad lead from Are ‘Friends’ Electric? Play C, G, Bb, move up three semitones and then two. Set your tempo to around 100 to 110BPM and your arpeggiator to 16th notes. The rest of us can quite easily ‘do a Moroder’ with an arpeggiator and bass sound on pretty much any synth. Sadly, that was a limited-edition synth, but MiniNova users can download those 50 Moroder sounds into their machines now from the Novation website. If you are the lucky owner of a limited-edition Novation MoroderNova you will have this sound (and 49 other Moroder presets) and be ready to be arpeggiated into …Love action. To recreate it Your absolute best bet is to get yourself a Moog Modular and spend days wrestling with it to recreate the sounds. Again, you’d ideally want to use the original instrument it was recorded with – in this case an Oberheim OB-X – and again, Arturia can help you out with a top-notch emulation. To recreate it It’s actually pretty easy and not dissimilar to the Vangelis pad. We never want to hear it again, but it certainly makes our iconic sounds list… The latter are usually people who work in music shops and have to hear it on a daily basis or, like us, people who have been to more than 20 NAMMs, the West Coast US gear show where the intro to Jump is played on every keyboard there at least 50 times a day (and all within earshot as we peruse the stands and halls). To some, it’s an iconic sound that perfectly sums up an area of music making and a time in human history when soft rock was king to others, it’s just bloody awful. Jump is to synth heads what Stairway To Heaven is to guitarists. If this sound isn’t at least used in the sequel, then we’re marching with pitchforks to LA to protest… Adjust the amplitude envelope to affect the filter (so the filter opens as the note’s amplitude increases and decreases). Pick a sawtooth waveform over two oscillators detune them and reduce the filter to taste. The easiest way to recreate it fully is with Arturia’s CS-80 variant, the CS-80V, but any pad sound can be pushed into this atmospheric realm. It’s now one of the most sought-after synths ever, and you’ll be out of pocket by a five-figure sum if you can even find one. To recreate it Vangelis used his trusty Yamaha CS-80 for much of the music on Blade Runner. Better still, just use the original soundtrack, as it was such a pivotal factor in the success of the original film. It’s still not certain who will be doing the music to the sequel to Blade Runner scheduled for next year, but if we had our way, either get us to do it or, of course, Vangelis himself. It’s the incidental pads shimmering throughout the film that get our vote here and remain some of the most appropriate and atmospheric sounds ever to grace cinema. Blade Runner is now touted as one of the greatest films ever made and its soundtrack has become almost as iconic, thanks to tracks like the emotive The Love Theme and high-tempo End Titles, all produced by the Greek god of the synthesiser: Vangelis.
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