Though he did say "this is a classic synthesizer." I'm sure that is an in-the-moment thing he just said, but it's not really a classic synthesizer. When I hear "classic synthesizer" I think OB-X, Prophet 5, Moog Model D, MS-20, Jupiter 8, etc.
It's not really. Think about a synth as a guitar with a pedal board. You're guitar is the oscillator. Pickup selection will be your waveform selector (though not as pronounced). VCF is your wah. VCA is your volume pedal, though your picking/plucking style will also come into play. Envelope generators and LFOs are just ways to automate changes that you're already doing with your hands and expression pedals. That's it really, when you're talking about a subtractive synth. Peak will do something called FM synthesis as well, but that's a bit to complicated for a comments section reply. To put it simply, it's just a way to control the harmonic content of a sound.
Yeah, thanks but I'm still lost, no big deal - I was watching another youtube video where there were patch cords involved, and that was WAY confusing as well, don't get me wrong I love the sounds they make, but I'm happy to just let someone else take the controls. Good stuff.
at a very basic level synths work like this. if you've ever heard any electrical device buzzing, that's some part of the circuit oscillating/vibrating. (if you can control that buzzing and amplify it you've pretty much got a synth) an oscillator is just a circuit that vibrates at a certain Hz frequency (depending on how much voltage you put through it) in most modern analogue synths 1 volt covers an octave. eg if the synth is tuned so that 1volt equals the note C1, 2v would be C2, 3v would be C3 and so on. as you press each key on the keyboard the voltage will rise slightly (and hence the pitch of the oscillator changes) think of the string of your guitar as the oscillator. and the scale on your frets as different voltages . The higher the voltage (or higher you hold your finger on the board), the more the circuit (or string) vibrates and the higher the pitch. the output of the OSC is typically (for subtractive synths) passed through a filter (which is essentially just an EQ) you can let certain frequencies through and filter, (subtract) out the rest. (resonance on a synth is just a fancy name for the Q part) the most commonly used filter is a low pass filter (which lets the low frequencies through but filters out the highs) so as you turn the cutoff knob from zero the sound will begin muffled and only letting the bass frequencies through, as you open the filter more of the high frequency sound is allowed to pass and the sound gets brighter. which then goes to a VCA, (Voltage controlled amplifier). It's just like any other amp except you can control the volume remotely (imagine automating the volume in a DAW by drawing a shape to ramp up the volume) this is what an envelope does. envelopes are typically of the ADSR variety (attack,sustain,decay,release) we'll use volume as an example but an envelope can control pretty much any parameter of the synth. (for example you could use it to control the cutoff frequency of the filter) attack is how long it takes the volume to reach maximum. decay is the time it takes to go from maximum level to the sustain level when the key is held. sustain is the volume of the note whilst the note is held. release is the time it takes to go from sustain level to zero volume when you release the note. so it could take a second to go from zero volume to loud (attack) 0 to 1 on the dial then take a second to quieten (decay) 1 to 0.5 as you hold the key it stays at this mid level ( sustain) 0.5 when you release the key it then takes a second to go completely silent (release) 0.5 to 0 (obviously this is much simplified and it doesn't have to be linear, most envelopes allow curves over time and all of this can happen in milliseconds or minutes depending on the sound you're trying to get) an LFO is a low frequency oscillator (in other words its just like any other OSC except it vibrates so slowly that it would produce a pitch so low you can't hear it. (anything below about 30hz for most people) you can use this vibration/voltage to control other parameters like the filter knob or the volume control so that it will slowly ramp up to max then down to zero and back to max and back to zero.... and so on (it's what makes most wobbly sounds on a synth sound wobbly :) that's modulation. think of it like the tremelo bar on your guitar (is that even the correct term?) except you can set it up to do it for you automatically using robots/voltages , and on any control in your entire rig. send it out to some speakers, and that's basically it. the richness of different sounds that synths can make comes when you combine multiple instances of the above doing different things in harmony .
Hey Seth, I too come primarily from a guitar-only background. Started looking into synthesis only half a year ago, learned things one by one over the months and now I think I have a good enough understanding of the sound synthesis process. It takes some time, but it's less difficult than you think. If you are interested as well, I'd recommend only looking at simple, analog synthesizers to begin with. Stuff like the old-but-gold Minimoog Model D by Moog. Simple interface, not many controls, classic sound. Once you know how a minimoog works, you know how subtractive synthesis works. Not a single patch cord to be seen ;)
This is cold as ice jack! I started on drums in 6th grade, picked up guitar at 15 and dabbled with keys later on. I am least familiar with synths and keyboards so I'm still discovering different sounds and techniques...stuff like this is invaluable. Thanks brother...
This is great! I think most - if not all - of these techniques were covered in Mitchell Sigman's "Steal this Sound" book, in which he describes (in writing) the techniques behind these sounds. It's a great book, but since it's a compilation of Keyboard Magazine articles, much of it felt rushed and incomplete to me. Seeing these techniques performed on video, in real time, is a real treat. The "Fly Like an Eagle" tutorial just made me laugh at how simple his presentation was. Love it.
One of the best video I saw on yt. As someone else said, could watch this for hours. Extremely inspiring. A big thank you Daniel for this and all your great synth presentations. Now remains the difficult part...choosing the synth! So many great choices, similar but different... Summit, Jupiter X then Super 6. Despite the great UI and the features I feel the Hydrasynth is missing the low end, some kind of meat to the bones. This very noticeable when watching a Hydrasynth video followed by one of the Summit or Super 6 or Jupiter X.
I absolutely love creating the sounds almost more than putting them into songs.Cool sounds to make are Jean Michel Jarre - "Oxygene part 4" tone, The Cars "Just what I needed" tone, and Gary Numan "Airlanes" tone and also "Metal" tone
Hi Daniel, these sweetwater tute's are so on the money. One of the things I've learned about traditional synths with a 2/3 osc, filt, env, vca path is that they can pretty much make any 'synth' sound possible and more. This tute works with pretty much any monosynth you could care to mention. Great stuff!
Good stuff Dan. I've created those sounds on a JP 8080. I started out on a PAIA synth, then an ARP Oddysey, then ARP 2600 in the 70's and I still can't quit. Good job explaing in your vids. The Arturia Modular V has had my attention since I got it from Sweetwater.
Thank you so much for this informative, enjoyable tutorial.I`m a bassist/guitarist who has been plodding along trying to learn synthesis on my own.You explained some concepts that I didn`t really understand and your demo definitely enlightened me.Thanks again
What I find interesting is that Daniel is using a Digital hybrid synth with an analog filter to make these classic sounds. The DCO's are not aliasing from what I can hear. Digital has come a long way, but it is hard to beat a real analog filter with Discreet components. Considering what the original poly synths cost back in the early days and what the Notation Peak costs now, new synths are a bargain. Great Demo Daniel. Thanks! Your expertise is part of Sweetwater's "Value Add" advantage.
I seem to recall the Frankenstein gravel chirps used filter resonance feedback (i.e. filter self-oscillation), not noise. Some analog synths, especially ones with only 2 pole (12 decibels per octave as on Korg, Roland, and Yamaha, as opposed to 24 db/octave as on Moog, ARP, and Oberheim) filters, won't let you drive them in to oscillation. But on the ARP 2600, if you turn up the filter resonance past 3/4, it will oscillate on its own. Watch the Edgar Winter videos closely, you'll see he has resonance slammed all the way to the right, driving the filter into feedback mode, which is the Sonic source of the chirps. He is correct about the modulation, but the gravel texture can come from an LFO being fed into the filter's audio input or the modulation input. The blinding speed sounding synth keyboard solo is done by modulating the VCO's with a square wave tuned to a court interval, making a continuous fourth trill at 16th note triplet rate. It's effectively a 2 note arpeggiator. He then plays the arpeggiator. I figured this out in high school decades ago, making me the only cover player i ever heard to get that solo right at the time. Winter himself recently revealed that's exactly how he did it, so now a lot more synthesists get it right. Interestingly, there's a video of a GUITARIST pretty much nailing it by using both hands on the fretboard to make the trills using hammer-on technique. Look it up... sounds pretty amazing. Eddy Van Halen eat your heart out lol.
Wow, this is exactly what I needed! A gig recently fell in my lap where I get to put together a group and basically do whatever I want. I've been working for a while toward developing a solo electronic performance concept using Ableton Live but it's still pretty new to me. Even so, I decided to jump at this opportunity to take what skills and knowledge I have so far to the stage so I can get a taste of performing with this stuff. Fly Like an Eagle is one of the songs I chose. I want to recreate each one of the synth effects and trigger them one by one as MIDI clips in between guitar riffs, but I wasn't quite sure where to start. Turns out all I really needed to know is use a square wave and then it's just messing with delays. Watching him put the basic elements together is perfect for getting me started!
Nice video. I am trying to learn synth. You explain it well. I am a guitar player and always thought that the one part on life's been good was a guitar thru an envelope filter. I will stop thinking about how to get that sound now. Thanks
As a guitar player in cover bands I go to great lengths to try to sound like the songs I am covering. But it occurred to me that I'd be completely lost as to how to begin with this problem if I were a keyboardist. Googling for this is pretty challenging (which is how I got here). It seems pretty obvious that there would be some demand out there for tutorial videos on how to sound like certain songs that are rock standards that involve keyboards. Obviously not how to sound like a Rhodes, you just buy a Rhodes (or some KBs have patches already for that). But more tutorials similar to this video. But with the variety of keyboard/synth features out there, how would you even begin?
Hi Johnny. Classic rock synth parts tend to be easy to recreate since there were relatively fewer synths and fewer synth parameters available back then. Watch my SYNTH CLIPS tutorials for a deeper understanding of the basic tools that were available then: czcams.com/play/PLlczpwSXEOybYYaBCTcjxxKz1QmxytbIf.html -_Daniel_
Brilliant! I remember trying to cover The Who tune on an ESQ-1 way back when. Always 'played it'. Did not even think about using the LFO! That Peak, BTW just may be my next synth as I've been eying a poly and this seems to hit on all the cylinders I am looking for.
Hi Future Sounds. You are correct. A lot of the video games from that era used a single Square Wave oscillator, which is also used in Fly Like an Eagle. Thanks for watching! -_Daniel_
This would make a great first episode in a series dedicated to deconstructing and building classic synth sounds using current technology.
Though he did say "this is a classic synthesizer." I'm sure that is an in-the-moment thing he just said, but it's not really a classic synthesizer. When I hear "classic synthesizer" I think OB-X, Prophet 5, Moog Model D, MS-20, Jupiter 8, etc.
@@daemonelectricity It's a classic "style" synthesizer
Daniel, please make this a regular feature. I loved this video sooo much!
When I was a kid I imagined having speakers playing the Won’t Get Fooled Again synth part non-stop though my house.
The Joe Walsh bit has baffled me for years. Solved!!
Thanks Daniel.
Cheers!
All of these synth sounds sound SO FUTURISTIC! That's why I love them! The synth sound for ELP's 'Karn Evil 9' was way ahead of it's time.
You always impress me Daniel Fisher. I'm so glad to have met you via Sweetwater!
You’re a Genius ! That’s a great recreation of those iconic sounds.
Makes me want to get one 😍
wow, as a synth player I didn't realize how simple the fly like an eagle patch is!
Such an inspiring video, and so helpful. Thank you!
This is what the internet was meant for
Now along with showing great synths I really love these kind of videos! I wish there were more like these.
Daniel Fisher = auto thumbs up! :)
4 years later I recreated these patches in UVI Falcon and it just worked. Thank you so much for sharing your knowledge.
That was great-I could watch these "how sounds are made" videos all day!
That's pretty cool what they did with the synth sound with the Joe Walsh song. I've never heard of that and I appreciate the song more.
"Synth's Been Good To Me So Far..."
🎵 🎶 🎵 🎶 🎵
-_Daniel_
I'm always excited whenever I see a new Daniel Fisher video. Excellent explanations!
Wow. What fluent and applicable knowledge of synthesis.
I really need a "synthesizers for dummies." So glad I'm a guitarist sometimes haha. This is rocket science to me, so confusing!
It's not really. Think about a synth as a guitar with a pedal board. You're guitar is the oscillator. Pickup selection will be your waveform selector (though not as pronounced). VCF is your wah. VCA is your volume pedal, though your picking/plucking style will also come into play. Envelope generators and LFOs are just ways to automate changes that you're already doing with your hands and expression pedals. That's it really, when you're talking about a subtractive synth. Peak will do something called FM synthesis as well, but that's a bit to complicated for a comments section reply. To put it simply, it's just a way to control the harmonic content of a sound.
Yeah, thanks but I'm still lost, no big deal - I was watching another youtube video where there were patch cords involved, and that was WAY confusing as well, don't get me wrong I love the sounds they make, but I'm happy to just let someone else take the controls. Good stuff.
at a very basic level synths work like this.
if you've ever heard any electrical device buzzing, that's some part of the circuit oscillating/vibrating. (if you can control that buzzing and amplify it you've pretty much got a synth)
an oscillator is just a circuit that vibrates at a certain Hz frequency (depending on how much voltage you put through it)
in most modern analogue synths 1 volt covers an octave.
eg if the synth is tuned so that 1volt equals the note C1, 2v would be C2, 3v would be C3 and so on.
as you press each key on the keyboard the voltage will rise slightly (and hence the pitch of the oscillator changes)
think of the string of your guitar as the oscillator. and the scale on your frets as different voltages .
The higher the voltage (or higher you hold your finger on the board), the more the circuit (or string) vibrates and the higher the pitch.
the output of the OSC is typically (for subtractive synths) passed through a filter (which is essentially just an EQ) you can let certain frequencies through and filter, (subtract) out the rest. (resonance on a synth is just a fancy name for the Q part)
the most commonly used filter is a low pass filter (which lets the low frequencies through but filters out the highs)
so as you turn the cutoff knob from zero the sound will begin muffled and only letting the bass frequencies through, as you open the filter more of the high frequency sound is allowed to pass and the sound gets brighter.
which then goes to a VCA, (Voltage controlled amplifier).
It's just like any other amp except you can control the volume remotely (imagine automating the volume in a DAW by drawing a shape to ramp up the volume) this is what an envelope does.
envelopes are typically of the ADSR variety (attack,sustain,decay,release) we'll use volume as an example but an envelope can control pretty much any parameter of the synth. (for example you could use it to control the cutoff frequency of the filter)
attack is how long it takes the volume to reach maximum.
decay is the time it takes to go from maximum level to the sustain level when the key is held.
sustain is the volume of the note whilst the note is held.
release is the time it takes to go from sustain level to zero volume when you release the note.
so it could take a second to go from zero volume to loud (attack) 0 to 1 on the dial
then take a second to quieten (decay) 1 to 0.5
as you hold the key it stays at this mid level ( sustain) 0.5
when you release the key it then takes a second to go completely silent (release) 0.5 to 0
(obviously this is much simplified and it doesn't have to be linear, most envelopes allow curves over time and all of this can happen in milliseconds or minutes depending on the sound you're trying to get)
an LFO is a low frequency oscillator (in other words its just like any other OSC except it vibrates so slowly that it would produce a pitch so low you can't hear it. (anything below about 30hz for most people)
you can use this vibration/voltage to control other parameters like the filter knob or the volume control so that it will slowly ramp up to max then down to zero and back to max and back to zero.... and so on
(it's what makes most wobbly sounds on a synth sound wobbly :) that's modulation.
think of it like the tremelo bar on your guitar (is that even the correct term?) except you can set it up to do it for you automatically using robots/voltages , and on any control in your entire rig.
send it out to some speakers, and that's basically it.
the richness of different sounds that synths can make comes when you combine multiple instances of the above doing different things in harmony .
Seth Dominick Try to hook up your guitar to the synth & just use the filters and effects to your taste.
Hey Seth, I too come primarily from a guitar-only background. Started looking into synthesis only half a year ago, learned things one by one over the months and now I think I have a good enough understanding of the sound synthesis process. It takes some time, but it's less difficult than you think.
If you are interested as well, I'd recommend only looking at simple, analog synthesizers to begin with. Stuff like the old-but-gold Minimoog Model D by Moog. Simple interface, not many controls, classic sound. Once you know how a minimoog works, you know how subtractive synthesis works. Not a single patch cord to be seen ;)
This is cold as ice jack! I started on drums in 6th grade, picked up guitar at 15 and dabbled with keys later on. I am least familiar with synths and keyboards so I'm still discovering different sounds and techniques...stuff like this is invaluable. Thanks brother...
Very well explained and accurate sounding. Keep up the good work!
This is great! I think most - if not all - of these techniques were covered in Mitchell Sigman's "Steal this Sound" book, in which he describes (in writing) the techniques behind these sounds. It's a great book, but since it's a compilation of Keyboard Magazine articles, much of it felt rushed and incomplete to me. Seeing these techniques performed on video, in real time, is a real treat. The "Fly Like an Eagle" tutorial just made me laugh at how simple his presentation was. Love it.
Great work deconstructing these patches! Very informative for a learning synth player like me and the sounds are iconic.
One of the best video I saw on yt. As someone else said, could watch this for hours. Extremely inspiring. A big thank you Daniel for this and all your great synth presentations.
Now remains the difficult part...choosing the synth!
So many great choices, similar but different... Summit, Jupiter X then Super 6. Despite the great UI and the features I feel the Hydrasynth is missing the low end, some kind of meat to the bones.
This very noticeable when watching a Hydrasynth video followed by one of the Summit or Super 6 or Jupiter X.
Dude you make the best reviews, thank you!
I absolutely love creating the sounds almost more than putting them into songs.Cool sounds to make are Jean Michel Jarre - "Oxygene part 4" tone, The Cars "Just what I needed" tone, and Gary Numan "Airlanes" tone and also "Metal" tone
Way too cool, Dan, thanks for this! Love that Peak...
Hi Daniel, these sweetwater tute's are so on the money. One of the things I've learned about traditional synths with a 2/3 osc, filt, env, vca path is that they can pretty much make any 'synth' sound possible and more.
This tute works with pretty much any monosynth you could care to mention.
Great stuff!
PS I really enjoyed the Who tip. I've always used an external input to provide the organ tone and effected that sound with the synth.
Good stuff Dan. I've created those sounds on a JP 8080. I started out on a PAIA synth, then an ARP Oddysey, then ARP 2600 in the 70's and I still can't quit. Good job explaing in your vids. The Arturia Modular V has had my attention since I got it from Sweetwater.
Super fascinating. Thanks.
As always, great stuff Daniel. You're demos always inspire me :)
Love this kind of video!
Sweet and clear. Hope you do more like this. 👍👍👍
Man, this was great! Can't wait to try them out!
Thank you so much for this informative, enjoyable tutorial.I`m a bassist/guitarist who has been plodding along trying to learn synthesis on my own.You explained some concepts that I didn`t really understand and your demo definitely enlightened me.Thanks again
Learned a great deal from this video. Nice analysis of those classic tones!
Thank-you much! Yeah, I wouldn't have figured out the "Life's Been Good" anytime soon.
Dope video. Thanks for putting this up!
Thank you Daniel!
DUNNN... dun dunnnnn
*waits for CSI to start
very cool Daniel!
Really great! Best Peak vid so far and very informative!
Really enjoyed the video!
More like this please. (2 years later)
Really cool , loves the WHO one. Great explaination ❤
What I find interesting is that Daniel is using a Digital hybrid synth with an analog filter to make these classic sounds. The DCO's are not aliasing from what I can hear. Digital has come a long way, but it is hard to beat a real analog filter with Discreet components. Considering what the original poly synths cost back in the early days and what the Notation Peak costs now, new synths are a bargain.
Great Demo Daniel. Thanks! Your expertise is part of Sweetwater's "Value Add" advantage.
Hi John. They better not alias. Their DACs (Digital to Analog converters) are overclocked at 24 MHz (24,000,000 Hz)! Thanks for watching!
Not DCO, they are FPGA digital oscillators (DCOs are a type of analog).
@@sweetwater Not overclocked. Oversampled. But I'm sure you know that.
Awesome video- thanks!
I seem to recall the Frankenstein gravel chirps used filter resonance feedback (i.e. filter self-oscillation), not noise. Some analog synths, especially ones with only 2 pole (12 decibels per octave as on Korg, Roland, and Yamaha, as opposed to 24 db/octave as on Moog, ARP, and Oberheim) filters, won't let you drive them in to oscillation. But on the ARP 2600, if you turn up the filter resonance past 3/4, it will oscillate on its own.
Watch the Edgar Winter videos closely, you'll see he has resonance slammed all the way to the right, driving the filter into feedback mode, which is the Sonic source of the chirps. He is correct about the modulation, but the gravel texture can come from an LFO being fed into the filter's audio input or the modulation input.
The blinding speed sounding synth keyboard solo is done by modulating the VCO's with a square wave tuned to a court interval, making a continuous fourth trill at 16th note triplet rate. It's effectively a 2 note arpeggiator. He then plays the arpeggiator. I figured this out in high school decades ago, making me the only cover player i ever heard to get that solo right at the time. Winter himself recently revealed that's exactly how he did it, so now a lot more synthesists get it right.
Interestingly, there's a video of a GUITARIST pretty much nailing it by using both hands on the fretboard to make the trills using hammer-on technique. Look it up... sounds pretty amazing. Eddy Van Halen eat your heart out lol.
I love this! Great job and thank you!
Dude, that is so cool! Now I want to buy a Summit and go join a classic rock cover band, lol!
I'm so old, I played "Won't Get Fooled Again" in 1979-1982 on a Crumar T2 Dual Manual Organ with my damn fingers and a pedal!
Wow, this is exactly what I needed!
A gig recently fell in my lap where I get to put together a group and basically do whatever I want.
I've been working for a while toward developing a solo electronic performance concept using Ableton Live but it's still pretty new to me. Even so, I decided to jump at this opportunity to take what skills and knowledge I have so far to the stage so I can get a taste of performing with this stuff.
Fly Like an Eagle is one of the songs I chose. I want to recreate each one of the synth effects and trigger them one by one as MIDI clips in between guitar riffs, but I wasn't quite sure where to start.
Turns out all I really needed to know is use a square wave and then it's just messing with delays. Watching him put the basic elements together is perfect for getting me started!
Awesome!
OMG I love you for this and your custom patches for the Roland VR-09!
You are a freak! That was amazing. I have to go lie down now.
Thanks for the info.
Love this video, the Key tracking with the filter was my favorite.
Beautifully done!
great walkthrough! thanks
Wow please do more of these
Fantastic vid, thanks!
He’s like a chef!
More videos like this would be epic!!
I get chills listen to this...awesome
Fascinating!
Nice video. I am trying to learn synth. You explain it well. I am a guitar player and always thought that the one part on life's been good was a guitar thru an envelope filter. I will stop thinking about how to get that sound now. Thanks
Awesome!!!!!
Won't get fooled into thinking I can do any of this! Amazing!
As a guitar player in cover bands I go to great lengths to try to sound like the songs I am covering. But it occurred to me that I'd be completely lost as to how to begin with this problem if I were a keyboardist. Googling for this is pretty challenging (which is how I got here).
It seems pretty obvious that there would be some demand out there for tutorial videos on how to sound like certain songs that are rock standards that involve keyboards. Obviously not how to sound like a Rhodes, you just buy a Rhodes (or some KBs have patches already for that). But more tutorials similar to this video.
But with the variety of keyboard/synth features out there, how would you even begin?
Hi Johnny. Classic rock synth parts tend to be easy to recreate since there were relatively fewer synths and fewer synth parameters available back then.
Watch my SYNTH CLIPS tutorials for a deeper understanding of the basic tools that were available then:
czcams.com/play/PLlczpwSXEOybYYaBCTcjxxKz1QmxytbIf.html
-_Daniel_
oh shit.... the one for Lifes Been Good with the fixed note and key tracked filter... I never considered doing that before thats great.
Freak'n GREAT! Love the Who's won't get. Awesome.
What about some classic pink floyd stuff?
Evan Reid agreed
Shameless, narcissistic, heinous self promotion here: czcams.com/video/XNomklKalqo/video.html (WARNING: lo-fi, low video quality, low budget, high fun). :-)
Love this ! Thanks for posting Daniel. Are you planning on another one or two? If so, I'd live to see you do The Who "Eminence Front" synth set-up.
After hearing the Who example, I was like, “Yeeeeeeaaaaaaaaah!!!”
very helpful, thanks
That's a great way to sell a product.
Thumbs up!
Brilliant! I remember trying to cover The Who tune on an ESQ-1 way back when. Always 'played it'. Did not even think about using the LFO! That Peak, BTW just may be my next synth as I've been eying a poly and this seems to hit on all the cylinders I am looking for.
Sounds amazing
Great stuff Daniel!
Thanks for this!
I hope you do more of these. If so, I vote the intro to 2112. On the ARP Odyssey which is the synth it was created on.
Great tutorial!
Nice!
Fantastic!
Sweet !!!!! Can you do some famous (Moog) synth sounds please?! Pink Floyd, Wakeman, ELP, Jarre - that woulde be awesome!!!
ELP - In The Beginning solo
Y o u a r e a h e r o - this is so great!!!
this is great! Love to see this kind of tutorial! Great for us novices! Would love to see you do something with the new Arturia synth.
Is....... is that a picture of Walter Sobchak on the left? Also, the Peak is so awesome. Lovely synth!
I put it there because so many viewers keep telling me I look like him.
Personally, I don't see the resemblance (kidding ;-) Thanks for watching!
LOL That is awesome.
Or it could be Howard Stambler (from "10 Cloverfield Lane") after a shower and a shave... ;-)
Inspiring
Awesome demonstration.
That's a really good example for the Joe Walsh song. Would've liked to see it with a sequencer, though... :-)
Can we expect to have a Daniel Fisher soundpack for the Peak?
Geez man, the Peak is not made for fucking soundpacks. It's there to MAKE YOUR OWN.
1:00 clicked this hoping for steve miller and finally someone did it
5:20
Excellent - we need more of these. As others have said, some Genesis and Pink Floyd would be great.
This guy's good!!!! Now I've got to watch some Floyd concerts from 1970.
Thx - great video!
Soooo freakin awesome!
Thanks James! Did you try any of them?
Nailed it !
great tutorial ... some nice ideas here
2:02 I swear that first is the exact same note and sound that’s in the title screen for the original Donkey Kong game 😂
Hi Future Sounds. You are correct. A lot of the video games from that era used a single Square Wave oscillator, which is also used in Fly Like an Eagle. Thanks for watching! -_Daniel_
YEEEEEEEEEEAAAAAAAAHHHHHH!!!!!!!!....Yer a genius Danny