2

the brass sounds at 1:03 into the timeline, are they dx7/roland d-50, synclavier, or maybe fairlight...I recall these sounds from "The Return Of The Living Dead" scenes...any info helps, cheers.

1

its a trumpet sound with some sort of damping/volume reduction, maybe even a compressor... easily achievable in any synthesizer that has a trumpet preset on it. It might even be sidechained to the pad or beat. Try these ideas out and get back to me if nothing works.

  • I was talking about that grainy texture of the sound, it is obviously a trumpet but not any trumpet, you can hear exact same trumpet in many 80's 90's sci-fi movies...I am thinking it is "E-mu Emulator II" but as long as I don't have the exact sample I can't be sure... – texture Jan 19 '15 at 7:49
  • the grainy texture is most likely accidental since this is such an old show and the technology used to record and/or copy the film is causing a loss of quality in the final outcome of the production. That's not to say it can't be reproduced though, just need to tweak it til you find a suitable sound for your project. – Daniel Jan 21 '15 at 15:58
  • exactly my point and that is why I asked what gives that grainy texture, it sounds one of those e-mu samples, I just need someone to confirm this...I am not trying to replicate the sound I am seeking the device that gives these trumpet sounds their vintage texture...I will update you when I pin point the exact electronic device/equipment or the vintage synth/sampler. – texture Jan 24 '15 at 4:06
  • Ohh I think I understand. You're trying to do this with analog equipment, not digital racks... – Daniel Jan 24 '15 at 14:18
  • no I am not replicating I am trying to understand how the device works, but without knowing the source of origin this is a bit hard...I'll keep you updated when I find the source... – texture Jan 24 '15 at 20:19
1

The sound reminds me of Roland synths. I have a vague memory of a friend with an old Juno that had a patch like this. I can sort of mimic it with my DX7. The key is that there should be some high pass filter opening as part of the attack envelop (if you are using subtractive synthesis).

For FM, if you start with a decent brass patch (has some internal detuning to make it more vibrant), figure out which operator is most responsible for the presence of overtones and edit the shape of the envelope to something like the following levels: 90, 100, 100, 0, and make the first rate near instant and the second about an 8th of a second? (Guessing. Same sort of envelope for the hp filter if using subtractive synthesis instead of FM.) It is the slightly slower expansion of overtones in the second stage that strikes me as most characteristic of the sound I'm hearing in the video.

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service, privacy policy and cookie policy

Not the answer you're looking for? Browse other questions tagged or ask your own question.