Re: Kate Bush - Running up that Hill - main synth sound
Posted: Mon Jul 26, 2010 10:46 am
Welcome to SOUND ON SOUND magazine's recording and production forums, described by some as "an oasis of rationality".
The Elf wrote:Yep, I do have a few Fairlight goodies from down the years, but a definitive library would be interesting (though not necessarily very useful, to be truthful).
The Elf wrote:Once you've spent a week sampling, looping, mapping and legato-izing an ARP Pro-Soloist your home-spun sampling days are over! Never again! :crazy:
desmond wrote:Peter Conz Connelly wrote:Are you on about the melody bit or the breathy C / D# chord that plays throughout? I don't know about the melody but I do know the breathy chord is the SarahIIx / Arr sample (the most famous and mostly used Fairlight sound) played constantly with SH!T loads of reverb.
Hmm. I don't think that's the case. Certainly the Arr1 sample is pretty legendary, but I'm listening to the song now and noticing a few interesting things:
- The main pad that's holding the notes/chord underneath is really nice - there is a texture in there (definitely not from Arr1) that makes it really attractive. Certainly the breathy quality might come from Arr1 in there somewhere as a layer - it's pretty plausible in any case. But I don't think it's "the whole story", if you pardon the pun ;)
You can most clearly hear it on the intro and end fade out of the stuff as that chord holds after everything else has ended. I'm gonna dig out my copy of Arr1 and compare I think... :) You never now, that interesting texture might just be something as simple as an aliasing artifact, but I think there's something else in there, or at least it's a different sound to Arr1.
- The main riff sound is also the same sound playing chords throughout the song - I'd never realised this before. Hence the "I wrote that song on the Fairlight around that sound" comment from Kate.
- The main riff has a fairly obviously slap back echo on it which helps smooth it over and disguise it further.
My *guess* is that it's a string or orchestra hit sample, with a pitch envelope (or portamento) and lo pass filter envelope to give it that "bark".
We really are anoraks, eh? :)
Peter Conz Connelly wrote:Desmond, I loaded in the SarahIIx (Arrr) sample into my Series III, added a HUGE reverb with massive decay, played C/D# then faded up the sound... it sounded uncanny..
Peter Conz Connelly wrote:Does anyone know if it was a Series III or IIx on Running up that Hill? The factory drums samples (set13, IIRC) that came with my Series III sound exactly like the ones on that track.
Peter Conz Connelly wrote:The woman who sang the arr is called Sarah Cohen, think she was a Fairlight employee. I wonder where she is now and if she realises how famous she is!!!
desmond wrote:Peter Conz Connelly wrote:Desmond, I loaded in the SarahIIx (Arrr) sample into my Series III, added a HUGE reverb with massive decay, played C/D# then faded up the sound... it sounded uncanny..
Not sure what that means - do you mean it sounds like the part on the record, or just that you really liked it? If the former - audio clips or stfu :)
Peter Conz Connelly wrote:I got it to sound very nearly as close as the record. I can't remember what reverb I used, this was in 2003 or something, but I did assign the Series III filter to LPF the breathy vox. It wasn't exact but I came to the conclusion even if Kate tried to replicate it today, she'd get close but not exact. There are probably a lot of factors that contributed to that sound, I can also hear tape hiss.
Peter Conz Connelly wrote:I'd imagine it was mostly IIx... but them drums... I aint heard them on any II libraries.
Peter Conz Connelly wrote:I really did like your exampled posted... VERY impressed with how close they sound.
Peter Conz Connelly wrote:I kinda hear there is something different going on with each note too.
desmond wrote:Peter Conz Connelly wrote:I kinda hear there is something different going on with each note too.
On the main riff?