Tomás Mulcahy wrote:Desmond, you are spot on. Well done sir!
Tomás Mulcahy wrote:I played around with the "Infinity" setting on my Lexicon LXP-15II, and it does a similar thing except that the tone gets duller as it goes on. So I guess you could do the Quantec thing with any reverb?
Yeah, or you could always sample and loop the reverb tail. That reverb pad is a wonderful sound imo...
Tomás Mulcahy wrote:What amazes me is that, dry, this pitch mod Fairlight cello sounds unusable. Goes to show what a creative lady she is.
*Absolutely* +1 on this. I'm not sure I could do anything that sounded good on a Fairlight II, and yet she made amazing use of it, really digging into it's strengths and it's quirks to find her voice. People imo these days do not do nearly enough "voice finding" with modern instruments, it's too easy to use everybody else's...
Tomás Mulcahy wrote:Another slight problem is depending on which Fairlight library you have, there are two sounds called "Cello 2".
Ah, didn't know about this. I only used the Fairlight samples I had available to me, including stuff I'd found around the net - I've never had any real Fairlight time. Anyway, it was enough to solve the problem for me which had bugged me ever since a young synth-loving kid heard that song and fell in love with it...
Tomás Mulcahy wrote:
feline1 wrote:always sounded to me like it was essentially the same Fairlight string (cello) sample that she'd already been using for years
Well spotted sir. Actually it's a different cello sample, but the Fairlight II makes then all sound kinda similar. As Paul Wiffen once described it "a nasal honk". :) The one on "Army Dreamers" is called "Quartet" IIRC.
Once you dig through the Fairlight library you do a lot of "Aha!" and "Ooh, *that* was what it was.." and "Oh, I thought that record was something really creative but it's just someone elses sample"... etc :)
It's one of the joys of getting access to these sounds, I think, if you're at all synth nerds like us... :headbang: