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ff een "spiral like" ding gemaakt. Ben er toch al mee bezig met een track van me. Dus hier een (slap?) aftreksel![]()

Serieus, ik zou dit zo kopen........het is echt prachtig...kan letterlijk bijna janken:O:O
Ik kwam hier een poosje gelee om te zoeken welke noten de Sequence was
Er zit hier ergens een post waar dat staat:3
Ik kan kijken of ik het met mijn juno 106 kan proberen met de arpegiator van de SH-201, dus Analoog geluid (DCO) met digitale aansturen via midi van de SH-201:3
Maar in elk geval/...........MAAK HIER EEN NUMMER VAN EN VERKOOP HET!!



De sequence van Spiral is natuurlijk te gek maar mijn mond valt pas echt open als wat later in dezelfde track die metalen percussie invalt over een bassequence. Vangelis, een kamer vol echte percussie en studiopersoneel ... dat waren pas tijden! Vanaf Blade Runner wordt de percussie verzorgd door een Emulator en dat is toch wel een beetje jammer. Wel cool is wanneer de concert basdrum twee octaven lager wordt afgespeeld zoals in het begin van de film.

The Roland system 100 model 104 was the only sequencer Vangelis had when Raphael Preston joined him in late 1977, so it must have been the one used on "Spiral". I'm not totally sure but I assume the system 100 model 101 was used as the sound source (1). The SH-3A doesn't have CV/gate so it can't have been that one unless it was modified, and afaik Vangelis didn't use a Minimoog until '79 or thereabouts.
Here's quote from a Vangelis article (Sound on sound):
"The Roland System 100 sequencers, used to great effect on Spiral's title track, were later joined by Roland System 700 and ARP sequencers, and an ARP 2600 modular synth was used as an interface to link them together (2). The sequencers took on a still more substantial role when Raphael found a way of controlling them: "We were the first people to find a way of sync'ing sequencers to tape. At the time, there was no way of putting a code on tape, so you had to stop and re-record everything from the top if you wanted to change anything. I knew a sequencer's gate gave out a voltage, not a sound, but I thought if I plugged the output of a sequencer's CV gate into a mixer channel and heard a sound, I should be able to record that onto tape, and with luck play it back into the gate and step the sequencer that way. I took the output from the gate into a mixer channel and promptly blew it up! When I reduced the volume, though, recorded it, and played it back, it did step the sequencer. That was great, because we could then change or overdub sequences, and use the pulse on the tape to run drum machines. It was a great breakthrough for us. You can hear the polyphonic sequencing from [1979's] China onwards."
(1) I don't think he had the expander but I may be wrong about that
(2) it should read 'ARP 2500' because Vangelis never used a 2600. The big 2500 was owned by Raphael Preston.
Says Raphael: "We might have used it a few times, but not in any "featured " way. It was a great synth though ..
I did sometimes use some elements of it cross patching other synth into it and out again ..."
"The (Yamaha) CS-80 is a step ahead in keyboard control, and a generation behind in digital control" -- Dan Wyman, Jan 1979
Hebben jullie toevallig ook een midifile van het Tweede gedeelte van "Spiral" ?
En dan mijn eigen versie gemaakt op de Yamaha Tyros-2 : Ja dit is echt de Tyros -2 het is een hele hoop knutselwerk geweest in de Tyros zonder computer effecten of samples. 100 % Tyros
http://vocaroo.com/i/s0tmqXqK9tgB
