come to daddy & windowlicker ~ how?

talent, yes

drum programming, midi programming, melodies, beats, bass, fx

all top quality talented productions

anyone have accurate information on the production methods?

He put his heart directly to sound. *most accurate description of his production methods

I believe that mostly he twiddled some knobs and pressed some buttons

cdp

dsp 4000

pro tools

how to make an so loud song ??????

what vibert says at 2:18.

someone posted an old rave tune that had a similar bass line to window licker. someone said roland mks 80. what was that tune?

metasynth for the photo of rdj. cdp heavily used on complex mathematical equation. is nannou synthesized or sampled or what? always believed it was synthesized, must have been wrong. stockhausen had a project with automated music boxes, is it like that or just a really good collection of samples or what?

there was a demo version of windowlicker which was simple yet still quite intricate, it's interesting to know that the track wasn't built in one day and that a lot of time and effort was put into making it great

come to daddy, in the old school days on this site some people explained how it was made, bouncing ball effects etc, there were really in depth posts, lost now though since 2001 era archives are long gone. people used to say nord modular and dsp 4000, never knew if they were right or wrong. mike p said afx was using supercollider and max/msp, guess that was for drukqs though not come to daddy and windowlicker. someone here claimed mike p also said roland mks 70 for the drums.

defender, was that a sample or does afx have a midi controlled version of defender??

always been curious about these two records, they are still the two that make me go "how the heck did he do that?" after all these years. true, things like personality, creativity, talent, heart, they are all there in the music too. iz us and nannou have a lot of heart especially.

what about the come to daddy guitar sound? how did he do that? in max msp there's a demo patch for a combined crossmod and sync oscillator, it sounds a bit like the come to daddy sound, but the come to daddy one has a lot of modulation and variation, really amazingly well done. was it really a roland mks 80?

thx, really laughing at the joke replies

I was under the impression that a lot of the sound design for those two releases was csound.. dunno why but I think I read it somewhere.

Nannou sounds synthesised, imo. At least the melodic content.

As for the guitar sound, I'd love to know. It's about as close as I've heard anyone get with a synth.

I wouldn't be surprised if all of the synthesis was done in software. It all has an unusually clean sound, especially the synth drums. Probably some of my favourite drum sounds on those two releases. Almost autechre quality.

when drukqs came out it was a bit of a shock at the time because it didnt have these come to daddy or windowlicker type of sounds

they're all great, but i miss those next level sounds and beats that sound like nothing else

the 'guitar' sound is mostly just a simple synth patch with light portamento put through heavy distortion, probably some boss ds-1 or whatever. thats why it sounds so guitary.

True. It's a very dynamic sound though, I think there's more going on behind the distortion!

Not being funny, but why do you want to know? you trying to recreate it?

always wanted to know since 1999

old mystery

syro liners say h3000 dsp 4000

i wouldnt be able to recreate it

but im still curious

if I would try to replicate the bass of Come To Daddy I would start with sending a basic synth wave into a chorus and then a distorsion (both with some parameters pushed pretty far). hmm ok I go cook some coffee and give it a try!

had a nice result using my bass station 2 + a couple of vsts. I used a square wave which pulse width is modulated by a tempo synced s&h lfo (this reproduce quite well the "stepping" you can hear in this sound). i filtered this wave (plus a slightly detuned double for the classic beef trick) with a HPF. The synth goes through a chorus and then into a heavy distortion (this fx part needs more work but it's probably harder to imitate with plug ins or other gear that he actually used).

I didn't nailed it completely but with some fine tuning I guess it could be pretty close. I tried it in for the "B part" (tall weirdo guy comes out of the TV part) and it also worked ok. Novation BS2 doesn't have programmable filter keyboard tracking but I'm sure it would be even closer with the cutoff of the HPF being higher when the note is higher. Also, there's obviously some cutoff automation (especially at the end of the phrase where it plays rhythmically with the upper octave), sometimes triggered instantly, sometimes doing some sweeps.

anyway, I'm sure those crazy sounds are made of a clever combination of a limited amount of effects and controls. this duality between quite simple and very deep is the reason RDJ is such a genius imo.

  On 3/24/2015 at 1:15 PM, Chesney said:

Not being funny, but why do you want to know? you trying to recreate it?

hahaha lol

When ZoeB found that Bucephalus Bouncing Ball used those Williams pinball sound fx (pretty much uneffected/edited) it kind of blew my mind.

Example:

https://www.dropbox.com/s/28sa5nvxk1033a9/FP11.mp3?dl=0

https://www.youtube.com/watch?feature=player_detailpage&v=uIeA2ct5Sew#t=304'

Previously I had imagined he was synthesizing all the sounds from scratch, but now I think he's probably sampling more than people realize.

I always knew it as the SFX from Robotron (also by Williams) -

great thread ! RDJ said in an interview that since 1992 or 95 dont remember exactly he is putting a lot of time in the timbre of his music.

In simple terms, timbre is what makes a particular musical sound different from another, even when they have the same pitch and loudness. For instance, it is the difference between a guitar and a piano playing the same note at the same loudness. Experienced musicians are able to distinguish between different instruments of the same type based on their varied timbres, even if those instruments are playing notes at the same pitch and loudness.

Try a bunch of stuff with no clear plan and something cool gets created once in a while.

i am pretty sure Bucephalus Bouncing Ball is a preset on an eventide

a lot of stuff on the come to daddy ep sounds like eventide to me

  On 3/24/2015 at 5:57 PM, yikes said:

i am pretty sure Bucephalus Bouncing Ball is a preset on an eventide

Pretty sure that one is Supercollider.

  On 3/24/2015 at 4:55 PM, psn said:

ahhh very nice

never heard this b4

thanks