In case any of you don't know this man, he made most of his stuff in the 1970's and to this day I'm in awe how on Earth he made his electronic insturments sound like real organic insturments.

Here's but one example, there are many more -RELAXXXXXX


Oh and his name, Isao Tomita.

http://www.youtube.com/watch?v=HBb7...feature=related


How did he get the old analogues to sound like real violins in this one; > check the real unicorn in the vid!
http://www.youtube.com/watch?v=ZmSH7BsNSrM&feature=fvw

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Last edited by Richard Butler on Aug-09-2010 at 11:42

Just one of those rare genius talents I think.

Excellent stuff

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nice stuff, check out wendy carlos as well.

tomita is indeed good

also check raymond scott for some 1950s minimal

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quote:

Originally posted by LoveHate nice stuff, check out wendy carlos as well.

I always found his/her stuff very preset basic sounding

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quote:

Originally posted by Richard Butler How did he get the old analogues to sound like real violins in this one; > check the real unicorn in the vid! http://www.youtube.com/watch?v=ZmSH7BsNSrM&feature=fvw

It's not close, and it's missing that famous screech violins always have. The sustain is probably the easy part to recreate, its the attack that's difficult.

http://www.youtube.com/watch?v=P0pkigApKEw

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quote:

Originally posted by dj_alfi change your avatar for fucks sake.

quote:

Originally posted by Richard Butler I always found his/her stuff very preset basic sounding

Well, there were no presets in those days. Some of the first synth presets were probably made by people trying to imitate Wendy Carlos.

Kind of interesting to think what paths electronic music might have gone down if there had never been savable presets on synths. Reminds me of something said by another ambient master, Brian Eno:

quote:

I'm very good with technology, I always have been, and with machines in general. They seem to me not threatening like other people find them, but a source of great fun and amusement, like grown up toys really. You can either take the attitude that it has a function and you can learn how to do it, or you can take an attitude that it's just a black box that you can manipulate any way you want. And that's always been the attitude I've taken, which is why I had a lot of trouble with engineers, because their whole background is learning it from a functional point of view, and then learning how to perform that function. So I made a rule very early on, which I've kept to, which was that I would never write down any setting that I got on the synthesizer, no matter how fabulous a sound I got. And the reason for that is that I know myself well enough to know that if I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones. So it was a way of trying to keep the instrument fresh.