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Developing signature sounds (and younger musicians)


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I've been thinking about this over the past few years:

 

I think that younger musicians (myself included) with our millions of choices and settings on digital instruments, don't really develop our signature sounds as much as musicians in the past.

 

All the most famous musicians throughout history had one or a small handful of signature tones that they incorporated into their creative repertoire. Many of these were borne from logistical and technological limitations, as well as a simple lack of options. Many developed new styling techniques as a result of these unique sounds, often to get around limitations. Modern performers, when faced with something that doesn't quite work, just switch to a different patch or instrument that does.

 

I've started to try to make an effort to stop making new patches all the time, and limit myself to a more organic selection of sounds. Really learn to develop my performance style around those. One or two Rhodes sounds, a single piano sound, two pads, and a handful of leads, among other things. Of course I can't always do this with covers since I'm expected to replicate OTHER iconic sounds. But for original material, I think it makes a lot of sense to limit yourself.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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But for original material, I think it makes a lot of sense to limit yourself.

 

I like this notion a good bit.

 

To my way of thinking, pretty much all of practicing and performing is about constraining yourself to within some limits.

 

Say you have one octave to play a a whole solo? Not that easy. Or maybe it's a key signature, like you're in Db and you have to use Gb to get to where you want to be, even if Gb/F# isn't your strongest.

 

On a technical level, probably 90% of legit music is getting your fingers to not go where they want to naturally go like in Bach, you're doing some nice little melody in parallel thirds or tenths and then if you're not reading/listening carefully, all of a sudden the voices go in different variations. So you have to restrain your impulse to just go and continue the groove, but retrain that drive to "same" to accomodate important melodic variations split between the hands.

 

Of course, in sounds, the acoustic piano has to be the winner for "what the hell instrument is this supposed to be, and can I whip the shit out of whoever let it turn into a trash can medley of discordant notes with no unisons and no nothing?"

 

IOW, I agree.

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Agree that constraints lead to breakthroughs. Also, we don't have the time to fully utilize the sonic potential of many of our amazing synths.

 

Additionally ... along with unique timbres, there are signature note choices, licks and arrangements ... which cause a person to stand out. It's how we know that Bach is still Bach on a Moog and Wakeman is still Wakeman on a Roland D50. If you are starting out, develop your tone and your vocabulary.

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Theres a bit of a logical flaw in your premise though. Iconic players in the past didnt have limitations guiding their sound selection. They had their ages complete arsenal to work with, just as we do now and future players will. The ones whose work has lasted, developed an esthetic that might now seem like a signature sound. But thats really because they played maximally like themselves. Any difference between the enduring legends and any players you might know now, is not because of how quaintly limited the old folks were in the Dark Ages, but rather because younger players havent had the chance to really find their voice yet, regardless of available technology. But just as in the past and in the future, they will...

Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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I always thought music always began with emulation and then progressed to exploration no matter what era.

 

I also agree with MathOfInsects, in a number of ways the musicians of older were limited by their equipment. A lot of Chord and Note choices were selected due to a lack of polyphony. Does a lot of that give certain eras of music a specific sound? Yes. However, I'm not sure if those musicians of the time would have consciously decided to do that if they had 128 note polyphony available.

 

That being said, if you believe that being limited in your gear inspires you and causes you to develop a specific style, why not go old school and limit yourself in those same ways? See what happens.

 

All that being said, do we now days spend too much time eBaying and less time Mel Baying? Yes.

 

Also, a lot of this is probably generated by the increased difficulty to earn money playing music too, especially playing original music. The demand for cover bands is where it is at, and like you said that doesn't afford a lot of exploration.

 

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When I first say this, I had an initial thought that I withheld and then was interested in the comments that followed that went in some very different directions - all valid.

 

Maybe because of your choice of the word "sound", I tended to gravitate to the sounds used, less than the parts played.

 

My initial thought was that our use of samples has replaced the practice of creating sounds from scratch. Even when it comes to something like a minimoog, people will use samples that sound to them what a mini should sound like - even though there are near infinite possibilities.

 

Even looking at something like the Hammond Organ....Jon Lord's sound comes from the fact that he ran it through a guitar amp. I would even argue that his playing is likely influenced by that because some things would not sound good running heavily distorted....it's going to influence what you play based on what it sounds like running through that rig.

 

Guitar players largely acquire their signature sound using a certain guitar, with certain pickups, through certain pedals, into a certain amp. When you hear Brian May of Queen, you can't mistake the sound of his guitar.

 

Interesting thought, though, on keyboards, that can create virtually any sound, of limiting it to a signature sound. I think the first thing is to start with something you created that is usable throughout your catalog, but don't be limited to that.

 

Look at the Cars' Greg Hawkes. That triangle/square portamento sound appeared throughout many songs. The Hard Sync sound appeared quite a bit (Let's Go, Hello Again, etc.). But it didn't stop him from also using a wide range of sounds to support it.

 

I'm going through this right now with my original band. I bought a lead synth and debating using an actual tube guitar amp to run it through all the time so that it always had a "sound", or run it through a more complex system including an amp modeler that could do anything. Interesting trade-off debate. I think I've decided on the amp modeler option. I can always still restrict it to something signature, but I have more options.

 

 

EDIT: After reflecting a bit more after posting this, I may be confusing "signature" vs "recognizable". Lucky Man solo is immediately recognizable as Keith Emerson, but not his signature sound. That said, I still maintain that being forced to create the sound from scratch rather than use samples DOES lead to a greater likelihood of having a signature sound.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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Jon Lord is an excellent example. Theres lots of literature about him developing his playing technique and note choice around his hardware. Also, by signature sound Im not strictly speaking of a specific patch, but often a set of patches. I dont think Keith Emerson ever had a signature moog setting, but his aesthetic and choice of effects is immediately recognizable.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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With originals I think the best way is to pick an instrument and the variation of sound for that instrument that suits the song.

 

The only limitation then is how many different sounds the player knows can be extracted from that instrument, and picking a sound that suits the solo or comping part they are contributing to the song.

 

The wider a player's palette of sounds, the more likely they are to develop a unique signature combination of sounds.

A misguided plumber attempting to entertain | MainStage 3 | Axiom 61 2nd Gen | Pianoteq | B5 | XK3c | EV ZLX 12P

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I don't aim for signature sounds as such, although I have a few favorites that speak well for me. I sometimes find a loop/arp that inspires me. I also play drum sections by hand until the motif gels and loop them to taste or save an idea that starts from the notes first. Its a pleasure to then do a patch-spotting session, building up the right "band" for the piece. That can include swapping a few things out and inevitably deleting 2 or 3 tracks because I piled them on like pizza toppings in my zeal. Throwing in a full swell pipe organ setting is gauche when a portative is called for, tsk tsk. :facepalm:

 "I want to be an intellectual, but I don't have the brainpower.
  The absent-mindedness, I've got that licked."
        ~ John Cleese

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How about not worrying about the sound and focus on your playing? Younger musicians don't get it. That's why the a lot of the new players out there don't get it.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

noblevibes.com

 

 

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After years of torture as a child one day my struggles with Debussy just disappeared, just happened. Same thing with reading chops years later with Jazz Charts.

 

As long as youre practicing and failing, things will fall into place in an unplanned way. I believe many people experience that.

 

That goes for getting the sound you want too.

 

Im obsessed with rig efficiency, speed of set up, size, etc.

My method is build 3 different similar rigs, based around the same controller or ROMpler.

They all fail to hit the mark, but keep the best out of three, asses 3 more.

Keep the best and usually after 3 variations it falls into place.

 

This includes which soft synths and hardware used too.

 

Just keep at your sound, your design, your chops, etc.

 

Just dont become a home body tweaker that never completes a project and keeps buying plug ins, excess hardware.

 

I get face palms over folks with 30 pianos, 45 compressors, and claiming they all sound different.

Maybe so if youre really critical, but if that occupies so much time that you never complete anything get some GAS relief.

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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Jon Lord is an excellent example. Theres lots of literature about him developing his playing technique and note choice around his hardware. Also, by signature sound Im not strictly speaking of a specific patch, but often a set of patches. I dont think Keith Emerson ever had a signature moog setting, but his aesthetic and choice of effects is immediately recognizable.

 

His signature sound was a Leslie that never engaged.

I never even realized that until somebody pointed it out.

 

 

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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Just dont become a home body tweaker that never completes a project and keeps buying plug ins, excess hardware.

 

I get face palms over folks with 30 pianos, 45 compressors, and claiming they all sound different.

Maybe so if youre really critical, but if that occupies so much time that you never complete anything get some GAS relief.

 

:whistle: Not me, nope. Not at all. :whistle:

I make software noises.
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You

His signature sound was a Leslie that never engaged.

I never even realized that until somebody pointed it out.

 

Jon Lord had several different setups through his time with Deep Purple. Most of them center around him piping through an overdriven Marshall amp. Sometimes he just went into a Marshall cab too (which is true for all of Machine Head) with no Leslie in the chain at all. Sometimes he took the output of the Marshall back into a disengaged Leslie. But later he often split the signal to both Leslie and Marshall independently.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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Im younger, and I use a few sounds all the time (DX7 Harmonica, M1 Piano, Synth1 Bass Guitar, M1 Organ, M1 Drum Kit, PG8X or u-he Tyrell or other analog Brass, M1 Brass, DX7 Brass).

When I say DX7 I actually mean Dexed, and when I say M1 I mean the software equivalent.

Yamaha MX49, Casio SK1/WK-7600, Korg Minilogue, Alesis SR-16, Casio CT-X3000, FL Studio, many VSTs, percussion, woodwinds, strings, and sound effects.
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You
His signature sound was a Leslie that never engaged.

I never even realized that until somebody pointed it out.

 

Jon Lord had several different setups through his time with Deep Purple. Most of them center around him piping through an overdriven Marshall amp. Sometimes he just went into a Marshall cab too (which is true for all of Machine Head) with no Leslie in the chain at all. Sometimes he took the output of the Marshall back into a disengaged Leslie. But later he often split the signal to both Leslie and Marshall independently.

 

Someone had to play the rhythm guitar parts and maintain the rock groove during Ritchie's incessant wankery. Songs and the sonic environment drives sounds.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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How about not worrying about the sound and focus on your playing? Younger musicians don't get it. That's why the a lot of the new players out there don't get it.
this is my problem... I genuinely enjoy messing around with tones and turning knobs enough that I often catch myself having mindlessly played the same two chords for 20 minutes while messing with synth parameters. I think I need to limit myself to creating a new patch only when I've actually written something that needs a new patch, not just for the sake of exploring a synth. I've got plenty of great sounds on my synth, but very few recordings to show for it.

 

That said, I think I've always had a sound to call my own since I first started messing with guitar pedals. I've got a tube amp too and push it to a nice drive with my Wurli. All I run is an EQ, an EHX Ring Thing, and a Mooer Ocean Machine (dual delay and reverb), and in the past I used a wah as well. Its not all totally unique by any means, but I definitely have my sound.

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Boards of Canada has that wobble. Rush keyboard parts often consisted of Taurus drones. Acid has that squelch. Jon Lord had his sound.

 

But as a modern synth head with many sounds to cover, how can you develop a "signature" sound? If you're really inclined to experiment, here's some suggestions I've been considering:

 

1) mix your rig down to stereo and run it thru some kind of saturator, reverb, or filter

- Art Pro tube preamp or leveling amp

- Strymon Deco

- Eventide H9

 

2) use a recognizable FX on everything (but not overbearing)

- auto pan

- sonic spacing: hard left EQ'd mid scoop, hard right high mid scoop, HPF w/ reverb in center (simulate something distant)

- amp and cab sim

- guitar FX (like scottasin mentioned above)

- vibrato on everything (a la BOC)

 

3) throw in custom special FX sounds all the time

- sounds of nature

- sounds of the city

- sci fi sounds

- sounds of the elements (wind, thunder, fire)

 

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I'm kind of impressed with a lot of younger players. Many of the good young cats I play with have been cutting their teeth in modern western churches. They have great sound level discipline and play play to the song. The amount of information available to new players online is immense. If I had access to the current Internet when I started in the 70s it would have changed everything.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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One of my techniques that I'm fairly proud of is instead of using drone pads, I'll sometimes drench a piano in tons of timed delay with the dry mix set to 0. Then I just play lots of really fast arpeggios, which creates a shimmering texture that I can morph just by how I play. I sort of got the idea from listening to how guitarists like Alex Lifeson and Edge often do "pad duty" on the guitar.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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I'm kind of impressed with a lot of younger players. Many of the good young cats I play with have been cutting their teeth in modern western churches. They have great sound level discipline and play play to the song. The amount of information available to new players online is immense. If I had access to the current Internet when I started in the 70s it would have changed everything.

 

Really? I don't. Most of them don't have a good back ground or a good base in music. The other part of this argument is that kids aren't learning to play instruments anymore. I don't see piano's in anyone's homes anymore. I guess that could be another topic.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

noblevibes.com

 

 

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One thought. The "signature sound" is something akin to lipstick. You can put lipstick on a pig, but if your music is still a pig....In other words, I'd say learn and hone your musical skills and perceptions. You may grow to appreciate new paths of music in the future, and if all you've been working on is your "tone" or "sound" you may be at a disadvantage. I'm talking about the nuts and bolts of music - harmony, melody and rhythm.

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I'll sometimes drench a piano

 

I've noticed that keyboardists have generally not relied on effects as much as our guitar brethren in rock and pop. My particular favorites for "drenching" pads are Robert Fripp and Adrian Belew with their Eventides. It helps that they can bend pitch asymmetrically across different notes, to keep the pads and drones interesting.

 

Keyboardists often have a lot of sound design possibilities within their instruments though. Maybe thats one reason we've not "drenched" as much historically. :idk

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I'm kind of impressed with a lot of younger players. Many of the good young cats I play with have been cutting their teeth in modern western churches. They have great sound level discipline and play play to the song. The amount of information available to new players online is immense. If I had access to the current Internet when I started in the 70s it would have changed everything.

 

Really? I don't. Most of them don't have a good back ground or a good base in music. The other part of this argument is that kids aren't learning to play instruments anymore. I don't see piano's in anyone's homes anymore. I guess that could be another topic.

I think there might be a regional difference here, if we're looking at local scenes.

 

If we're looking at the wide world of music in general, it might depend on what we're defining as "younger" musicians. There are plenty of players of all ages out there who don't move me. There are also players from every generation who make musical choices that spin my head around.

Samuel B. Lupowitz

Musician. Songwriter. Food Enthusiast. Bad Pun Aficionado.

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A lot of young players around here aren't gigging. They don't seem to want any part of it. I'm probably the worst musician in the house. The kids take after Mom. She was a great trumpet and flugelhornist. My kids play in symphonic bands, municipal and university bands. They want no part of gigging. The boy was going to play in our horn section one summer but got an engineering internship. Another thing is they don't seem to go drinking in bars. They drink at each other's houses. Can't blame them for not going into gigging. The pay is low and the hours suck.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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