AROIOS

Anything with the idiotic 4~6 triad chords, except in Hard Rock, but those triads get old quickly even in that.

Just came across this Rhodes sound that's almost the polar opposite of OP's example, with an (arguable over-) emphasis on the bellish sound.

Love the keyboard harmony in this clip, can't wait to hear more of your jazzy works.

A "chorus" literally means copies of a sound that vary in "timing", "pitch", or often, both. "Pitch variation" as a Chorus technique appeared way before the invention of delay lines and LFOs. The 12-string guitar is a perfect example, not to mention the extremely common technique of combining two slightly detuned voices in synthesizers. (The audio example below simply detuned two identical samples and involved no delay-lines/phase-shifting at all. Ask a hundred musicians what effect they hear in it and every single one of them will tell you it's a chorus.) Even with the crude technologies of the 70's, companies like Roland and Eventide were making Chorus effects that altered "pitch" of the delay lines inside. Chorus doesn't require a stable pitch-shift on the delay lines. So we don't really need "heavy DSP power" for it. The early BOSS/Roland choruses were fully analog. It seems you were trying to make a distinction between a "harmonizer" and a "chorus", with the former requiring a stable pitch-shift, hence the "DSP power". That distinction might make more sense when we are using the harmonizer to generate stable parallel lines that "harmonize" the original line, in other words, several semi-tones apart. In the example you raised, the less-than-semi-tone detuning would have functioned literally as a chorus. But hey, call it anything you want. I've heard casual listeners describe it as "sweetener", "widener" or "cheezilizer" 😃. The fun is in the actual sound, labels don't matter nearly as much. Chorus by Detuning .mp3

😃 Chorus isn't "usually" done through phase-shifting, nor is phase-shifting "more common" than detuning. If anything, detuning was used way before phase-shifting for Chorus effects. All you need is to record the same instrument twice ("overdubbing"), or trigger two sound sources with tiny variation in tuning. For instruments with natural "drifts", like guitar or old synths, you can even skip the detuning. And pitch shifting is not hard as you imagined. This is fairly old tech that existed even in the 70's.

A few more usual suspects:

No need to split hair there, detuning is as common as phase shifting in Chorus designs.

The two albums "Jarreau" and "Breakin' Away" were full of beautiful Rhodes sounds. David Foster and Jeremy Lubbock really made it sing.

Playing, Yes. Sound, Hell no. The Scarbee Rhodes sounded warmer and fuller right out of the gate. In comparison, Stevie's original recording was thin and shrill. That sound might have worked well in the mix. In isolation, I'll choose the Scarbee sound every time.

Yup, in terms of tasteful application in actual music production. The analog resurgence and the resultant sales numbers are mostly just a fad sucking talent-less nerds into making fart sounds.

Nice studio and sweet sound you got @The Real MC I just happened to also be programming a layered AP last week and got a nice 80's/90's ballad sound. I'm a sucker for these type of sound and can never seem to get enough variations of them. 😆 AP_EP.mp3

Absolutely. Subtractive analog peaked in the early 80's, romplers peaked in the mid 90's. VA peaked in the early 2000s. Most stuff after the mid 2000s are just rehash of old sounds. It's been years since I heard any patches that made me "wow" the same way I felt in the 80's~90's. That's why I've developed a habit of creating my own 80's/90's patches in recent years. People often don't realize how powerful some old machines like the JV-1080 still are after 30 years. The JVs' only bottle neck is (was) their inability to replace Rom contents with your own samples. But now with re-programmable 3rd party SR-JV cards, you can inject a ton of new life into it.

😃 It was a silly joke. I don't know the first thing about Beethoven's approaches or intents, nor had I ever digged his music. You can safely ignore anything I say about him.

That's more of a philosophical statement. Kinda like those audiophile urban myths claiming digital can never "fully" replicate analog sound. The point of FT in audio engineering is to emulate ANY waveform. While Square and Saw require infinite series of Sine waves in FT in theory, most "simulations" are more than good enough for our biology. Audio in the real world pretty much never drops from full blast to 0 "instantaneously", nor does the processing in our ears and brains. Not sure I understood what you meant. Were you referring to its wave length?

(Fourier Transforms aside,) mosquitos sound nothing like sine waves. They're much closer to sawtooth. (Non-pure, of course) Sine waves are less rare in nature than people usually make them out to be. Ocarina sounds pretty close, as do other non-reed woodwind instruments (e.g. piccolo).

SonicProjects' demos have always been a pleasure to listen to. I'm sure they would have been more recognized had they designed a cooler interface and did better promotion.

"Wizard of Aus" pops into my mind

Exactly, it's on a scale, and "Perfect" is a misnomer; defined by whom? to what precision? Most humans have "Ok Pitch". If we tune a song more than 5 half-tones higher or lower, pretty much anyone would noticed it sounding different. People with so called "perfect pitch" are simply more sensitive to those changes. Regarding "relative" vs. "absolute", animals are generally better at detecting changes/differences than determining absolute values, it's vastly more energy-efficient computation-wise.

Hearing the "wrong note" most likely had nothing to do with "Perfect Pitch" and everything to do with "Relative Pitch" and perception of harmony; unless by "wrong", Kenny meant "out of tune".

In my experience, it's always been the musically illiterate who make a big deal out of having so called "Perfect Pitch" or better worded, "Absolute Pitch". I've always found that "talent" utterly useless. In the frequency domain, music is mostly about "Relative Pitch". Who cares if a "prodigy" child always hears a 440hz sine wave as "A"? A $20 tuner does that 100x better than any humans ever could. What we need is the boy prodigy to identify "400hz->600hz", "440hz->660hz", "480hz->720hz" all as perfect 5ths. Without that ability, he's practically tone deaf. And I've seen plenty of these "Perfect Pitch" prodigies who can't tell a C triad from a Cmaj9.

Just discovered this excellent tribute band. They absolutely nailed my favorite PF tune. I wonder what keyboard PF used for the ethereal pad(s) in this song. Slow-attack or reverse-played Fender Strat samples maybe?

Yup, Lenny's the man. Luis Conte, Alex Acuna and Pete Escovedo are also master percussionists during the time and can be heard on countless albums.

Can't believe I missed "Africa". Thank you @stoken6 !