Your own signature sound(s)

[EricG]

How do you feel about creating your own signature sounds and use them over and over? I am first thinking about synthesizer sounds. (But also more creative EP, piano, organ and piano sounds). On the positive side this could be your recognizable trademark, or it could just be to boring. I guess a good blend of signature sounds and fresh sounds would be perfect...

Any thoughts about this topic?

[Steve Force]

Can't be done.

 

 

[video:youtube]http://www.youtube.com/watch?feature=iv&v=_4pFFshp1Yk&annotation_id=annotation_159877

 

 

 

(2:25 minute mark.)

 

[Magpel]

I think it is a fine idea, because what probably draws you to that signature sound is not just the...sound, but in some way the playability--it is a sound you can write for, a sound that makes you want to write for it.

 

For me, for example (primarily a guitarist but I often write on keys) I like to set up a nice acoustic piano with a velocity-triggered ,slightly resonant filter, just a subtle filter opening and closing on attack and release. It's a squishiness that makes me want to play and I voice I can write for effortlessly. I use it a lot, and in fact, whenever I am approaching a new synth or ROMpler or whatever, I always seem to dial in that kind of sound.

[frogmonkey]

I like it. I think I would rather create an excellent, fresh patch for every song, but I don't have the programming chops to get it right every time. So instead I use a handful of patches on a lot of songs. In many ways it does create a recognizable sound for the band. If you can put the sound in different contexts, and use it differently, I think it is very tantalizing to the listener.

 

I like the idea of having a recognizable tone as a player. Many horn players and guitar players have a consistent and unique sound- why not us? In my reggae band, I play most of my melody lines on one patch (though I must admit I'm getting tired of it).

 

In another band, at the insistence of the bandleader, I bring the Microkorg (along with a Rhodes and an Electro) for a single shimmery, ethereal patch which gets used in a small way on almost all the songs. The bandleader considers it part of the signature sound of the band.

 

On the first Manu Chao album, there's that silly synth sound effect that gets used a lot. It's hardly worthy of note in itself, but I think it's pretty effective.

 

 

[richwhite9]

How do you feel about creating your own signature sounds and use them over and over? I am first thinking about synthesizer sounds. (But also more creative EP, piano, organ and piano sounds). On the positive side this could be your recognizable trademark, or it could just be to boring. I guess a good blend of signature sounds and fresh sounds would be perfect...

Any thoughts about this topic?

 

There are many self-referencing musicians. Peter Townsend played with it throughout his career. The next CIS theme?

 

[video:youtube]http://www.youtube.com/watch?v=Yk0bVZm6b_4

[drawback]

I immediately thought of Steve Winwood and his distinctive solos on Arc Of A Diver, While You See A Chance, Valerie, Talking Back To The Night, etc. and how the sound itself can become a hook.

 

Good thread.

 

 

 

[PianoMan51]

Can't be done.

 

 

[video:youtube]http://www.youtube.com/watch?feature=iv&v=_4pFFshp1Yk&annotation_id=annotation_159877

 

 

 

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[JpScoey]

How do you feel about creating your own signature sounds and use them over and over?

Interesting topic! -

 

I often think that when you hear people complaining (& this does happen) that

 

keyboard X has 'only' 128 pre-set locations - & I think... how many do you need?

 

I typically have between 10 - 20 presets ...

 

About 5 or 6 pianos - ranging from a hard 'metallic' cutting sound, to a mellow Rhodes-style sound.

 

4 or 5 Organ timbres - from Jon Lord-style rock, to mellow 'church'-style.

 

4 or 5 string / pads + 4 or 5 'lead synths'.

 

That usually does the job for me - & you can always adjust them on the fly.

 

I'm friends with an EXCELLENT piano player, who's been playing gigs for 40 years,

 

& he only ever uses one (Yamaha) piano sound - it can be done !

[marino]

 

Let's see, I don't know. I've played mainly piano lately, so I can only hope that all the hard work translates in some kind of recognizable phrasing/touch.

 

On synth, probably something like this:

(at about 50 secs, after the "morphing" from the EP sound)

 

Asteroidi

 

It's a breath-controlled sound I got on the Kurzweil. I tend to layer it slightly with another sound, different for every occasion.

 

 

[Theo Verelst]

I tappears to me the call for signature sound would lead to only a not so musical "theme" playing or worse if it is outside what is general knowledge I suppose for any player of instruments with variation possibilities: a song calls for a certain sound, or vice versa, the (ab-)use of a singular, even great, keyboard sound probably means you're on a limited instrument or low on imagination (which isn't average for musicians I think).

 

Probably the Mr. Metheny example above is not so terribly about a signature sound (I knew more than a few of his works, and *if* he's have a signature sound the above certainly isn't very close to it) but about playing, and in his case playing style:

 

t.mp3

 

I switched on the Kurzweil with (random, previous setting) Lexicon effect on the digital out and tried a little bit to give an impression of the intro of the song with the well known PC3 Piano-0001 sound, and recorded it in (as it turned out) a very low q and low bandwidth mp3, going over to the same point in half a minute of the well known "oh when the saints", only to make clear there al lots of limitations to synth sounds (like the sampled piano) when it comes to expressiveness compared to well recorded natural string instruments.

 

[kanker.]

That's what I'm talkin' 'bout

[CrimsonianKing]

Miles Davis and his wah-wah

[Steve Force]

I tappears to me the call for signature sound would lead to only a not so musical "theme" playing or worse if it is outside what is general knowledge I suppose for any player of instruments with variation possibilities: a song calls for a certain sound, or vice versa, the (ab-)use of a singular, even great, keyboard sound probably means you're on a limited instrument or low on imagination (which isn't average for musicians I think).

 

Probably the Mr. Metheny example above is not so terribly about a signature sound (I knew more than a few of his works, and *if* he's have a signature sound the above certainly isn't very close to it) but about playing, and in his case playing style:

 

t.mp3

 

I switched on the Kurzweil with (random, previous setting) Lexicon effect on the digital out and tried a little bit to give an impression of the intro of the song with the well known PC3 Piano-0001 sound, and recorded it in (as it turned out) a very low q and low bandwidth mp3, going over to the same point in half a minute of the well known "oh when the saints", only to make clear there al lots of limitations to synth sounds (like the sampled piano) when it comes to expressiveness compared to well recorded natural string instruments.

 

Hey, tool, the thing is about Lyle, not Pat. Geesh.

[Theo Verelst]

I wouldn't be too sure I don't understand what I mean to say and if that *is* the point.

[CrimsonianKing]

I wouldn't be too sure I don't understand what I mean to say and if that *is* the point.

 

:idk

[KenElevenShadows]

I guess a good blend of signature sounds and fresh sounds would be perfect...

 

I think you already nailed it. Have a unique sound, but keep it moving, keep it fresh.

[JpScoey]

I tappears to me the call for signature sound would lead to only a not so musical "theme" playing or worse if it is outside what is general knowledge I suppose for any player of instruments with variation possibilities: a song calls for a certain sound, or vice versa, the (ab-)use of a singular, even great, keyboard sound probably means you're on a limited instrument or low on imagination (which isn't average for musicians I think).

 

Probably the Mr. Metheny example above is not so terribly about a signature sound (I knew more than a few of his works, and *if* he's have a signature sound the above certainly isn't very close to it) but about playing, and in his case playing style:

 

t.mp3

 

I switched on the Kurzweil with (random, previous setting) Lexicon effect on the digital out and tried a little bit to give an impression of the intro of the song with the well known PC3 Piano-0001 sound, and recorded it in (as it turned out) a very low q and low bandwidth mp3, going over to the same point in half a minute of the well known "oh when the saints", only to make clear there al lots of limitations to synth sounds (like the sampled piano) when it comes to expressiveness compared to well recorded natural string instruments.

 

I really don't wish to appear rude or anything Theo,

 

but are your (numerous) non-sensical posts for real, or a p*ss - take ? . . . :idk

 

 

[Joe Muscara]

I wouldn't be too sure I don't understand what I mean to say and if that *is* the point.

Tell me he doesn't have his own unique "sound!"

[JpScoey]

I wouldn't be too sure I don't understand what I mean to say and if that *is* the point.

Tell me he doesn't have his own unique "sound!"

That's got to be a rhetorical question, Joe ?

[Sundown]

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Hilarious... 5/4 timing can be your sound.

[Sundown]

I think part of being a synthesist is coming up with new sounds. It's hard to imagine a patch that would be playable in all contexts, or a patch that could be featured on most tunes without being repetitive. I know that some guitarists have a signature tone, but I think it has more to do with their playing than the tone itself. Even the mighty piano, which is perhaps the most ubiquitous modern keyboard instrument, would still be out of place in many contexts.

 

Jon Lord comes to mind as a player who does have a signature tone, which is the distored or overdriven Hammond. Jan Hammer often sounds like a guitar player, but his sound has varied considerably over the years. And Winwood tends to use synthetic horn-like patches, even though the sound itself has varied from album to album.

 

Maybe it can be done, but I think a performer's playing (i.e. phrasing and choice of notes) is more recognizable than the sound of a patch. And in my own development, I don't want to sound the same from album to album. I want to keep growing.

 

[MonksDream]

123 12 123 12 12 123 123 12 12

 

Hilarious... 5/4 timing can be your sound.

Actually, that's 4 bars of 5/4 + 1 bar of 2/4, or 22/4.

[Jim Alfredson]

Pffft. 22/4 is for wankers. 23/4 is where it's at.

[yannis D]

 

On the first Manu Chao album, there's that silly synth sound effect that gets used a lot. It's hardly worthy of note in itself, but I think it's pretty effective.

 

 

Actually this silly sound -a siren-like- is on ALL his CD's. And, unfortunately, many of his imitators (there are thousands out there) try to emulate this annoying sound as well! Se better be careful: make sure your signature sound is a good one, so if you become famous it's not gonna be too disturbing

[Tusker]

Signature sounds will happen quite naturally because we human beings are creatures of habit. Instead of developing signature sounds, write and play the music which makes your heart sing. The music will tell you what sounds you need ...

[SK]

The music tells you what sounds you need

Tusker, exactly! The music will make you want to hear certain sounds.

 

Sometimes I'll 'hear' a sound in advance that I want to create, but the sounds that matter are the ones that let your personal musical voice come through.

 

And a few sounds that speak authentically to you are enough, as with piano, one is enough. I do tweak/personalize the sounds - I rarely prefer the default.

[Mizu]

What Tusker said.

 

When it comes to signature sounds I share Sundown's sentiment - there are two kinds: A technical signature sound (e.g. Mike Stern's guitar sound, or Jan Hammer's square lead) and a signature "touch", no matter what sound you play, e.g. Oscar Peterson. I'm much more impressed by players that have the ability to coax a certain tone no matter what instrument they are presented with.

[Bosendorphen]

Before synths with a zillion presets and DPs it seemed more likely for keyboardists

to develop their own sounds.

 

Back in the early 80s I was using a Roland MP-600 electronic piano (not particularly well known but with velocity and nice weighted action; cool for 1979 when I bought it). I'd put it through a MXR chorus slightly detuned and adjusted the mix between the 3 piano sounds and adjusted the onboard graphic EQ to develop a sound that I found pleasing and that I really hadn't heard anywhere else. It was MY piano sound for gigs and it inspired my playing,

 

Same with my MiniKorg. Sure I tried to imitate some Minimoog sounds that I loved, but the very different nature of the MiniKorg led me to develop my own sounds that coupled with my analog delay for weirdness/thickening put me on a different path. At the time Greg Hawkes was one of the few well known keyboardists using the MiniKorg and my sounds were rather different from his due to the nature of the music we were playing.

 

The sounds I created for myself may not have been shockingly original or all that removed from some "mainstream" sounds at the time but they were developed from trial and error over time to create something personally useful and pleasing to my ears and touch for performing. Much different than grabbing a preset and doing minor tweaks.

[ProfD]

Signature sounds on instruments become boring over time. Especially when overused.

 

IMO, that is the downside to the quest for the "Herbie" Rhodes sound or "Funky Worm" lead. Harder to be yourself using it.

 

I have a deeper appreciation for musicians within whom the signature resides.

 

Everything George Duke plays bears his stamp regardless of the instrument/sound he chooses to play.

[CrimsonianKing]

Santana once said he has what he calls a "universal tone", he will play one note and people will recognize it. so yes, he has his signature sound and hasn't overused it. i think he was a clever guy, most of his albums in his fusion/latin jazz era (from 71 to 79) were not just guitar-driven, he gave a lot of room for his band and THAT is why he hasn't overused his playing.

So I think the key for it not to become boring is to play it a lot (it needs to get into people's heads), but know when to back off and take it easy.