Embarrased to ask-->Loverboy's Turn me Loose Intro

[Moonglow]

Check that clip; he plays it 2 hand, doesnt do a gliss as I recommended (although I would still gliss it and not feel cheesy about it). Doug was a Van Cliburn level classical pianist, who went "rock" for the money. He's got serious chops.

+1 regarding all of the above....although when my band plays TML we skip the intro.

[J. Dan]

OK, I was wrong, he actually did this on a Korg Kronos (proof in the video below).

 

I listened to the first clip posted and realized 2 things:

1) The chord is 4 notes, not 2, so either it was a synth that allowed 4 oscillators to be tuned separately and played in unison, or one with a "chord memory" like my PolySix had.

2) It's not a chromatic scale so the quantized portamento (gliss) feature would not have been used. This is a simple gliss on the white keys.

 

I pulled out my Kronos and did a simple illustration of this and shot with my Crackberry in my left hand:

 

[video:youtube]

[mate stubb]

The run up on the live clip does not sound the same or nearly as clean as on the original record.

 

Props to him for playing that live, but I still think it was originally done on a CS-60 using the built in glissando function.

[Skinny]

It was originally done on a Nord Lead.

[J. Dan]

Incidentally - I'm not entirely positive about using the glissando/portamento function vs playing a gliss on the white keys like I did in the video. The way to tell for certain would be one of you guys with one of them slow-downer programs, slow down the original and listen to see if it steps up chromatically or on the white keys like I did. That would be definitive. But since most modern workstations don't have this feature, the way I did it on the Kronos could be done on almost any modern keyboard and sounds pretty spot-on to my ears.

[DanS]

Check that clip; he plays it 2 hand, doesnt do a gliss as I recommended (although I would still gliss it and not feel cheesy about it). Doug was a Van Cliburn level classical pianist, who went "rock" for the money. He's got serious chops.

+1 regarding all of the above....although when my band plays TML we skip the intro.

 

What? Why didn't you sample it???

[BernMeister]

The run up on the live clip does not sound the same or nearly as clean as on the original record.

 

Props to him for playing that live, but I still think it was originally done on a CS-60 using the built in glissando function.

For the record...

 

Doug played this using a Yamaha CS50, not 60 or 80. It's a four note chord as many of you have mentioned here. And it's done using the CS50's glissando function (a chromatic portamento feature shared with most of the CS range of synths at the time). The CS50 was capable of performing a glissando chord sequencially, and in sync, provided the destination note(s) were of the same structure.

 

Therefore, if one needs to play this live without the latter feature, it needs to be programmed as a four note chord (as Dan Duran suggests) but played chromatically to achieve the same effect.

 

Dan's chords following the destination gliss are fine; however, the original chords take on different inversions after the gliss. To achieve this correctly, you'd have to setup two patches and be able to toggle from the (1) programmed chord gliss to a (2) normal polyphonic patch for the chords following the gliss. Among other synths capable of toggling, I do this with an Ensoniq VFX.

[Throbert]

Detuned or with chord mode and the porta set right and play an arp or just slide your way up.

[J. Dan]

Dan's chords following the destination gliss are fine; however, the original chords take on different inversions after the gliss. To achieve this correctly, you'd have to setup two patches and be able to toggle from the (1) programmed chord gliss to a (2) normal polyphonic patch for the chords following the gliss.

 

Wow, now that I listen a little further, you're right, they do change voicings. I was only paying attention to the initial gliss.

 

OK, so rather than screw around with switching from chord memory to poly and stuff like that, how about just doing it like this?

[video:youtube]

[BernMeister]

Dan's chords following the destination gliss are fine; however, the original chords take on different inversions after the gliss. To achieve this correctly, you'd have to setup two patches and be able to toggle from the (1) programmed chord gliss to a (2) normal polyphonic patch for the chords following the gliss.

 

Wow, now that I listen a little further, you're right, they do change voicings. I was only paying attention to the initial gliss.

 

OK, so rather than screw around with switching from chord memory to poly and stuff like that, how about just doing it like this?

[video:youtube]

I suppose it'll do in a live context, although you'd miss out on the chromatic effect. By the way, it's a two octave gliss and not three.

[mate stubb]

Like to see somebody attempt that on a hammer action!

[J. Dan]

I suppose it'll do in a live context, although you'd miss out on the chromatic effect. By the way, it's a two octave gliss and not three.

 

Whooops, good catch on the 2 vs 3 oct. Yeah, but without that gliss function (that I don't think any modern keyboards have) you're going to miss the chromatic effect. Unless you take advantage of arpeggiator, RPS, Karma, etc. I think I instinctively did 3 octaves instead of 2 because over the period of time of the gliss, when doing it only on the white keys, it put closer to the right number of "steps" in the gliss from start to finish.

 

Yeah, either way, without some sort of chord memory combined with the gliss function, it won't be exactly right. Just have to pick which shortcuts you want to make, I guess.

 

Oh hell, just sample it.

[BernMeister]

I suppose it'll do in a live context, although you'd miss out on the chromatic effect. By the way, it's a two octave gliss and not three.

 

Whooops, good catch on the 2 vs 3 oct. Yeah, but without that gliss function (that I don't think any modern keyboards have) you're going to miss the chromatic effect. Unless you take advantage of arpeggiator, RPS, Karma, etc. I think I instinctively did 3 octaves instead of 2 because over the period of time of the gliss, when doing it only on the white keys, it put closer to the right number of "steps" in the gliss from start to finish.

 

Yeah, either way, without some sort of chord memory combined with the gliss function, it won't be exactly right. Just have to pick which shortcuts you want to make, I guess.

Just so that we're on the same page (and at the risk of beating this thread to death)... With the chord memory - or whichever way you decide to create a single-keyed chord (and without the gliss function), it is playable chromatically. i.e. one would play, and not gliss, the two octave chromatic run.

[J. Dan]

Just so that we're on the same page (and at the risk of beating this thread to death)... With the chord memory - or whichever way you decide to create a single-keyed chord (and without the gliss function), it is playable chromatically. i.e. one would play, and not gliss, the two octave chromatic run.

 

Right - and given that it's 2 octaves and not 3, it's much more doable than I was originally speaking in that time - though personally I'm not quite up to being able to play it that smoothly, and a very small bit of portamento might help to get it to sound right when playing the scale since - at least on my Jupiter 6 - it doesn't seem like the notes of that gliss function are entirely discrete, if you know what I mean. Though it could be different on the CS-50... I've never owned one.

[DanS]

I think Iconclast is going to suggest Hot Girls In Love....

[BEMcCut]

I programed a two octave pitch bend on my Motif ES, played Dan's chord with the bend down. I let it slowly come back to center. Sounded close to me. I suppose the one other keyboard player that might hear me play it will tell me it is wrong. 99% of the crowd won't know the difference.

[RABid]

The S90ES will play a MIDI file. ... Sequence it.

[nursers]

Sorry to bump this but needed to say this thread helped big time - am doing a reunion gig with my old school band and for better or worse they've decided to do this song. On my S70XS I just set up a 2-octave pitch bend and did the intro that way - it's close enough for a pub crowd

[Dglavko]

Bump again... my turn now.

 

Need to figure this out over the next couple weeks on a Alecia Micron, or Nord Stage 2, or Prophet 8 rack, or PC3, or Kronos, or acoustic piano with reverb pedal (!)

[apple]

I played this song for years...simply played a D4 chord and sequenced the glissando...sounded perfect every time.

[Dr88s]

Bump again... my turn now.

 

Need to figure this out over the next couple weeks on a Alecia Micron, or Nord Stage 2, or Prophet 8 rack, or PC3, or Kronos, or acoustic piano with reverb pedal (!)

 

Use your Nord Stage 2 with this from the Nord user forum.

[Iconoclast]

Wow...I started this thread. Been a long time since I played that song. Turns out, it has a great beginning and then just turns into an endless repetition of the chorus that get's boring pretty quick.

 

I used to play it as a scale and not a gliss.

 

Can't believe I've been on this board that long.

[tonybanksfan]

 

I programed a two octave pitch bend on my Motif ES, played Dan's chord with the bend down. I let it slowly come back to center. Sounded close to me. I suppose the one other keyboard player that might hear me play it will tell me it is wrong. 99% of the crowd won't know the difference.

That's what I did on my ob-sx back in the 80's, wasn't perfect, but live and an evenly bent pitch bend with practice(tricky) worked nicely.