Jazz+ Posted April 30, 2018 Share Posted April 30, 2018 What synth setup is Joe using for that clarinet sounding synth soloing on track 2 A Remark You Made? It sounds really nice. [video:youtube] Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Mark Zeger Posted April 30, 2018 Share Posted April 30, 2018 ARP 2600, one of 2 in Joes rig. See around 0:45 in. [video:youtube] The other 2600 keyboard had the voltage reversed so ascending scales went right to left. Discussion here: https://forums.musicplayer.com/ubbthreads.php/topics/1238295 Link to comment Share on other sites More sharing options...
ProfD Posted April 30, 2018 Share Posted April 30, 2018 The late Joe Zawinul was my hero in that he knew how to program and play synthesizers to make them sound musical. I never get tired of listening to his work especially with Weather Report. PD "The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy" Link to comment Share on other sites More sharing options...
GRollins Posted April 30, 2018 Share Posted April 30, 2018 Weather Report is one of those bands that I name when people make sweeping statements like, "Fusion jazz sucks, because [fill in the blank with whatever their gripe might be]." I mean, Weather Report appeals to people who claim they don't like any form of jazz (or rock, or whatever). Unique, supremely original, and gifted. There was a time when I played Heavy Weather daily, sometimes hourly. And that's in addition to hearing it on the radio. Man, I miss those guys... Grey I'm not interested in someone's ability to program. I'm interested in their ability to compose and play. Link to comment Share on other sites More sharing options...
Mark Zeger Posted April 30, 2018 Share Posted April 30, 2018 Joe Zawinul and Lyle Mays had such talent for making synths seem organic. Those sounds were as important in their music as the notes they played. Link to comment Share on other sites More sharing options...
hardware Posted April 30, 2018 Share Posted April 30, 2018 Great song. Its a favorite on some Soap Operas my better half watches. Magnus C350 + FMR RNP + Realistic Unisphere Mic Link to comment Share on other sites More sharing options...
GovernorSilver Posted April 30, 2018 Share Posted April 30, 2018 Another Zawinul fan here. He certainly established his own synth identity. Link to comment Share on other sites More sharing options...
jerrythek Posted April 30, 2018 Share Posted April 30, 2018 Shameless plug: My column on Joe Z. Note: The link to the full solos is dead/bad. PM me if you want to see them. Jerry Link to comment Share on other sites More sharing options...
mate stubb Posted May 1, 2018 Share Posted May 1, 2018 Yay, a Joe thread. Enjoy this: [video:youtube] [video:youtube] Moe --- Link to comment Share on other sites More sharing options...
ksoper Posted May 1, 2018 Share Posted May 1, 2018 Shameless plug: My column on Joe Z. Very cool, thanks. Coincidentally I've got Weather Report--The Legendary Live Tapes in the car right now and just re-watched "Jaco." It never gets old. Link to comment Share on other sites More sharing options...
synthizen2 Posted May 1, 2018 Share Posted May 1, 2018 Yes, Joe and Lyle went for these soft, organic sounds using mainly tri or sine waves... not a lot of "supersaw" or "pull the cats tail" sounds from those guys. Kurzweil PC3, Yamaha MOX8, Alesis Ion, Kawai K3M Link to comment Share on other sites More sharing options...
Al Coda Posted May 1, 2018 Share Posted May 1, 2018 Yay, a Joe thread. Enjoy this: A.C. Link to comment Share on other sites More sharing options...
hardware Posted May 2, 2018 Share Posted May 2, 2018 Dont stop with solos though. Woodshed those Rhodes voicings. Man In The Green Shirt is a semesters worth of learning. Magnus C350 + FMR RNP + Realistic Unisphere Mic Link to comment Share on other sites More sharing options...
Jazz+ Posted May 2, 2018 Author Share Posted May 2, 2018 Yes, Joe and Lyle went for these soft, organic sounds using mainly tri or sine waves... not a lot of "supersaw" or "pull the cats tail" sounds from those guys. I thought A Remark You Made and on Freezing Fire was a filtered square wave? Remark reminds me of clarinet and Fire reminds me of a flute. Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
jerrythek Posted May 2, 2018 Share Posted May 2, 2018 Yes, Joe and Lyle went for these soft, organic sounds using mainly tri or sine waves... not a lot of "supersaw" or "pull the cats tail" sounds from those guys. I thought A Remark You Made and on Freezing Fire was a filtered square wave? Remark reminds me of clarinet and Fire reminds me of a flute. Yes, I believe they were square-wave based. And not all of his sounds were so soft - this was true of the first few albums with synth. Check out the third solo I did, on "D-flat Waltz"from Domino Theory. A very aggressive timbre. Regards, Jerry Link to comment Share on other sites More sharing options...
GRollins Posted May 2, 2018 Share Posted May 2, 2018 Yes, Joe and Lyle went for these soft, organic sounds using mainly tri or sine waves... not a lot of "supersaw" or "pull the cats tail" sounds from those guys. My kinda guy. As I've tried to describe in other threads, I (nine times out of ten) seek tones that are tonally consistent with what you might call "natural" sounds...not attempts to recreate oboes or flutes or whatever, but sounds that seem as though they could come from a real acoustic instrument, albeit one from some other culture. This segues readily into my deep oscillator concept, because acoustic instruments frequently have exceedingly complex sounds. Flutes are easy because they have such a simple waveform, but violins and such have subtleties that go beyond that. It's not that hard to get an acceptable first approximation that most people will accept, but the devil's in the details...even when you're creating sounds that don't have a "real" acoustic instrument that you can point to as a referent for comparison purposes. Joe Zawinul's tones are very evocative to me. They worked for his music and they work for me. Grey I'm not interested in someone's ability to program. I'm interested in their ability to compose and play. Link to comment Share on other sites More sharing options...
Music Bird Posted May 2, 2018 Share Posted May 2, 2018 Another Weather Report (and Pat Metheny Group) fan. Joe could make any synth sound good, I mean, he could even make a Casio VL Tone sound good. Listen to Birdland. That whole album is good relaxing music. I love Lyle Mays synths too, he uses that harmonica sound a lot too (or is that Pat Metheny triggering Synclavier via guitar synth?). Lyle also uses that square wave pitch enveloped flute sound that I really like too. Those 2 made good use of synths in their hayday, the Oberheim brass bass and brass stabs on Birdland are good, and so is the square lead on The Harlequin, which Im betting is the Obie 8 voice. The closing track is awesome, especially how Zawinul could get those brass sounds. I like the sounds because they remind me of acoustic instruments as well, maybe SE Asian instruments. Yamaha MX49, Casio SK1/WK-7600, Korg Minilogue, Alesis SR-16, Casio CT-X3000, FL Studio, many VSTs, percussion, woodwinds, strings, and sound effects. Link to comment Share on other sites More sharing options...
GovernorSilver Posted May 2, 2018 Share Posted May 2, 2018 It's amazing how Joe was able to get so much expressiveness out of synths without aftertouch or velocity. I do recall reading somewhere that he had a bunch of volume pedals. Link to comment Share on other sites More sharing options...
Mark Zeger Posted May 2, 2018 Share Posted May 2, 2018 I love Lyle Mays synths too, he uses that harmonica sound a lot too (or is that Pat Metheny triggering Synclavier via guitar synth?). See 2:18 for Lyles harmonica sound [video:youtube] Link to comment Share on other sites More sharing options...
Al Coda Posted May 3, 2018 Share Posted May 3, 2018 Dont stop with solos though. Woodshed those Rhodes voicings. Man In The Green Shirt is a semesters worth of learning. Hardware,- I always love reading your posts,- here and @ "Z" ! Joe is one of my heros on Rhodes and synths. I own the "Tale Spinnin´" vinyl record,- those rhodes-voicings when Wayne Shorter performs his sax solo,- priceless ! ARP 2600 synth work too, it´s kind of "background" but extremely tasteful ! Chick is different, master of phrasing and somewhat "more mathematic" in the sense of "precision" w/o too much emotion. Compared to Joe it´s "cold". When it comes to emotions, for me, Herbie is the king for the period he played w/ Miles,- and the "Headhunters" later. I just love his Rhodes sound from Fat Albert Rotunda, Mandwishi and Crossings as well as Headhunters. His playing as well ... A.C. Link to comment Share on other sites More sharing options...
Al Coda Posted May 3, 2018 Share Posted May 3, 2018 Joe Zawinul's tones are very evocative to me. They worked for his music and they work for me. Joe´s synth sounds were often very simple, just plain sounds. But those kind of sounds have the advantage one can play almost anything w/ ´em,- carefully arranged side lines as also fast runs exploding out of the blue. The more complex a sound is, the more specialized it is and therefore limited in usage. With the old analog synths, limited in architecture, it was possible to perform very expressive because usage of CV pedals was the staff of life. There was the CV pedal connected to VCA and the one to VCF,- and w/ that, they mastered all the dynamics and color. When SCI came up w/ those model 700 synth programmers being able to store CV values, that was a big help, but far from what we know as "presets". I think, the limitations all the early instruments offerd were the pool for individual sound design. Everyone experimented and got totally different sounds, not only from synths but also the electromagnetic instruments and depending on outboard gear in use. But that was all different music too ! All the today´s "total recall" stuff you can buy makes musicians uniform when it comes to sound. You buy a Mac and Mainstage incl. the VIs and tons of patches, and you hear it everywhere. Same rules for all the DAW apps and content in use ... also NI Komplete, Keyscape, Omnisphere and such. Everyone buys and uses it and all have the same sound base at hand. When you already get several thousands of patches/presets w/ your purchase and need month or years to listen to and use ´em,- why in the world should you create your own ones ? I don´t mean shaping presets for your demands,- I mean creating your own sounds for your own compositions from scratch. That´s what Joe did ! I remember when Wakeman got his 1st Prophet 5 and talked about it somewhat later, he mentioned he deleted all the factory content and made his own patches. Who´s doing that w/ software products ? A.C. Link to comment Share on other sites More sharing options...
RudyS Posted May 3, 2018 Share Posted May 3, 2018 It's amazing how Joe was able to get so much expressiveness out of synths without aftertouch or velocity. I do recall reading somewhere that he had a bunch of volume pedals. When i saw him, I think around 2005, I talked to him after the show. He had a very old custom (midi/CV?) box to control certain parameters of multiple synths. He indeed also had a lot of pedals. His solos or lines are never standing still. Sounds are shaped or controlled by expression. Also his phrasing give those lines that woodwind like feel. Rudy Link to comment Share on other sites More sharing options...
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