AROIOS

Yes, a lot of our perception and judgement towards these frequency "deviations" are more results of "nurture" than "nature". My subconscious cringes every time it hear folks playing Blues notes on Classical pieces, despite my prefrontal cortex knowing perfectly well that there's nothing inherently wrong with that approach.

Someone needs to send Rick Beato this song, so he can make another episode complaining about the world coming to an end coz no one noticed that E note at 0:06 being out of tune.

Consumer electronics are largely driven by mental masturbation. This applies to synths, cameras, smartphones (and Hi-Fi stereo systems before the 2000s, whatever happened to that market?). The fetish over analog (synths, vinyls) in the last 20 years is no exception. I've hardly heard anything interesting done with analog synths in this resurgence that haven't been done between the 70's and 80's. The biggest difference between then and now is mediocre and talent-less nerds didn't use to have all the streaming infrastructure to broadcast their DAW-less fart sound tweaking self-indulgences to the world. There are lots of advances in sound design in the world of VA and Wavetable synthesis. Too bad the genres in which these synths proliferate tend to produce ear-piercing noise instead of music. At the end of the day, who cares what the latest trend is or what tasteless nerds fancy on a given day? Their impulse purchases and subsequent sales: 1) help manufacturers survive and keep offering cool products; 2) flood the market with cheap 2nd hand synths. (as long as we don't follow their fads). I say, long live the clueless conforming nerds!

That's clear clue for us to not obsess over the I vs. vi dichotomy on that particular piece. Gospel often takes that kind of ambiguity to the n-th degree, and I LOVE it. Although I'm sure a Classical Theorist can always dissect those common-tone-based progressions down to modulations per beat, and "make sense" out of them. 😃

Very sad news, I'm a big fan of Peter. May his gentle soul rest in heaven.

1080/2080/1010/30/50/60/80 are the "Super JVs". He might be referring to the original JVs (JV80/880/90/1000 etc)

Glad you liked it, Reezekeys, and thanks for the new tip. I'm gonna try it out in my next synth bass programming adventure.

Glad you enjoyed the patch, jazzpiano88. And yes, the original bass is more impressive in isolation but could be a PITA to tame in a mix. The mix engineers behind so many of these Pop and Rock hits don't get nearly as much recognition as they deserve. Only after listening to a lot of the original stems, did I realize what crude materials they were dealing with back in the day.

@Reezekeys so I layered 3 FM bass patches today and got a sound similar to "Glory of Love". This opens a new door for my synth bass programming. Thanks again for the suggestion. Here's a quick demo of it: SBS - Glory of Love .mp3

Sounds like the DX7 factory preset "Fretless" from ROM #3, i.e. the "Take My Breath Away" bass. Here's a quick demo of it: SBS - Commodores - Nightshift; DX7 ROM3A Fretless.mp3

Besides being a great songwriter, he's also got a distinctive Blue-Eyed-Soul voice. My favorite cover of The Emotions' "Don't Ask My Neighbors" was from Bobby.

That's a great idea. I've done it with electric piano patches for years but never thought of applying it on FM basses.

Yes it is, with volume normalized/compressed. It was ripped from the game Rock Band.

That's one of the biggest arrangement/mixing lessons I learned from transcribing and listening to original mix stems of my favorite Pop tunes: Density management. The individual parts of those tunes are often much simpler than I thought or what I would write. It's the brilliant interplay among these simple parts, plus the genius of the mix engineers, that turned those parts into a final product greater than the simple sum of them.