Quali synth utilizzava enya??
SimonKeyb 18-11-10 14.13
ciao a tutti.
Mi chiedevo se qualche fan dell'artista irlandese abbia individuato qualche synth utilizzato nei suoi pezzi,che non sia il solito D50.
grazie a chi mi sarà d'aiuto....
Mi chiedevo se qualche fan dell'artista irlandese abbia individuato qualche synth utilizzato nei suoi pezzi,che non sia il solito D50.
grazie a chi mi sarà d'aiuto....
Edited 18 Nov. 2010 17:05
Enya's synthesizers include the Roland D-50 (she likes the "heavy feel," optimum for playing sampled tympani and strings), the Fairlight III, the Yamaha TX (the rack version of the DX), an older Oberheim rack version, and the Roland Juno 60 ("We wouldn't part with it for anything in the world"). "We also used this really old keyboard called the Wave, which has got wonderful sounds, like the little sound on the beginning of 'Evening Falls,' and the quiet 'turn it up' part of 'Orinoco Flow.'" Enya plays a piano of unknown provenance, given to Roma by her auntie. They'd like to use the new MIDI-able Yamaha acoustic piano. Enya and Ryan use the Akai S-900 for sampling. For mastering they use a professional DAT machine -- the 2500. They used to master on the Sony F-1, and still use it for flying-in stuff. Two Mitsubishi 32-track machines were used for 'Orinoco Flow' and 'Storms in Africa.' Microphones include a Sennheiser MD-421 and the Calrec Soundfield: "The interesting thing about it is you can telescope into the sound source, so you don't have to use a pop shield. It's an extremely transparent microphone -- there's absolutely no noise inherent in it all. The stereo is extremely panoramic -- it's a very magic microphone. It's also beautiful for monitor room work. We often record in the monitor room, and we pick up some of the sound from the monitors as well, so when you include that in the mix, it really widens out the sound." Ryan likes the Alesis Midverb II. "They have a texture to them that the Lexicon doesn't have. There's compression built in. They really shouldn't have it there, but it is there, and it adds something. The reverb hasn't been built for us yet, neither in length nor the sound we want."
Più che altro il riverbero l'avrà consumato a giudicare dall'uso smodato che ne faceva
Più che altro il riverbero l'avrà consumato a giudicare dall'uso smodato che ne faceva
SimonKeyb 18-11-10 18.05
@ cick
semmai, il "pizzagogo".
ah, ehm.... Ooops! SimonKeyb ha scritto:
e lo staccato heaven
e lo staccato heaven
semmai, il "pizzagogo".
SimonKeyb 18-11-10 18.15
direi che il post di Am0 è stato molto significativo ai fini del thread 
se qualcun altro avesse da aggiungere parli pure ora o taccia per sempre!
se qualcun altro avesse da aggiungere parli pure ora o taccia per sempre!
Edited 18 Nov. 2010 17:15
@ am0
Enya's synthesizers include the Roland D-50 (she likes the "heavy feel," optimum for playing sampled tympani and strings), the Fairlight III, the Yamaha TX (the rack version of the DX), an older Oberheim rack version, and the Roland Juno 60 ("We wouldn't part with it for anything in the world"). "We also used this really old keyboard called the Wave, which has got wonderful sounds, like the little sound on the beginning of 'Evening Falls,' and the quiet 'turn it up' part of 'Orinoco Flow.'" Enya plays a piano of unknown provenance, given to Roma by her auntie. They'd like to use the new MIDI-able Yamaha acoustic piano. Enya and Ryan use the Akai S-900 for sampling. For mastering they use a professional DAT machine -- the 2500. They used to master on the Sony F-1, and still use it for flying-in stuff. Two Mitsubishi 32-track machines were used for 'Orinoco Flow' and 'Storms in Africa.' Microphones include a Sennheiser MD-421 and the Calrec Soundfield: "The interesting thing about it is you can telescope into the sound source, so you don't have to use a pop shield. It's an extremely transparent microphone -- there's absolutely no noise inherent in it all. The stereo is extremely panoramic -- it's a very magic microphone. It's also beautiful for monitor room work. We often record in the monitor room, and we pick up some of the sound from the monitors as well, so when you include that in the mix, it really widens out the sound." Ryan likes the Alesis Midverb II. "They have a texture to them that the Lexicon doesn't have. There's compression built in. They really shouldn't have it there, but it is there, and it adds something. The reverb hasn't been built for us yet, neither in length nor the sound we want."
Più che altro il riverbero l'avrà consumato a giudicare dall'uso smodato che ne faceva
beh, ora potete anche chiudere...
Enya's synthesizers include the Roland D-50 (she likes the "heavy feel," optimum for playing sampled tympani and strings), the Fairlight III, the Yamaha TX (the rack version of the DX), an older Oberheim rack version, and the Roland Juno 60 ("We wouldn't part with it for anything in the world"). "We also used this really old keyboard called the Wave, which has got wonderful sounds, like the little sound on the beginning of 'Evening Falls,' and the quiet 'turn it up' part of 'Orinoco Flow.'" Enya plays a piano of unknown provenance, given to Roma by her auntie. They'd like to use the new MIDI-able Yamaha acoustic piano. Enya and Ryan use the Akai S-900 for sampling. For mastering they use a professional DAT machine -- the 2500. They used to master on the Sony F-1, and still use it for flying-in stuff. Two Mitsubishi 32-track machines were used for 'Orinoco Flow' and 'Storms in Africa.' Microphones include a Sennheiser MD-421 and the Calrec Soundfield: "The interesting thing about it is you can telescope into the sound source, so you don't have to use a pop shield. It's an extremely transparent microphone -- there's absolutely no noise inherent in it all. The stereo is extremely panoramic -- it's a very magic microphone. It's also beautiful for monitor room work. We often record in the monitor room, and we pick up some of the sound from the monitors as well, so when you include that in the mix, it really widens out the sound." Ryan likes the Alesis Midverb II. "They have a texture to them that the Lexicon doesn't have. There's compression built in. They really shouldn't have it there, but it is there, and it adds something. The reverb hasn't been built for us yet, neither in length nor the sound we want."
Più che altro il riverbero l'avrà consumato a giudicare dall'uso smodato che ne faceva
la solita stoccata di am0....
ci ha lasciato con le braghe in mano...
(braghe= pantaloni in piemonteis)
Edited 19 Nov. 2010 1:58
SimonKeyb 19-11-10 13.59
concordo sulle braghe, che tralaltro mi sembra un termine conosciuto in tutta italia, e non vorrei dire una scemata, ma credo che sia proprio italiano, non dialettale.
Edited 19 Nov. 2010 13:00
