Chords for Patch Building - Jean Michel Jarre
Tempo:
79.475 bpm
Chords used:
C
G
D
Cm
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [G] [D] [C] In this video I'm going to show you how to recreate one of the famous patches from the Elka Synthx using Novation's [G] Peak synthesizer.
This patch was made famous by French artist Jean-Michel Jarre on his album Rendezvous.
The Synthx was a polyphonic analog synthesizer produced by Italian company Elka throughout the early 1980s.
Featuring preset storage and 8-voice polyphony, the synthesizer was popular amongst famous keyboard players and electronic musicians alike.
Many of its features can be replicated by Peak, and that's exactly what I'll show you throughout this video.
So from an initialized preset I'm going to set the first oscillator to a [C] rectangular wave, and the second to a sawtooth that it's already on.
I'll bring the level of the second oscillator up to about 200 on the mixer.
But then I'm going to increase the shape of the first oscillator to make it kind of narrow a pulse.
And I'll just detune the second oscillator slightly, just so we get that kind of beating between the two oscillators.
Now the most important feature of this sound is definitely the oscillator's sync, with the pitch of the synced oscillator then descending downwards.
Peak's new Oxford oscillators allow us to use virtual sync, which means that such sync effects do not need pairs of oscillators to be made,
but simply this V-sync parameter to be adjusted and modulated.
So under the oscillator menu I'm going to page over to the V-sync of oscillator 1.
I'm going to bring that up to about 42.
So then we've got this sustained sync pitch that is always higher than its root note.
And then under the modulation matrix I'm going to have this V-sync parameter modulated by the second modulation envelope.
So I'll go oscillator V-sync, and then under source A, mod env 2.
And let's bring the depth of that up only to about 12.
I'm going to be quite subtle about this.
But I'm going to be quite vicious at the same time and actually bring up the sync to be modulated on oscillator 2 as well.
Take the depth up to about 8 and have that from the same envelope.
[Gm] So we get that classic kind of sync sound now.
And you can do all the ridiculous kind of 80s solos on [Cm] it like, [Bb] you know, all that kind of stuff.
Okay, so now turning to modulation envelope 2, we'll set the envelope that is then modulating that V-sync.
I'm going to set the attack to and the decay to about 100, the sustain to about 35, and then the release to about 100. [C] [C] So we get a nice descending sync sound that really is the sound of this patch. So now I'm actually going to bring up oscillator 3 to a level of about 100 and set its waveform to rectangular. Keep the shape at so we have a nice square wave. But then I'm going to drop the range down to 16 foot. So we get that nice sub-oscillator below the two synced oscillators. [Eb] [G] [C] [G] That's really starting to sound like what we're after now. It's interesting with oscillator sync, you can often lose some of the low end. So [C] it's nice having that third oscillator there to just beef it up a little bit more. And in the filter section, I'm then just going to take off some of the top end. So set the filter frequency to about 220. The slope I'm going to keep on 24 dB per octave. This actually stays true to the original Synth-X low-pass filter. And make sure the key tracking is on maximum just so the filter follows the pitch of the oscillators. I'm then going to add a short little decaying envelope to the filter frequency. And set the envelope depth to about 46. And in modulation envelope 1, I'm going to set the attack to and the decay and release to about 50. And the sustain to around 30. That gives us this nice plucked effect at [Cm] the start of every note. [G] And then in the amplitude envelope, I'm going to drop the attack down to 0. And take the sustain to about 110. Keep the decay around 90. Bring the release to about 50. So that's going to be quite a fast [C] release as well. So now that we have our basic sound, I'm going to thicken it up slightly. And it's worth noting that the original Elca Synth-X did have a chorus. So I'm going to bring up the chorus level on peak to about 100. Lower its rate right down to 10. And this gives us this nice subtle chorus effect. I'm also going to add a little bit more thickness by introducing unison. So under the voice settings, I'm going to take the unison count to 2. And for the unison [Bb] detune, I think I'm going to leave it at 25. We don't want too much unison. We don't want this to be overly thick. But then I'm going to take the spread up to 127 so we fully expand the stereo field. And then now, if we start playing this patch, we'll have to put our shades on, get the laser pointers out and rock out like it's 1986. Because we really truly are in the mid-80s now. [D] [C] [Ab] [G] [Gb]
[C] [G]
This patch was made famous by French artist Jean-Michel Jarre on his album Rendezvous.
The Synthx was a polyphonic analog synthesizer produced by Italian company Elka throughout the early 1980s.
Featuring preset storage and 8-voice polyphony, the synthesizer was popular amongst famous keyboard players and electronic musicians alike.
Many of its features can be replicated by Peak, and that's exactly what I'll show you throughout this video.
So from an initialized preset I'm going to set the first oscillator to a [C] rectangular wave, and the second to a sawtooth that it's already on.
I'll bring the level of the second oscillator up to about 200 on the mixer.
But then I'm going to increase the shape of the first oscillator to make it kind of narrow a pulse.
And I'll just detune the second oscillator slightly, just so we get that kind of beating between the two oscillators.
Now the most important feature of this sound is definitely the oscillator's sync, with the pitch of the synced oscillator then descending downwards.
Peak's new Oxford oscillators allow us to use virtual sync, which means that such sync effects do not need pairs of oscillators to be made,
but simply this V-sync parameter to be adjusted and modulated.
So under the oscillator menu I'm going to page over to the V-sync of oscillator 1.
I'm going to bring that up to about 42.
So then we've got this sustained sync pitch that is always higher than its root note.
And then under the modulation matrix I'm going to have this V-sync parameter modulated by the second modulation envelope.
So I'll go oscillator V-sync, and then under source A, mod env 2.
And let's bring the depth of that up only to about 12.
I'm going to be quite subtle about this.
But I'm going to be quite vicious at the same time and actually bring up the sync to be modulated on oscillator 2 as well.
Take the depth up to about 8 and have that from the same envelope.
[Gm] So we get that classic kind of sync sound now.
And you can do all the ridiculous kind of 80s solos on [Cm] it like, [Bb] you know, all that kind of stuff.
Okay, so now turning to modulation envelope 2, we'll set the envelope that is then modulating that V-sync.
I'm going to set the attack to and the decay to about 100, the sustain to about 35, and then the release to about 100. [C] [C] So we get a nice descending sync sound that really is the sound of this patch. So now I'm actually going to bring up oscillator 3 to a level of about 100 and set its waveform to rectangular. Keep the shape at so we have a nice square wave. But then I'm going to drop the range down to 16 foot. So we get that nice sub-oscillator below the two synced oscillators. [Eb] [G] [C] [G] That's really starting to sound like what we're after now. It's interesting with oscillator sync, you can often lose some of the low end. So [C] it's nice having that third oscillator there to just beef it up a little bit more. And in the filter section, I'm then just going to take off some of the top end. So set the filter frequency to about 220. The slope I'm going to keep on 24 dB per octave. This actually stays true to the original Synth-X low-pass filter. And make sure the key tracking is on maximum just so the filter follows the pitch of the oscillators. I'm then going to add a short little decaying envelope to the filter frequency. And set the envelope depth to about 46. And in modulation envelope 1, I'm going to set the attack to and the decay and release to about 50. And the sustain to around 30. That gives us this nice plucked effect at [Cm] the start of every note. [G] And then in the amplitude envelope, I'm going to drop the attack down to 0. And take the sustain to about 110. Keep the decay around 90. Bring the release to about 50. So that's going to be quite a fast [C] release as well. So now that we have our basic sound, I'm going to thicken it up slightly. And it's worth noting that the original Elca Synth-X did have a chorus. So I'm going to bring up the chorus level on peak to about 100. Lower its rate right down to 10. And this gives us this nice subtle chorus effect. I'm also going to add a little bit more thickness by introducing unison. So under the voice settings, I'm going to take the unison count to 2. And for the unison [Bb] detune, I think I'm going to leave it at 25. We don't want too much unison. We don't want this to be overly thick. But then I'm going to take the spread up to 127 so we fully expand the stereo field. And then now, if we start playing this patch, we'll have to put our shades on, get the laser pointers out and rock out like it's 1986. Because we really truly are in the mid-80s now. [D] [C] [Ab] [G] [Gb]
[C] [G]
Key:
C
G
D
Cm
Bb
C
G
D
[C] _ [G] _ _ [D] _ [C] _ In this video I'm going to show you how to recreate one of the famous patches from the Elka Synthx using Novation's [G] Peak synthesizer.
This patch was made famous by French artist Jean-Michel Jarre on his album Rendezvous.
The Synthx was a polyphonic analog synthesizer produced by Italian company Elka throughout the early 1980s.
Featuring preset storage and 8-voice polyphony, the synthesizer was popular amongst famous keyboard players and electronic musicians alike.
Many of its features can be replicated by Peak, and that's exactly what I'll show you throughout this video.
So from an initialized preset I'm going to set the first oscillator to a [C] rectangular wave, and the second to a sawtooth that it's already on.
I'll bring the level of the second oscillator up to about 200 on the mixer.
But then I'm going to increase the shape of the first oscillator to make it kind of narrow a pulse.
And I'll just detune the second oscillator slightly, _ just so we get that kind of beating between the two oscillators.
Now the most important feature of this sound is definitely the oscillator's sync, with the pitch of the synced oscillator then descending downwards.
Peak's new Oxford oscillators allow us to use virtual sync, which means that such sync effects do not need pairs of oscillators to be made,
but simply this V-sync parameter to be adjusted and modulated.
So under the oscillator menu I'm going to page over to the V-sync of oscillator 1.
I'm going to bring that up to about 42. _ _ _
_ So then we've got this sustained sync pitch that is always higher than its root note.
And then under the modulation matrix I'm going to have this V-sync parameter modulated by the second modulation envelope.
So I'll go oscillator V-sync, and then under source A, mod env 2.
And let's bring the depth of that up only to about 12. _
_ I'm going to be quite subtle about this.
But I'm going to be quite vicious at the same time and actually bring up the sync to be modulated on oscillator 2 as well.
Take the depth up to about 8 and have that from the same envelope.
_ _ [Gm] So we get that classic kind of sync sound now.
And you can do all the ridiculous kind of 80s solos on [Cm] it like, [Bb] you know, all that kind of stuff.
Okay, so now turning to modulation envelope 2, we'll set the envelope that is then modulating that V-sync.
I'm going to set the attack to and the decay to about 100, the sustain to about 35, and then the release to about 100. _ [C] _ _ _ _ [C] So we get a nice descending sync sound that _ really is the sound of this patch. So now I'm actually going to bring up oscillator 3 to a level of about 100 and set its waveform to rectangular. _ Keep the shape at so we have a nice square wave. But then I'm going to drop the range down to 16 foot. _ _ So we get that nice sub-oscillator below the two synced oscillators. _ _ _ [Eb] _ [G] _ [C] _ _ [G] That's really starting to sound like what we're after now. It's interesting with oscillator sync, you can often lose some of the low end. So [C] it's nice having that third oscillator there to just beef it up a little bit more. And in the filter section, I'm then just going to take off some of the top end. So set the filter frequency to about 220. The slope I'm going to keep on 24 dB per octave. This actually stays true to the original Synth-X low-pass filter. And make sure the key tracking is on maximum just so the filter follows the pitch of the oscillators. I'm then going to add a short little decaying envelope to the filter frequency. And set the envelope depth to about 46. And in modulation envelope 1, I'm going to set the attack to and the decay and release to about 50. And the sustain to around 30. _ That gives us this nice plucked effect at [Cm] the start of every note. [G] _ And then in the amplitude envelope, I'm going to drop the attack down to 0. And take the sustain to about 110. Keep the decay around 90. Bring the release to about 50. So that's going to be quite a fast [C] release as well. _ _ _ _ _ _ _ So now that we have our basic sound, I'm going to thicken it up slightly. And it's worth noting that the original Elca Synth-X did have a chorus. So I'm going to bring up the chorus level on peak to about 100. Lower its rate right down to 10. And this gives us this nice subtle chorus effect. _ _ _ _ _ I'm also going to add a little bit more thickness by introducing unison. So under the voice settings, I'm going to take the unison count to 2. And for the unison [Bb] detune, I think I'm going to leave it at 25. We don't want too much unison. We don't want this to be overly thick. But then I'm going to take the spread up to 127 so we fully expand the stereo field. And then now, if we start playing this patch, we'll have to put our shades on, get the laser pointers out and rock out like it's 1986. Because we really truly are in the mid-80s now. [D] _ [C] _ _ _ [Ab] _ [G] _ _ [Gb] _
[C] _ _ _ _ _ _ [G] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
This patch was made famous by French artist Jean-Michel Jarre on his album Rendezvous.
The Synthx was a polyphonic analog synthesizer produced by Italian company Elka throughout the early 1980s.
Featuring preset storage and 8-voice polyphony, the synthesizer was popular amongst famous keyboard players and electronic musicians alike.
Many of its features can be replicated by Peak, and that's exactly what I'll show you throughout this video.
So from an initialized preset I'm going to set the first oscillator to a [C] rectangular wave, and the second to a sawtooth that it's already on.
I'll bring the level of the second oscillator up to about 200 on the mixer.
But then I'm going to increase the shape of the first oscillator to make it kind of narrow a pulse.
And I'll just detune the second oscillator slightly, _ just so we get that kind of beating between the two oscillators.
Now the most important feature of this sound is definitely the oscillator's sync, with the pitch of the synced oscillator then descending downwards.
Peak's new Oxford oscillators allow us to use virtual sync, which means that such sync effects do not need pairs of oscillators to be made,
but simply this V-sync parameter to be adjusted and modulated.
So under the oscillator menu I'm going to page over to the V-sync of oscillator 1.
I'm going to bring that up to about 42. _ _ _
_ So then we've got this sustained sync pitch that is always higher than its root note.
And then under the modulation matrix I'm going to have this V-sync parameter modulated by the second modulation envelope.
So I'll go oscillator V-sync, and then under source A, mod env 2.
And let's bring the depth of that up only to about 12. _
_ I'm going to be quite subtle about this.
But I'm going to be quite vicious at the same time and actually bring up the sync to be modulated on oscillator 2 as well.
Take the depth up to about 8 and have that from the same envelope.
_ _ [Gm] So we get that classic kind of sync sound now.
And you can do all the ridiculous kind of 80s solos on [Cm] it like, [Bb] you know, all that kind of stuff.
Okay, so now turning to modulation envelope 2, we'll set the envelope that is then modulating that V-sync.
I'm going to set the attack to and the decay to about 100, the sustain to about 35, and then the release to about 100. _ [C] _ _ _ _ [C] So we get a nice descending sync sound that _ really is the sound of this patch. So now I'm actually going to bring up oscillator 3 to a level of about 100 and set its waveform to rectangular. _ Keep the shape at so we have a nice square wave. But then I'm going to drop the range down to 16 foot. _ _ So we get that nice sub-oscillator below the two synced oscillators. _ _ _ [Eb] _ [G] _ [C] _ _ [G] That's really starting to sound like what we're after now. It's interesting with oscillator sync, you can often lose some of the low end. So [C] it's nice having that third oscillator there to just beef it up a little bit more. And in the filter section, I'm then just going to take off some of the top end. So set the filter frequency to about 220. The slope I'm going to keep on 24 dB per octave. This actually stays true to the original Synth-X low-pass filter. And make sure the key tracking is on maximum just so the filter follows the pitch of the oscillators. I'm then going to add a short little decaying envelope to the filter frequency. And set the envelope depth to about 46. And in modulation envelope 1, I'm going to set the attack to and the decay and release to about 50. And the sustain to around 30. _ That gives us this nice plucked effect at [Cm] the start of every note. [G] _ And then in the amplitude envelope, I'm going to drop the attack down to 0. And take the sustain to about 110. Keep the decay around 90. Bring the release to about 50. So that's going to be quite a fast [C] release as well. _ _ _ _ _ _ _ So now that we have our basic sound, I'm going to thicken it up slightly. And it's worth noting that the original Elca Synth-X did have a chorus. So I'm going to bring up the chorus level on peak to about 100. Lower its rate right down to 10. And this gives us this nice subtle chorus effect. _ _ _ _ _ I'm also going to add a little bit more thickness by introducing unison. So under the voice settings, I'm going to take the unison count to 2. And for the unison [Bb] detune, I think I'm going to leave it at 25. We don't want too much unison. We don't want this to be overly thick. But then I'm going to take the spread up to 127 so we fully expand the stereo field. And then now, if we start playing this patch, we'll have to put our shades on, get the laser pointers out and rock out like it's 1986. Because we really truly are in the mid-80s now. [D] _ [C] _ _ _ [Ab] _ [G] _ _ [Gb] _
[C] _ _ _ _ _ _ [G] _ _
_ _ _ _ _ _ _ _
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_ _ _ _ _ _ _ _