Recrear sintes clásicos

Astropop escribió:

lo que permite hacer es modulación de tipo FM y ring, de ahí que hayan ejemplos de sonidos como campanas y efectos extremos de modulación de osciladores.

Alguien escribió:

THE SAMPLING BREAKTHROUGH

Over the next two years, Tangerine Dream entered a mellower, though still prolific, phase, touring the world, and playing large festivals in Berlin. March 1982 saw the release of White Eagle, which marked the beginning of another technological breakthrough for the band -- digital sampling. Edgar Froese recalls: "During the production of White Eagle, we were able to use an instrument which had just been developed, and whose inventor we knew well. This was the PPG Wave 2.0, which was followed later by the Waveterm -- one of the first professional samplers. The graphic monitor's representation of partial wave forms allowed us to create completely new musical structures. It was a very complex and expensive procedure, but for our adventurous imaginations, this development came at exactly the right time".

As the band continuously toured throughout the Far East and Australia, Johannes Schmoelling began to really make his presence felt in the live arena. This can be heard on Logos Live, released at the beginning of 1983. Meticulously crafted, this album shows Schmoelling to be a master of melody, texture and nuance. His fascination with jerky sampling rhythms also strongly influenced Hyperborea, released at the end of 1983. The classical Greek symbolism of this album recalled the band's debut for Virgin ten years earlier, which was fitting, as it proved to be the final studio album for the label. Ten years on, Schmoelling is still very happy about the Hyperborea album, with its electronic sitar, and exotic North African flute and tabla sounds. "Like Logos Live, Hyperborea was determined by the new generation of digital synthesizers and sampling technology. We were able to memorise sounds, and used a lot of sampled drum sounds. We also invented new rhythm structures by using a special arpeggiator technique." Edgar Froese also has happy memories: "On 'No Man's Land', we first used the Waveterm computer as a digital sequencer. The result came as a real surprise, especially in terms of tuning and editing".

But Chris Franke has different memories of this period. "I felt that from White Eagle to Hyperborea, we were all in a phase where the music became smooth but also a little bit more boring. It was becoming repetitive, because we didn't have the punch or the bite or the hunger anymore. We were more established, and it's the absolute truth that musicians lose a little bit of their bite when they get established.

"In terms of equipment, we really got into all the polyphonic synthesizers. Every couple of months there was something new, despite ARP going out of business -- a new Korg, a new Roland. We were surrounded by keyboards -- our studio became a keyboard store. We rented a Synclavier, which I found very interesting. I had already bought an expensive audio computer, and then I was going to buy a Synclavier. But at the last minute, I realised I could get two Waveframes at half the price, so I went for those, because we always needed a back-up model -- we always had down-time and couldn't depend on just one. So I bought two Waveframes and we just rented the Synclavier. The Waveframes were great for stage and studio work."

At the end of 1983, Tangerine Dream performed a classic concert in Warsaw, and the album taken from the performance, Poland (released not on Virgin, but on the Jive label), reveals just how ahead of their time the German trio were. The hypnotic beats and electronic rhythm of the title track sound very close to music made today by German techno guru Pete Namlook.

Despite having begun their relationship with the Jive label for the Poland album, Hyperborea proved not to be the last Tangerine Dream record to be released through Virgin. In 1983 the group made a substantial contribution to the soundtrack for the film Risky Business, which starred Tom Cruise. Elements of both Force Majeure and Exit could be discerned amongst the tracks, and the title piece, also known as 'Love On A Real Train' involved repetitive elements that were close to the minimalism of Steve Reich. Still, for all its excellence, the making of the Risky Business soundtrack was not without its problems (see the separate 'Soundtrack Problems' panel).