Love Lessons from Regina

Here’s another analog synth, electro-funk composition that I have kept in a locked drawer for almost a year, taking it out occasionally to brush of the dust and hold it against the light. If this track doesn’t become your Summer jam then it is time for me to give up on music and wonder When did music become unimportant? Aside from the drums, this track was made entirely using my restored Roland Juno-106. Few instruments rival the punchy sounds that the 106 seems to spurt out with only a few careful strokes of her many sliders. Please enjoy responsibly.

5 thoughts on “Love Lessons from Regina

  1. really, really amazing work on the sparkly chime sounds at the beginning! the panning also got my attention.

    the later more muted/filtered arp/lead stuff was really good, too, especially as the envelope opened up. and that ridiculously jazzy e-piano/funky wah lead. so crunchy!

    these kinds of light/sparkly/shimmery sounds are exactly why i got my 106. i still don’t know how to make ’em, but i learn something new every time i turn it on. thanks for your always-inspiring sounds!

    also: how do you deal with the lack of velocity on the 106? do you do a ton of per-note/phrase automation in post, or do you pick one level and let the layer ride at only that volume for the whole track?

  2. @ioflow Thanks for the feedback! My approach to the lack of velocity on the 106 is to use it like a synth that doesn’t have velocity. That means riding the filters while playing it, or using it specifically for things that don’t need dynamics. If I need dynamics then I’ll switch to a synth that has it, like the MKS-80. Per note/phrase automation in post is the kind of fussiness that I typically stay away from.

  3. this is an interesting (and new) idea to me, but one that makes sense. play it for what it is, and use synthesis techniques to get the interesting stuff out of it.

    my background is in classical piano, so to me, dynamics are everything, and it’s always been weird to work with an instrument like the 106 or AX60 that doesn’t offer volume changes, aside from working the amp env.

    i definitely like the idea of not having to fuss with the track after recording, but finding other ways to express interesting sounds. will have to put some thought and experimentation into this.

  4. Some musicians, especially organ players, run their synths through a volume pedal. I’ve attempted this, and even have a high quality Morley volume pedal, but never got it to work properly. I have played quite a bit of Hammond organ in previous projects and found the volume pedal a valuable source of dynamics. I also have a background in classical and jazz piano where dynamics are critical. But I am willing to sacrifice velocity when it comes to an interesting, vintage synth that is covered in knobs that can be applied to realtime expression — for one handed phrases at least.

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