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Palace Revolution 2000Man, not even. I did that by impulse. It was actually Rocky D's post re 'Send it to me: that made me question pretty much all of Stones Reggae-fied tunes. But 'Too Rude", now that I give it a listen seems to be organic.Quote
DandelionPowdermanQuote
Palace Revolution 2000
"Too Rude", Live version of "Cherry of Baby"
Electric piano?
But to use the word 'synth' in modern recording is almost a misnomer because chances are there is a synth just about everywhere.
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Gigbag
I listened to Shattered again. Just to check. There does not seem to be any synthesizer but lots of effected guitars (MXR90?).
And then there's sex and sex and sex.
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powerage78
Chances are there is a synth just about everywhere live when Chuck think it's time to fill up the sound...
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DandelionPowdermanQuote
Gigbag
I listened to Shattered again. Just to check. There does not seem to be any synthesizer but lots of effected guitars (MXR90?).
And then there's sex and sex and sex.
What's that beeping sound in the ending of Ronnie's solo?
Listen here:
[www.youtube.com]
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GigbagQuote
DandelionPowdermanQuote
Gigbag
I listened to Shattered again. Just to check. There does not seem to be any synthesizer but lots of effected guitars (MXR90?).
And then there's sex and sex and sex.
What's that beeping sound in the ending of Ronnie's solo?
Listen here:
[www.youtube.com]
I think it is a slide guitar but it could be a synth or a musical saw.
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Rocky Dijon
I really thought it was a pedal steel (the Hawaiian sound) at the end of Ronnie's solo.
Chuck does indeed play synth on at least "Harlem Shuffle" and "Mixed Emotions." You can hear it clearly on the 12" singles. Although Bard might have been funning me.
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Rocky Dijon
Well, Chuck's the only one who could be on synthesizer on "Harlem Shuffle." If it was one of the band, they'd take credit somewhere. You really hear it on the 12" single and once you do, you notice a couple seconds of it on the album track. It's a pity since I love his organ work on the studio cut, but the synth sorta works. It's obviously where they tried using the Uptown Horns but correctly thought they were too overt. The synth blends with the guitars to where you hear it subconsciously. Part of what went missing in later years were those bits you can't unhear once you notice them, but went years and years without noticing them. Bits of acoustic or slide or pedal steel or synth or something Brian, Bill, Jack, or Stu did in the sixties. There were always Easter Eggs, to use an annoying modern term, hidden in plain sight.
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DandelionPowdermanQuote
Rocky Dijon
Well, Chuck's the only one who could be on synthesizer on "Harlem Shuffle." If it was one of the band, they'd take credit somewhere. You really hear it on the 12" single and once you do, you notice a couple seconds of it on the album track. It's a pity since I love his organ work on the studio cut, but the synth sorta works. It's obviously where they tried using the Uptown Horns but correctly thought they were too overt. The synth blends with the guitars to where you hear it subconsciously. Part of what went missing in later years were those bits you can't unhear once you notice them, but went years and years without noticing them. Bits of acoustic or slide or pedal steel or synth or something Brian, Bill, Jack, or Stu did in the sixties. There were always Easter Eggs, to use an annoying modern term, hidden in plain sight.
Yeah, I know where it is now. Between two choruses (or after a chorus?) towards the ending, no?
It's semantics, but I believe that's a keyboard playing a string sample, or something? If it's a horn sample it's a really cheap instrument
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Palace Revolution 2000Quote
DandelionPowdermanQuote
Rocky Dijon
Well, Chuck's the only one who could be on synthesizer on "Harlem Shuffle." If it was one of the band, they'd take credit somewhere. You really hear it on the 12" single and once you do, you notice a couple seconds of it on the album track. It's a pity since I love his organ work on the studio cut, but the synth sorta works. It's obviously where they tried using the Uptown Horns but correctly thought they were too overt. The synth blends with the guitars to where you hear it subconsciously. Part of what went missing in later years were those bits you can't unhear once you notice them, but went years and years without noticing them. Bits of acoustic or slide or pedal steel or synth or something Brian, Bill, Jack, or Stu did in the sixties. There were always Easter Eggs, to use an annoying modern term, hidden in plain sight.
Yeah, I know where it is now. Between two choruses (or after a chorus?) towards the ending, no?
It's semantics, but I believe that's a keyboard playing a string sample, or something? If it's a horn sample it's a really cheap instrument
Exactly, re.'semantics'. After 86 keys are pretty much what a synth was/is. Once MIDI and samples were in every keyboard, there we are.
"Back to Zero" and "Winning Ugly" are definitely synth heavy. The main guitar riff in "Winning" is a synth double.
But I was gong to post about 'Shattered" - I do not hear a synth at all. What is interesting about that transition is that Ronnie has another slide guitar coming in from underneath the pedal steel to smoosh that whole thing back into the groove.
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DandelionPowdermanQuote
powerage78
Chances are there is a synth just about everywhere live when Chuck think it's time to fill up the sound...
Chuck never plays a synth.
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powerage78
Keyboard if you prefer.Quote
DandelionPowdermanQuote
powerage78
Chances are there is a synth just about everywhere live when Chuck think it's time to fill up the sound...
Chuck never plays a synth.
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powerage78
Chances are there is a keyboard just about everywhere live when Chuck think it's time to fill up the sound..
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powerage78
He already did.
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DandelionPowdermanQuote
Palace Revolution 2000Quote
DandelionPowdermanQuote
Rocky Dijon
Well, Chuck's the only one who could be on synthesizer on "Harlem Shuffle." If it was one of the band, they'd take credit somewhere. You really hear it on the 12" single and once you do, you notice a couple seconds of it on the album track. It's a pity since I love his organ work on the studio cut, but the synth sorta works. It's obviously where they tried using the Uptown Horns but correctly thought they were too overt. The synth blends with the guitars to where you hear it subconsciously. Part of what went missing in later years were those bits you can't unhear once you notice them, but went years and years without noticing them. Bits of acoustic or slide or pedal steel or synth or something Brian, Bill, Jack, or Stu did in the sixties. There were always Easter Eggs, to use an annoying modern term, hidden in plain sight.
Yeah, I know where it is now. Between two choruses (or after a chorus?) towards the ending, no?
It's semantics, but I believe that's a keyboard playing a string sample, or something? If it's a horn sample it's a really cheap instrument
Exactly, re.'semantics'. After 86 keys are pretty much what a synth was/is. Once MIDI and samples were in every keyboard, there we are.
"Back to Zero" and "Winning Ugly" are definitely synth heavy. The main guitar riff in "Winning" is a synth double.
But I was gong to post about 'Shattered" - I do not hear a synth at all. What is interesting about that transition is that Ronnie has another slide guitar coming in from underneath the pedal steel to smoosh that whole thing back into the groove.
What do you hear in the left channel in the clip I posted? Listen closely to the last note. Sounds like a synth "vibrato", no?
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Palace Revolution 2000Quote
DandelionPowdermanQuote
Palace Revolution 2000Quote
DandelionPowdermanQuote
Rocky Dijon
Well, Chuck's the only one who could be on synthesizer on "Harlem Shuffle." If it was one of the band, they'd take credit somewhere. You really hear it on the 12" single and once you do, you notice a couple seconds of it on the album track. It's a pity since I love his organ work on the studio cut, but the synth sorta works. It's obviously where they tried using the Uptown Horns but correctly thought they were too overt. The synth blends with the guitars to where you hear it subconsciously. Part of what went missing in later years were those bits you can't unhear once you notice them, but went years and years without noticing them. Bits of acoustic or slide or pedal steel or synth or something Brian, Bill, Jack, or Stu did in the sixties. There were always Easter Eggs, to use an annoying modern term, hidden in plain sight.
Yeah, I know where it is now. Between two choruses (or after a chorus?) towards the ending, no?
It's semantics, but I believe that's a keyboard playing a string sample, or something? If it's a horn sample it's a really cheap instrument
Exactly, re.'semantics'. After 86 keys are pretty much what a synth was/is. Once MIDI and samples were in every keyboard, there we are.
"Back to Zero" and "Winning Ugly" are definitely synth heavy. The main guitar riff in "Winning" is a synth double.
But I was gong to post about 'Shattered" - I do not hear a synth at all. What is interesting about that transition is that Ronnie has another slide guitar coming in from underneath the pedal steel to smoosh that whole thing back into the groove.
What do you hear in the left channel in the clip I posted? Listen closely to the last note. Sounds like a synth "vibrato", no?
I don't hear it. And I can't imagine the Stones o/d a synth just to boost a transition from solo; esp. in '78. But just because I don't hear it, doesn't mean it isn't there. I trust your ear Dandy.
Often crazy overtones and reverberations create new sounds. Like anyone playing in a band in small room at hi volume knows.
Or it's like that crazy Trombone on "Carol" that no one can really pin down.
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shortfatfanny
Matt Clifford's synth harp on Miss You ...