"That’s the stuff I love the most. Whenever i get a new prototype on my desk, I’ll set it up and connect it to my speakers.
I can’t tell you how much fun it is to bring one of those new babies to life and listen to them for the first time. This SDS-3 looks and sounds so amazing.
That’s what I love about my job:-)"
"In this video, Anthony tells the story surrounding the musical score from (1986) hit film Stand by Me which features an All-Star cast that incudes River Phoenix, Wil Wheaton, Corey Feldman, Jerry O'Connell, Kiefer Sutherland, Casey Siemaszko, John Cusack and Richard Dreyfuss.
We learn that the first version of the film was titled The Body, named after the novel by Stephen King. The film's director, Rob Reiner intuitively changed the film's name to Stand by Me after licensing the rights to the song with the same name written by Ben E. King along with Jerry Leiber and Mike Stoller. The name change was made only one week before the film's delivery date. With little time to spare, the musical score was re-created using the sounds and melody from the song and performed on the Synclavier Digital Music System using it's on board sequencer/recorder and employing a sound modeling technique unique to the Synclavier called "Resynthesis".
Anthony describes "Resynthesis"as creating synthesizer sounds based on samples analyzed by the computer that use cross fades of back-to-back wave tables. "Resynthesis" gives you the tonal character of the original sampled sound with all the benefits of a synth (e.g less memory, same length across the keyboard, more editing capabilities...) Along with Brian Banks, Anthony programmed all the sounds and replayed the entire score in this way after the original score by Oscar Winning composer Jack M. Nietzsche was abandoned. The film's director Rob Reiner was present throughout the scoring process. The duo had just completed work programming and performing Jack's score for the John Carpenter Oscar Nominated film Starman.
In this video you'll hear the actual sounds used in the film that Anthony loads from the original 5.25" floppy disks (that still work perfectly after being in storage for close to 40 years). The final score used a core instrumentation of resynthesized versions of a flute, stand up bass, bowed wine glasses and piano. There was no DAW in existence so all the tracks were input into the Synclavier's internal sequencer/recorder and locked to picture using the latest feature SMPTE time code. With this set up, everyone could watch the film while the music was being recorded.
Anthony also states the importance of a good film or a good song. It's all the difference in the potential of your work as a programmer, arranger or performer. He advises to step back and really listen to what you are creating to find the emotion in the sounds.
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.
His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.
"A brief explanation of an oscillator fault in the Ondioline. Resistors around the Oscillator valve (an ECC82) were all original and some had failed, causing a rise in pitch whenever a note was played.
Filmed and Badly Edited on a phone by Steve Christie, as Louisa was away on holiday. Steve hasn't had a holiday for 10 years.
"Steve Christie from Vintage Keys Studio demonstrates a fully working* Stereo Philips Philicorda GM 751 Organ in all its glory.
This organ came to our studio in need of repair and has been fully restored by Steve. It is a valve/transistor hybrid from 1967. Later models were solid state.
Comes with a LDR based swell pedal which attaches to the base of the organ via a DIN plug.
It has two internal speakers that face out left (source signal) and out right (source signal / reverb switched) for a stereo effect.
The organ is mounted on a sturdy iron frame with attractive wooden supports, and comes with its own equally attractive music stand.
Valves: 8 x ECC83, 1 x ECL82,
Neon Lamps/Diodes: 5 x Z70U, 68 x ZA1001, 1 x ZZ1000
Transistors: 3 x AC125, 2 x AC128, 4 x AD149
This organ has been used in sessions for many years and continues to remain a reliable keyboard with a wonderful variety of sounds which can be modified using the 5 filters and their combinations, 3 organ registers, Vibrato circuit and Reverb (called 'Reverbeo') - on German models this is labelled 'Hall'
Steve and other session musicians from Vintage Keys are available to record this organ for you as a layer to add to your own project. Please contact us at https://vintagekeysstudio.com for more details."
"Steve Christie (aka whatever silly-sounding name he makes up) demonstrates the PE Clef String Ensemble from 1978. With added functionality with a few simple modifications.
"This patch/performance's name is 'Celebration', showcasing the EX5's unique 'FDSP' synthesis, which can apply an individual effect to every note you play.
