Ultravox Vienna ~ Vintage Synthesizer Recreation ~ RetroSound

video upload by RetroSound

"(c)2007-24 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi

❤️ Support #RetroSound​ channel: https://retrosound.creator-spring.com

One of my favorite tracks from the early 80s.
Vienna by Ultravox (1981)
Written by Midge Ure, Billy Currie, Chris Cross and Warren Cann

featured: Moog Minimoog from the year 1978, Logan String Melody2 and the Linndrum

This cover song series contains my own recreations of my favourite songs from the last 50 years. The original music from which I take inspiration belong to their respective owners. I recreate tracks only for personal passion and to pay homage to these tracks.
My intention is not to create covers that sound exactly like the original (if you want to hear identical sounds, please listen the original). It's more of an inspiration with my sounds from the old synthesizers from the past and of course the great appreciation for the original performers and producers.
Check out the original songs with the original artists here on YouTube.
Thank you.

RetroSound synthesizer demo videos since january 2007.
Everything is free. If you like my work, you can also support me with the purchase of my merchandise stuff or my music.
Shop: https://retrosound.creator-spring.com/
Bandcamp: https://retrosound.bandcamp.com/album..."

EMU Emulator II - Shining Moments 80's

video upload by Jason Never Sleeps

"The legendary sampling synthesizer keyboard that defined pop music of the 1980's to present.
0:00 - Intro
0:08 - Ferris Bueller
0:40 - Depeche Mode
2:49 - Paul McCartney
3:01 - Tears For Fears
3:12 - Pet Shop Boys
4:35 - New Order
5:00 - Mr. Mister
5:22 - Front 242
5:54 - OMD (Orchestral Manoeuvres in the Dark)
6:07 - Laura Branigan
6:14 - Michael Cretu (Enigma)
6:53 - Midge Ure / Ultravox
7:28 - Jason Mysteria (formerly Adrian Star)
8:51 - Alan Wilder of Depeche Mode Demonstration
* Sorry I forgot Tony Banks of Genesis, Herbie Hancock, Rush, and lots more."

How does a synthesizer make sounds?

video upload by Are Sounds Electrik?

Midge Ure of Ultravox clip previously posted here.

Visage 'Fade to Grey' Explained

video by Christopher Payne

"An account by one of the original writers (Chris Payne) about how it was written and recorded"

Interesting bit on U2's New Years Day starting at 10:33.

And Midge Ure on the track:

Midge Ure on Fade To Grey
video by woschinski

And the song:


This one is in via Douglas.

E-mu Emulator II - Shining Moments (see description)

Published on Apr 17, 2017 Adrian Star Official

In '84-'86, it cost more than an average new car in the U.S.
* Intro - 0:00-0:08.
* Ferris Bueller - 0:08-0:38.
* Depeche Mode - 0:44-2:48.
* Paul McCartney/Chevy Chase - 2:49-3:00.
* Tears For Fears - 3:01-3:11.
* Pet Shop Boys - 3:12-4:35.
* New Order - 4:35-4:59.
* Mr. Mister - 5:00-5:22.
* Front 242 - 5:22-5:53.
* OMD (Orchestral Manoeuvres in the Dark) - 5:54-6:06.
* Laura Branigan - 6:07-6:14.
* Michael Cretu - 6:15-6:52.
* Ultravox/Midge Ure - 6:53-7:27.
* Adrian Star - 7:28-8:51.
* Alan Wilder of Depeche Mode (Demonstration) - 8:51-9:56.
* People Are People Drums - 9:56-End.

Visage Twist with the Roland XP50 and JP-08

Published on Jul 28, 2019 JMPSynth

"Loosely based on a favourite classic; Fade to Grey by Midge Ure/Visage, a track recorded using mainly the Roland XP50 and JP-08 synths."

Yamaha SS-30 Vintage Analogue String Synthesiser SN 1731

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This fully wood-cased beast is a classic String-Synth of the seventies from Yamaha. It is "multi-phonic" as it uses a divide-down, electric organ type of architechture for its tone generation. There are two tones for each note so it's probably fair to say it's dual-oscillator, and it can create some really lush timbres. It's richer sounding than the ARP Solina String Synth. It has an individual VCA envelope for each key. The four-octave keyboard is not velocity sensitive, and the synth offers just a few controls above the keyboard for choosing preset sounds, and modest tweaking (no filters, LFOs, etc). It has been used by Utravox & Midge Ure."

CLICK FOR MORE »

Dave Smith Instruments In The Spotlight With the Prophet-6 and RJ Thompson

You can find the full interview on DSI's website here.

"RJ Thompson has built a name for himself in recent months as one of the UK’s strongest up-and-coming singer-songwriters. His poignant lyrics and deeply-felt songs are set against a colourful (and at times nostalgic) soundscape that goes far beyond modern-day singer-songwriter stereotypes.

RJ’s hard-won success has come through consistence and persistence, having played innumerable grass-roots music venues, pubs, and clubs in his native Northeast England. His breakthrough came when a sound engineer for Live Aid organiser and Ultravox frontman Midge Ure was working at one of RJ’s open mic performances. The engineer liked what he heard and recommended RJ as a support act, leading to more than 30 shows touring the UK and Europe. Support shows with Gabrielle Aplin, Deacon Blue and Jools Holland (including a performance at the Royal Albert Hall) soon followed, as well as several EPs and a live album.

We chatted with RJ about how he’s using the Prophet-6."

---
You can find previous posts featuring DSI's Spotlight series here.

Tomorrow's World on sampling and MIDI with Midge Ure.MPG

Published on Mar 2, 2012 crgn

"From a very old VHS (1986/7?). The reasons I just had to upload it were: a) it has to be the inspiration for Look Around You's Synthesizer Patel; b) Midge Ure demonstrates the keytar by playing Stairway! There's a big jump in the middle as this is a cut-and-shut job."

via McDingo in the comments of this post on the 80s Stepp DG1 guitar synthesizer.

"If I was" - on Elka Preludio 22L

Published on Jun 2, 2014 organfairy·424 videos

"'If I was' was a hit for Scottish artist Midge Ure in 1985. Here I play it on an Elka Preludio 22L that has been modified from a typical 1970's home organ to a portable instrument - or at least somewhat portable :-)"

Yamaha SS-30 analog string synthesizer

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"If you want classic analog strings ,this is what the Yamaha SS-30 excels at.All this machine does is make superlative string sounds - there's no Brass or Organ settings here. If you won't take my word for it , just look at the following Youtube link of Ultravox's 1982 Monument tour where two Yamaha SS-30s were used by Billy Currie and Midge Ure. [video here] This synth is all over the first 3 post-Foxx albums - Vienna , Rage in Eden and Quartet.Opening chords on The Voice , Reap the Wild Wind, Vienna,Hymn Also used a lot by John Foxx on Metamatic

This synth totally blows away the Moog Opus 3 , Korg Delta , Roland RS-09 , RS-202 and it's only competitor is the Roland RS-505 Many people looking at this auction will also have Peter Forrest's excellent A to Z of analog synths book and i would urge you to read his review of the SS-30:- "played in a realistic manner,sounds very good.Even without the Orchestra modulation on,it sounds very good.And through a classy hall room reverb setting it sounds very,very good.It just goes to show that it's better to do one thing well,than three things to a so-so standard" i think this was a little dig at the Moog Opus and Korg Delta and some of Yamaha's own SK range. The real beauty of this machine is the phasey string sounds which come from Detuning the oscillators and swithching on the ensemble mode. The Decay is fully variable and the whole thing is built like a tank and weighs a ton.."

CLICK FOR MORE »

Synth Spotting with Visage in 2013

Visage - New Romantics, The Blitz Club and the New Album HEARTS AND KNIVES. EPK from March 2013

Published on Apr 3, 2013 therealvisage·5 videos

Additional videos below.

"A Video introduction to Visage, The Blitz Club (the cauldron of 1980s style and fashion) and the new Visage album and line up. More info on www.visage.cc

Founding fathers of the New Romantics and pioneers of the 80s sound Visage, return with a new album "Hearts And Knives" May 2013. Visage began in 1978 when Steve Strange and Blitz Club partner-in-crime Rusty Egan joined forces with Midge Ure to create a futuristic, synthesizer-led group where style and fashion were matched by experimental but accessible music. The group was soon Magazine and Billy Currie. They recorded their first single Tar with Martin Rushent at his Genetic Studio in 1978 (shortly to become the birthplace of the Human League Dare album). Their breakthrough track "Fade To Grey" became a European hit and reached number 1 in 8 countries in 1980. As the public face of the band Steve Strange shot to stardom throughout Europe and beyond.

Steve Strange has been through his own share of highs and lows in the past 29 years. His emergence as a fashion and style icon of the 80s and beyond is one of the many highs. Steve had always believed that Visage had not yet reached its endpoint. Slowly the circumstances and pieces started falling into place to enable a new album to come to fruition. Firstly Steve reconnected with Steve Barnacle (a Visage band member from the 1984 Visage album "Beatboy") and began writing songs once more. This was augmented when ex Ultravox guitarist Robin Simon joined into the equation bringing not only a large slice of shared musical DNA (that "Visage sound") to the project but also his own distinctive style and ethereal musicianship. Lauren Duvall joined adding not only her sultry vocal ability but also a slice of the classic Visage glamour. Secondly the environment and interest in 80's fashion, style and music continues on unabated. The phone continues to ring for shows, television, news and exhibitions.

More info on www.visage.cc"

Additional videos: Two from the early days of Visage and the new single below. Fade To Grey was one of the first tracks that sparked my love for synths.

Visage - Fade To Grey

Published on Mar 7, 2013 therealvisage·5 videos

Original music video for the Visage hit "Fade To Grey"

Visage - Visage

Published on Mar 7, 2013 therealvisage·5 videos

"Original video for Visage, by the band Visage."

And the first new track:

Visage - Shameless Fashion

Published on Apr 9, 2013 therealvisage·5 videos

Synth Talk with Richard Burgess of Landscape

LANDSCAPE: 'European Man'

Uploaded on Jan 19, 2008
Landscape's 'European Man', featuring Barbie Wilde.

Pea Hicks who runs Optigan.com and the MC-8 blog, has a great post up on Richard Burgess and the use of the Roland MC-8 Micro-Composer.  The following are a couple of excerpts and videos for reference.  Along with synth talk there are some interesting historical bits on the time including the origin of the New Romantic label and scene.  Richard Burgess worked with Rusty Egan who in turn was in Visage, a band consisting of him Billy Currie and Midge Ure of Ultravox, John McGeoch of Magazine, Siouxsie &  PIL (Johnny Rotten of The Sex Pistols), and others.  Lot's of cross collaboration at the time.  If interested you can start with Visage on wikipedia and click through the names.  The post-punk New Romantic followed by New Wave movement brought synthesis to many.  In Pea Hicks' interview you'll find a great audio snip with some geeky synth talk on setting values for the MC-8 - this is in an actual track.

"Pea: I’m sure to you it probably seems like a head-scratcher why anyone in this day and age would voluntarily subject himself to the hassles of dealing with ancient sync dilemmas, but for me that’s part of the fun and also it’s a way of working that inevitably produces some idiosyncratic results that you wouldn’t get by doing things the “easy way.” I’m definitely after that metronomic Human League type groove.

Richard: I think the machine definitely influences the result so I don’t see it as odd to want to use the MC8. I have thought about it myself.The same thing applies to analogue sequencers. Like I said, we synched the MC8 to the CR78 by programming a square wave to come out of the mulitplex outputs and then we adjusted the level through a console until it ran the CR78. Most of those old drum machines run on simple square waves with no flags. Getting them to run in the same time is less of a problem than getting them to start at the right time. I used the MC8 in preference to later machines because of the timing. I found early Cubase to be shaky (it’s fine now) and SMPTE Track from Hybrid Arts was very sensitive to processor load. I always liked the timing of the Linn 9000 and I still have mine. I don’t know about the DMX but the 808 should lock tight – it’s only one machine later than the CR78 if I recall correctly."

And on Shock's Angel Face:

"Richard: Oh yes, that was all me. Rusty Egan brought the group and the song and I programmed everything in my home studio and recorded it at Mayfair Studios in South Moulton St. with John Hudson engineering. It was the System 100Ms with the 10x gate modification on the bass line for sure. I did all their recordings and I wrote the rest of the songs with various members and Rusty."

Shock - ANGEL FACE - Shock

Vintage 80's Stepp DG1 DG-1 analog guitar synthesizer

via this auction

"For those of you who don't know the Stepp is a digitally controlled, monster analog synth that is full of SSM and CEM chips. The synth engine is based around a six voice Oberheim expander..."

Anyone confirm this? Some pics of the inside below.

Update: see this post for a video of one being used by Ultravox's Midge Ure.

CLICK FOR MORE »

Science Topics with Synths, Ultravox & Depeche Mode's Correct Pronunciation

science now-synths.m4v

YouTube Uploaded by zackdagoba on Jun 30, 2011

"see http://myblogitsfullofstars.blogspot.com/ for more"

Synths starting with Alan Townsend of Roland and the SH-101 at 1:40. Ultravox at 3:20 with Billy Currie on Arp Odyssey and Midge Ure on PPG at 4:00 followed by Warren Cann on LinnDrum and PPG again. Midge Ure on Minimoog at 4:59. Note the mod on the MIDI previously posted here. That excerpt of the video was posted here. And of course you can spot the Yamaha CS80 captured in the default image for the video.

The following covers some of the same but appears to be a compilation with a whole lot more. Depeche Mode comes in at 22:10 with a Yamaha CS5 followed by a Roland Jupiter-4 at 23:09. Moog Prodigy to the left of the Jupiter-4 at 23:20. Also listen for the correct pronunciation of Depeche Mode right after 23:20. See if you can guess it before watching.

Found Objects Television 2 from Found Objects on Vimeo.

"FO-TV Broadcast Two June 2011. Compiled by Unmann-Wittering. "

Midge Ure: "Melodyne is black magic!"

YouTube Uploaded by CelemonySoftware on May 24, 2011

"Midge Ure became famous with Ultravox ("Vienna", "Dancing With Tears In My Eyes") and as a solo singer ("If I Was"), but he has also worked as a producer and songwriter for artists such as Thin Lizzy, Visage and of course Band Aid. In this video, he talks about the reunion of Ultravox, their first album in 26 years, and the use of the Melodyne software in his work.

For more artist talks go to www.celemony.com/id/artists"

ROCK SCHOOL Series 2

You might want to bookmark this one to come back to as you have time. I have posted videos from the Rock School series in the past, but this is currently the most comprehensive set if not the complete series - eight episodes broken up into twenty four videos. I opted to create eight playlists for the eight episodes so you can read the description for each under each set of three videos. This one in via willy who sent in Series 2 - Episode 5 (part 3 of 3) with Bill Bruford explaining his simmons drums. I figured I'd put the whole series up. Videos below.


YouTube Uploaded by tomstimemachine on Jul 14, 2008

"Taking over from where the first series left off, the second set of ROCKSCHOOL television programs focuses its attention on new technology and its implications for the musicians of the day.

Synthesisers, samplers, sequencers and drum machines are all covered, as are electronic drum systems, computer hardware and software (remember this is 1987 - so this is for retro-heads only) and synthesisers for guitar and bass. There are also tips on how to make the most of the human voice, and on songwriting and arrangement.

This series was shown on TV in the UK during 1987.

EPISODE ONE

KEYBOARDS
THE ACOUSTIC PIANO WITH THE COMMUNARDS ON "BREADLINE BRITAIN" AND HERBIE HANCOCK.

HISTORY OF THE SYNTHESISER
TOUCH SENSITIVITY, MODULAR SYNTHS, MINI MOOG, CLIP OF JAN HAMMER AND THE MAHAVISHNU ORCHESTRA IN 1972, CLIP OF RICK WAKEMAN, POLYPHONIC SYNTHS, MELLOTRON, TONY BANKS, SYNTHS WITH MEMORY SUCH AS THE PROPHET FIVE, CLIP OF JAPAN ON THE "OLD GREY WHISTLE TEST", RACK-MOUNTED EFFECTS.

HOW DOES A SYNTH WORK ?
WAVEFORMS, OSCILLATORS, HOW TO CREATE A SOUND, WHAT TO PLAY - CLIP OF THOMAS DOLBY."

CLICK FOR MORE »

Ultravox - The Thin Wall 1981

YouTube Uploaded by memorylane1980s on Jan 1, 2011

"Good qualiyty video, best on here. Very rare, I recorded this from Top Of The Pops in 1981..Classic. .British New Wave rock band. They were one of the primary exponents of the British electronic pop music movement of the early 1980s. The band was particularly associated with the New Romantic and New Wave movements. Until 1979, the frontman of Ultravox was John Foxx who left the band to embark on a solo career. Following Foxx's departure, Midge Ure took over as lead singer, guitarist and frontman, and he helped to steer the band to commercial success. Ure left the band in 1987 after establishing a solo career and the group disbanded for a while. A new line-up, led by sole original bandmember Billy Currie, was formed in 1992,.."

via Steve Turnidge of Synthwerks on Facebook.

DX5 playing Visage "Fade to Grey" (updated w/lyrics)

YouTube via DX5 | November 13, 2010

"Updated version. The pre-recorded voice is a take I did in 2006 (late at night almost whispering to a Shure SM58). As I found it curious I decided to include this take into the video.
Also, I improved the previous DX7 take, replacing it with the JP8000.

Gear:
Upper Keyb: Roland JP8000
Mid: Roland D10
Low: Roland JX8P

Backtrack Recorded on Pro Tools.

Composed by Billy Currie, Christopher Payne and Midge Ure"

OSCar MONOPHONIC SYNTHESIZER (Full Midi V3)

via this auction

"Polyphony - Monophonic (Duophonic via built-in Sequencer)
Oscillators - 2 DCO's with sawtooth, triangle, and square-, variable- or modulated-pulse waveforms and 5 preset digital wavefroms
LFO - 1 LFO with square, triangle, sawtooth waveforms, sample-and-hold
Filter - Two 12dB/oct analog filters which can be linked in series for 24dB/oct configuration. Lowpass, bandpass, highpass modes.
Dedicated ADSR envelope, Frequency Cutoff and Resonance controls.
VCA - Two ADSR Envelopes
Keyboard - 37 keys
Memory - MIDI Model: 12 user, 24 preset patches. MIDI-equipped V3 (latest): 36 programmable patches. Custom Waveforms: 24 programmable digital waveforms.
waves. Sequencer: 24 sequences.
Control - Trigger In, full MIDI spec.
Date Produced - 1985

OSCar
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It first appeared on the scene in 1983 and was considered then to be in the same class as the Arp Odyssey & Minimoog mono-synths (it is). Its late arrival makes it one of the more advanced programmable mono-synths. Amazing sounds and digitally controlled dual oscillators with analog filters and plenty of programmabilitie. It also has full midi MIDI spec.

The Oscar is monophonic, but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square, variable, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator. Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function. A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. With full MIDI spec (V3) you can easily synchronize your OSCar and other MIDI gear together and a computer! The sound patches that are stored in memory can also be dumped via MIDI to more permanent storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is very hard to find as there are little more than 2000 in excistence, so now is your chance.

It is working well and has been well maintained over the years by the same qualified engineer who used to work in the famous 'Rod Argents Keyboards' in Denmark Street, London W1, the same place I purchased her back in 1985.

‘Sequencer’
The OSCar's sequencer, operates in step-time mode, and is fairly sophisticated. It features the rare ability to lengthen notes or insert spaces, so that it isn't restricted to producing an
endless stream of notes of identical length. This is done by holding down the required note while advancing the step button, or pressing the Space button just below the wheels.
Twenty-four sequences can be stored (the numbered keys being pressed into service for one more function) but then these can be chained together into more complex sequences, complete with program changes. As a result, with a bit of planning, you can produce really quite sophisticated bass lines and other monophonic sequences, whilst playing a second part over the top, if you want. All this can be triggered externally via a Click In which is ideal for interfacing with the drum machines of the day (Linn, Emu Drumulator, Sequential Drumtrak) and OSCar can often be seen as one half of a very tight rhythm section at live gigs. There is even the facility to sub-divide the incoming clocks to create slower or faster lines without spending hours inserting Spaces or making each note four times the length. The same triggering is available on the arpeggiator, which made it amongst the most flexible of the day with multiple octave ranges and random ordering. Or you can just use your computer for sequencing and a nice midi cable, it's your choice.

Oxford Synthesiser Company OSCar Specifications
* Type: Synth/ keyboard/
* Synthesis Type: Digital Accoustic simulation Subtractive, Additive (24 harmonics)
* Polyphony:
o Max: 2
o Typical in use: 1
* Multi-timbral (number of parts): 1
* Oscillators per Voice :
o Min : 1
o Max : 2
* Controllers : Pitch bend, mod wheel, (sysex?)
* Effects :
o Number of FX units : 0
o Number of different effects : 0
* Keyboard :
o Number of Keys : 37
o Can send on 1 simultaneous MIDI channels
o Responds to :
o Sounds can be split by :
* Memory :
o Patches : First versions: 12 RAM/24 ROM. Later versions: 36 RAM.
o Performances :
* Inputs and Outputs :
o Number of Audio Outs (excluding Phones) : 1 stereo
o Number of Audio Ins : 0
o Number of MIDI Outs (excluding Thru) : 1 (if MIDI'ed)
o Number of MIDI Ins : 1 (if MIDI'ed)

Well known artists credited as using OSCars include:
* Billy Currie, Chris Cross and Midge Ure of Ultravox
* John Foxx
* Geoff Downes (Asia)
* Jean-Michel Jarre and Dominique Perrier
* Keith Emerson
* Stevie Wonder
* Tim Simenon
* Sneaker Pimps

Examples of OSCar sounds on commercial releases include:
* Ultravox - "Love's Great Adventure" (solo, atonal sequence)
* Band Aid - "Do They Know It's Christmas" (bass line)
* Jean-Michel Jarre - "Revolutions Overture" (bass line, solo at climax)
* Stevie Wonder - "Skeletons" (bass line [with Elka Synthex])
* S-Express - "Theme From S-Express" (bass line)"