The No.1 Website for Pro Audio
 All  This Thread  Reviews  Gear Database  Synths for sale     Latest  Trending
Boris Blank's Fairlight 3 on ebay
Old 31st October 2013
  #31
mixmixmix
Guest
Amazing piece. Yello is awesome band, with very unique sound. It's totally worth every penny, especially to a person who will creatively use it.
Old 31st October 2013
  #32
Lives for gear
 
24dB's Avatar
love the part in this video at 1:50 when Boris kinda says "**** it" to fixing the car and just starts cha-cha'ing with the girl with his little butt-seat still attached!

This was the first Yello song I ever heard, summer of '83 on 91X in San Diego, ah yes I remember it well

Yello - I Love You [Original Video] - YouTube

Old 31st October 2013
  #33
tun
Lives for gear
 
tun's Avatar
Quote:
Originally Posted by Don Solaris View Post
If there's someone to learn from about sound design, it is from Boris Blank. He is TOP of the top, no competition whatsoever.
This.
Old 31st October 2013
  #34
Lives for gear
 
dlmorley's Avatar
The Series III is a wonderful machine. The sound is incredible. My first exposure to Yello was "one second" in the back of a dj friends car driving to his club. Damn. Sonically I was blown away completely. Then I looked at their earlier stuff with the Series II fairlight and loved that sound too. Amazing at the time.
Their recent music does very little for me I must say though.
Anyway, a Fairlight is a unique instrument. If you feel it can be replaced by a simpler sampler or computer and DAW, feel free to do so. It's still only an instrument but if you have one or have used one intensively, I think the reason why they are legendary will become clear.

For me, I would want a music keyboard for that money with my CMI though.
Old 31st October 2013
  #35
Quote:
Originally Posted by John Difool View Post
Get the first 3-4 albums in the remastered version, like Don S says. They are amazing!
Love 'em to bits. Only Kraftwerk is up there..
I was actually very frustrated after hearing those. In fact i stopped doing any music. It just felt hopeless. My first frustration is how Boris places things in the mix. For example listen to this reverb on the brass section. How on earth can you make reverb and instrument sound this way in the mix:

https://www.gearslutz.com/board/attac...ord-yello1.wav (headphones required)

Further more into frustration is how Boris manages dynamics. This is where i decided to give up. For example:

https://www.gearslutz.com/board/attac...ord-yello2.wav

You can literally hear EVERY single sound in here. What's frustrating is, there is no any dynamics increase when the vocal comes in, if you look at the waveform display. How the hell did he managed to do that?



Before someone mentions a compressor, even when you compress something, once you add it to the mix, overall dynamics will increase. So we might conclude he compressed the main bus. Ok. But if he did, then how come the track has such a big dynamics range? Take a look the waveform. It isn't squashed in any way and there are no artifacts like pumping etc. He somehow cheats the physics!!! And it is just too frustrating to listen.

I'm also a big fan of his ambient pieces. This one was made in 1980 (apparently on a 4 track). It sounds so fresh and timeless as it was recorded yesterday:

Boris Blank - Magneto


I wish he would spill some of his secrets one day. heh
Old 31st October 2013
  #36
Lives for gear
 
xanderbeanz's Avatar
Poor Don :(
Old 31st October 2013
  #37
Lives for gear
 
The Listener's Avatar
Quote:
Originally Posted by Don Solaris View Post
I was actually very frustrated after hearing those. In fact i stopped doing any music. It just felt hopeless. My first frustration is how Boris places things in the mix. For example listen to this reverb on the brass section. How on earth can you make reverb and instrument sound this way in the mix:

https://www.gearslutz.com/board/attac...ord-yello1.wav (headphones required)

Further more into frustration is how Boris manages dynamics. This is where i decided to give up. For example:

https://www.gearslutz.com/board/attac...ord-yello2.wav

You can literally hear EVERY single sound in here. What's frustrating is, there is no any dynamics increase when the vocal comes in, if you look at the waveform display. How the hell did he managed to do that?



Before someone mentions a compressor, even when you compress something, once you add it to the mix, overall dynamics will increase. So we might conclude he compressed the main bus. Ok. But if he did, then how come the track has such a big dynamics range? Take a look the waveform. It isn't squashed in any way and there are no artifacts like pumping etc. He somehow cheats the physics!!! And it is just too frustrating to listen.

I'm also a big fan of his ambient pieces. This one was made in 1980 (apparently on a 4 track). It sounds so fresh and timeless as it was recorded yesterday:

Boris Blank - Magneto


I wish he would spill some of his secrets one day. heh
I can only hint at two things you ask about - for such clarity - I noticed a very obvious and consistent use of hard L - C - R panning of sounds in those mixes... which does help to get clarity "wideness"... and for that vocal question - it doesn't have much energy - it is a soft sound - up front, clear and audible, but it doesn't cause much increase of gain because it is not some low energy heavy and loud element in that mix...

How he makes it sound so good - with very good skills... )

Bandwidth limited samples and tape surely helped, too... compared to contemporary full range sounds, with heavy basses and excessive low mids... No wonder 8bit or 12bit samples cut through more and sound more punchy to us... they are "slicker" than contemporary fat, but clinically correct samples - we just have too much of everything and don't throw enough away in the mix...

I also wondered what were they monitoring on back then to make such cool and smooth balance decisions...
Old 31st October 2013
  #38
Lives for gear
 
flowthrough's Avatar
personal faves....Always loved 'Angel no' and 'Domingo'.

Yello were the height of 80's clever drum tracks.

Sound Magicians is what I'd call em'- much more than writing and composing there.

Has anyone mentioned the Fairlight's Sampling rate?
What was it- 100KHz? everyone used to say this was why it was so great.
I checked- Wikipedia says the..
Series II was .........8bit @ 2.1–30.2 kHz (1980)
Series III was ........16bit @ 100 kHz(mono) or 50 kHz(stereo) (1985)

(I had no idea the Series II had such a low sample rate.)
Old 31st October 2013
  #39
Lives for gear
 

All very interesting stuff.

Although I loved Yello, Propaganda, Kate Bush - basically the tail end of 80's "expensive pop", when the acid/techno thing brushed it all away it suddenly felt old fashioned.

Now though the four to the floor stuff has gone on for so long, it bores the pants of me, so I went back to listening to fairlight pop. It is a good lesson for everyone I think. Some things learnt via techno etc are to be kept a hold of for sure, lovely deep punchy percussion and advances in sound design, but the focusing on getting nothing but increased 'fatness', 'bangin', 'pumpin' etc has gone on for so long it has been to the detriment.

Ironically Yello sound more futuristic and sophisticated now because at the time they did represent as far as you could go technology wise - but the 'punk' ethos of house zero'd every thing, and since then all that has changed is that storage and retrieval has become so small and cheap it ceases to be an issue for anyone, yet, there is little incentive to push the boat out creatively anymore. What those people struggled with all that equipment for, people given it in a little laptop cannot be bothered with.

Loudness and super bangin' sonics dominate so much, people are scared to move away from it for fear of being found out that they have little substance.

Everyone chases the same sounds instead of thinking, "you know what, I'm having bongo's, splarty brass, maybe a guitar/string/vocal shouty stab - I can do anything..."
Old 31st October 2013
  #40
Gear Maniac
 
captaink's Avatar
 

Use to play a lot of Yello at Goa party's in the late 80's. Remember The Race being played a fair bit.
Old 31st October 2013
  #41
Lives for gear
 
schmuck's Avatar
Quote:
Originally Posted by groundbass View Post
All very interesting stuff.

Although I loved Yello, Propaganda, Kate Bush - basically the tail end of 80's "expensive pop", when the acid/techno thing brushed it all away it suddenly felt old fashioned.

Now though the four to the floor stuff has gone on for so long, it bores the pants of me, so I went back to listening to fairlight pop. It is a good lesson for everyone I think. Some things learnt via techno etc are to be kept a hold of for sure, lovely deep punchy percussion and advances in sound design, but the focusing on getting nothing but increased 'fatness', 'bangin', 'pumpin' etc has gone on for so long it has been to the detriment.

Ironically Yello sound more futuristic and sophisticated now because at the time they did represent as far as you could go technology wise - but the 'punk' ethos of house zero'd every thing, and since then all that has changed is that storage and retrieval has become so small and cheap it ceases to be an issue for anyone, yet, there is little incentive to push the boat out creatively anymore. What those people struggled with all that equipment for, people given it in a little laptop cannot be bothered with.

Loudness and super bangin' sonics dominate so much, people are scared to move away from it for fear of being found out that they have little substance.

Everyone chases the same sounds instead of thinking, "you know what, I'm having bongo's, splarty brass, maybe a guitar/string/vocal shouty stab - I can do anything..."
nails it, very nice post!
Old 31st October 2013
  #42
Gear Guru
 
Yoozer's Avatar
Quote:
Originally Posted by groundbass View Post
Now though the four to the floor stuff has gone on for so long, it bores the pants of me, so I went back to listening to fairlight pop. It is a good lesson for everyone I think.
Hell yes.

Old 1st November 2013
  #43
Lives for gear
 
TheBrightSide's Avatar
I had a friend a while back who built speakers and put together hifi systems.
When he demo'd them he would always play "Blender" by Yellow.
It was the perfect track to show off a great sounding system.
Can't find a link for it though.
Old 1st November 2013
  #44
Lives for gear
 
Mr. Varaldo's Avatar
Having grown up with that '80s sound I love the Fairlight, but I would add that there were many other major components of that awesome British pop sound of '80s top productions

- People knew how to play their instruments, they were not loop-button-trigger controllerists like today
- Lexicon expensive reverb, 224 / x / xl
- SSL 4000 mixing console
- top outboard compressors / eq / flangers / phasers / delays etc
- top analog open reel 24 track recorders of the era (Studer, Ampex etc)
- top polys of the '80s (JPs, Oberheims, Prophets etc)
- top monos (Minimoog, modular synths etc.)
- top drum machines of the '80s (Linn, Oberheim etc)
- top samplers of the '80s (Fairlights, Synclaviers, Emulators)

However the main reason was probably simply point number 1.
Old 1st November 2013
  #45
tun
Lives for gear
 
tun's Avatar
Quote:
Originally Posted by The Listener View Post
I also wondered what were they monitoring on back then to make such cool and smooth balance decisions...
He talks about gear and monitoring in this interview from 1991.
Old 1st November 2013
  #46
Lives for gear
 
dlmorley's Avatar
Mr.Varaldo and groundbass, nicely put. Agree.
Old 1st November 2013
  #47
Lives for gear
 

As a corollary to Mr Valraldo's post, which I agree with, it was not always good.

There was also a bad 80'a sound. Not everyone had a fairlight, and many records suffered from too many 8 and 12 bit sample sources cramped onto smaller tape formats mixed in less than stellar studios. Not much of the top drawer stuff of course, although I find Peter Gabriels records a bit brittle.

No grand piano? Use an Akai. No nice moog? Use the EMU. Want strings? How about a single sample stretched over a Mirage Keyboard. Anybody with a 12 bit sampler will know that sound, no real warm bass, s***** top and hyped midrange. Add to that everyone spending the day recording marbles hitting coke cans....

That is why the first acid/house/techno records sounded so fresh at the time, as an antidote to EVERYONE thinking they could be Boris Blank or Trevor Horn. Suddenly the taste was for the stripped back style of Kraftwerk and the early Berlin School.

Those great eighties songs were revisited in the 90's, but like a 'Hooked on Classics' nightmare mainly had lumpy 909 patterns stuck under them - including some Yello. Now though everyone is happy listening to them as they were because we now again have a sound everyone is sick of - so they sound fresh...
Old 10th November 2013
  #48
Lives for gear
Quote:
Originally Posted by Mr. Varaldo View Post
Having grown up with that '80s sound I love the Fairlight, but I would add that there were many other major components of that awesome British pop sound of '80s top productions

- People knew how to play their instruments, they were not loop-button-trigger controllerists like today
- Lexicon expensive reverb, 224 / x / xl
- SSL 4000 mixing console
- top outboard compressors / eq / flangers / phasers / delays etc
- top analog open reel 24 track recorders of the era (Studer, Ampex etc)
- top polys of the '80s (JPs, Oberheims, Prophets etc)
- top monos (Minimoog, modular synths etc.)
- top drum machines of the '80s (Linn, Oberheim etc)
- top samplers of the '80s (Fairlights, Synclaviers, Emulators)

However the main reason was probably simply point number 1.
I quite agree. VERY MUCH AGREE with above ^^^^^^^

I would like to add...

Part of the power of the SSL consoles compared to others was built-in compression option on EVERY channel. That's also part of why they were so expensive. But being able to tame each channel for dynamics made mixing more creative and less technical for those who knew how to use them.
Old 10th November 2013
  #49
Gear Maniac
 
stevedemena's Avatar
 

Quote:
Originally Posted by Don Solaris View Post
Zappa is good, but Boris is beyond real.

Get Yello's remastered albums set. And i mean proper audio CDs not that iTunes 128kb joke. Pick any album I guarantee instant jaw drop to the floor. Some good monitor cans are preferred.
iTunes files are 256kbps AAC format.
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump