At Knobcon 2018, we talked with sound designer Paul Schilling, who was demonstrating some of his work with the Deckard’s Dream analog synthesizer.… Read More Deckard’s Dream Sound Design With Paul Schilling
While the original is an iconic example of juicy analog goodness, all sounds on this version are created with the DX7….… Read More Blade Runner Blues On A Yamaha DX7
Synthesist Alba Ecstasy shared his Behringer Model D take on the iconic Vangelis Blade Runner Brass patch.… Read More Blade Runner Brass Patch On The Behringer Model D
Synthesist and sound designer Paul Schilling shared this set of audio demos for his Vangelis-inspired presets for the Deckard’s Dream synthesizer:… Read More Vangelis Presets For Deckard’s Dream
This video, via Mattelica, captures a live cover of the Blade Runner 2049 version of Vangelis’s ‘Tears In Rain.’… Read More ‘Tears In Rain’ Blade Runner 2049 Cover
Black Corporation made their NAMM debut for Deckard’s Dream, a new analog synth design, inspired by the sound of the classic Yamaha CS-80, and the way Vangelis used the CS-80 in his score for Blade Runner. … Read More Black Corporation Deckard’s Dream & Expander – The Synth Inspired By Blade Runner
Reader Michael Peters shared this looping guitar synth jam, inspired by Blade Runner. … Read More Guitar Synth Jam, Inspired By Blade Runner
Roland System 500 modular for atmospheric FX, System-8 for the main lead and arpeggio, SE-02 for the bass track and TR-08 for the drums.… Read More Vangelis ‘Blush Response’ From Blade Runner (Live Cover)
Here’s a look at the sound design of Denis Villeneuve’s new film and the score of Hans Zimmer and Benjamin Wallfisch.… Read More The Sound Design Of Blade Runner 2049
1982’sBlade Runner film one of the reasons a lot of us fell in love with synths. So, with the sequel out, let’s look back on that music.
Surely no composer – not even the legendary Wendy Carlos – managed to inspire so many obvious rip-off sound presets. (Barely-veiled references to chariots and fire and Deckard were there just to avoid any doubt.) And Blade Runner is essentially without comparison, with thick synthesizer instrumentations that recall the colors and shapes of orchestral timbres but are simultaneously unmistakably synthetic and new.
In fact, you might reasonably argue that Blade Runner was one of the popular vehicles to introduce the public to the capabilities of the polysynth, after years of rock music dominated by the Minimoog and its ilk.
I think talking just about those colors might miss some of the compositional elements of the music. Vangelis’ stately pacing and soaring melodies, with the tension of slow sweeps in pitch, kept Ridley Scott’s movie from being dull by injecting futuristic wonder and suspense. But the instrumentation is of course in service of that – and if you ever want to escape those presets, an autopsy of how they were constructed is needed.
First, let’s check out a good breakdown of the signature sound design on the Yamaha CS-80, which you could duplicate on any polysynth with a similar architecture. (Here, it’s faked reasonably well using a slightly later-era Yamaha CS-70M, and strings on a Roland MV-8800 – an unrelated animal to anything available in 1982, but it does the trick.)
Reverb.com breaks down these memorable sounds in a new video that talks about how to recreate them on the kind of gear you’re likely to find today. And, of course, just like studying scores or learning a favorite song, picking apart those sound designs can be a great way to better understand how to make new sounds of your own:
Vangelis isn’t prone to a lot of interviews or public appearances, but there are a couple of chances to hear him speak poetically about the role of music in the world – particularly the 2011 interview with Al Jazeera, top:
For the serious Vangelis fan, there’s this two hour documentary portrait:
At about one hour twenty, you get Vangelis and Ridley Scott talking about Blade Runner, just after a chat about the composer’s collaboration with NASA. I imagine somewhere someone cornered him more on this score specifically, but here there are some nice tidbits.
From that interview:
“It was like being in the cave of a magician,” Ridley Scott says. “I’d be there at 2am … watching him just muck about.”
Vangelis: “I don’t really like working on film … everybody’s under pressure.”
Now, there you go: you’re hereby empowered to do some mucking about in your cave, or (thanks to modern tech) on your couch or in your bed or wherever it is your synths are at your disposal.
Just in case the new Blade Runner has you living your own Vangelis fantasy of yourself – go for it. Just make sure to record or hit save, or all those moments will be lost in time… like tears in rain…
Um, sorry, I’ll stop. Enjoy.
The post Celebrate Blade Runner with these videos on Vangelis and his sounds appeared first on CDM Create Digital Music.