Roland SH-101

So I recreated parts.

There's an SH-101 part.

There's a 303 part.

A bunch of stuff off the JD-800.

And in December 2009, he started making the digital finals... available for the first time along with bonus tracks for each installment except antelope 10 that brought the 42 track three and a half hour runtime to 62 tracks and a four and a half hour runtime

Now, it's thought that the guiding principle of the project is the self-imposed limitation of using only analog hardware, like the Roland TB-303, SH-101, TR-606, 808, and 909 gear, strongly associated with the genre of acid, of course, and even hardware sequencers, like the Roland MC-4 Micro Composer from 1981, which is depicted on the art for Analord 1.

It's also thought that everything was jammed live and recorded straight to tape.

These sometimes intense volume differences between tracks, and sometimes within tracks themselves, certainly attest this, as does the fact that many of the bonus tracks run through the sequences in different orders and configurations.

The studio lineup consisted of a Soundcraft mixing board, a Tascam 80 eight-track tape recorder, a BEL Electronics noise reduction system, a Clark Technic DN50 spring reverb, and a Roland Space Echo.

For the synth-driven backbone of their new sound, they leaned on a Roland SH-101 synth, a borrowed Oberheim OB-X synth, and a prototype Movement MCS drum computer.

The conditions were far from glamorous.

The floor below their attic workspace was occupied by the picture framing company.

And he was trying to make it sound like the exact bassline on Freaky Tails.

Very unique bassline because we were using a keyboard called the Roland SH-101.

And those Roland keyboards, you find a sound and you start modifying it.

A lot of ways you can move a lot of little knobs to change that sound.

It still took about two days to fully finish, though, largely because Clive would catch melodic ideas right before sleep, and then he'd record them and then redefine them the next day.

The band used the Lindrum, a Roland SH-101 for the bass, and a Roland RE-501 loop echo to create those mesmerizing backing vocal effects.

Now the chart progress of The Promise halted just outside of the top 10 at number 11, but it's definitely number one in our hearts.

I mean, listening back, there's that new wave synth pop flavor that makes it such an 80s classic, but you know, it somehow maintains a freshness like you've never heard a song quite like it.

The first one being the Roland Juno 60.

That's like all the leads, but the star of the show for me being a bassist is the Roland SH-101 analog synth.

and that's that that bass sound and it just sounds so chunky and warm and and i love that and and that that really makes the song for me um because that that that synth doesn't sound like some of your 80 cents that are you know kind of too sweet or or maybe too artificial that that sound came around later, the Roland SH-101 in house music, and then again in the early 2000s.

So it's a sound that's kind of resonated throughout pop culture.

And that really just makes this entire song for me.