Not so much, musically. The first oscillator is playing C1 and that is modulating a second oscillator playing G#1. The end result is neither pitch is distinguishable due to the frequency modulation.PokeMaster wrote:...but is there anything you could tell us about it musically, such as the pitches?
Last night I saw another youtube video of a guy doing this in Ableton Live and he pretty much did the same thing the Reason guy did. After the synth they both run the sound through chorus for "smoothing?" I imagine slightly changing the wave shape of the amp LFO would do the same thing. And then each guy runs the signal through a vocoder, but I'm guessing the original designers probably used a comb filter if they used anything at all. My imagination says in 1984 the synthesis was much more simple and raw and the resulting uniqueness of the sound was due to the unique hardware. So, I don't mind that my attempt doesn't sound the same, I'm just interested in breaking it down.