Forums > Queen - Serious Discussion > Since Queen used no synthesizers....

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RETROLOVE user not visiting Queenzone.com
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Posted: 06 Nov 06, 04:32 Edit this post Reply to this post Reply with Quote

...On their earlier albums, such as Queen, Queen II, Sheer Heart Attack, etc, how did they make those really cool sounds, that sounded really electronic?


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Posted: 06 Nov 06, 04:49 Edit this post Reply to this post Reply with Quote

brians guitar sound is what you hear. There is no "if" about it, queen didn't use any synthesizers in the 70's.

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Posted: 06 Nov 06, 05:09 Edit this post Reply to this post Reply with Quote

One word.....SKILL


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Posted: 06 Nov 06, 05:35 Edit this post Reply to this post Reply with Quote

You should learn Queen history more properly actually...

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Posted: 06 Nov 06, 06:31 Edit this post Reply to this post Reply with Quote

I was actually listening to Father to Son from Queen's II album, and I was blown away by it, I cant believe their wasnt any synths used in the song, let alone any of the other songs on the album, its really amazing that they didnt use anything like that!


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Posted: 06 Nov 06, 06:35 Edit this post Reply to this post Reply with Quote

mike hunt wrote:

brians guitar sound is what you hear. There is no "if" about it, queen didn't use any synthesizers in the 70's.



Good point, I'll change it to 'since'...lol


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Posted: 06 Nov 06, 07:51 Edit this post Reply to this post Reply with Quote

In the studio Brian used a combination of his guitar (by using a variation of his pick up settings), some effects pedals, and various tone and volume settings on his amps.

His amps were then miked in such a way that the michrophones themselves were placed at varying angles or distances from the amps. This was to capture certain sounds that the amp itself gave out rather than his guitar. Someone with more technical know how than I have may be able to explain the last bit in better detail than me.


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Posted: 06 Nov 06, 07:54 Edit this post Reply to this post Reply with Quote

Well actually, it is debatable whether the Red Special coupled with an insane array of Deaky-amps and processors wouldn't count as a guitar-synthesizer, like what Pat Metheny uses.


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Posted: 06 Nov 06, 07:57 Edit this post Reply to this post Reply with Quote

<b><font color = "crimson"> ThomasQuinn wrote:

Well actually, it is debatable whether the Red Special coupled with an insane array of Deaky-amps and processors wouldn't count as a guitar-synthesizer, like what Pat Metheny uses.


BLASPHEMY!!!! :o

hehehee


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Posted: 06 Nov 06, 08:47 Edit this post Reply to this post Reply with Quote

It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things.

For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices.

So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal).

Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt").

I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 06 Nov 06, 23:49 Edit this post Reply to this post Reply with Quote

Sebastian wrote:

It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things.

For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices.

So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal).

Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt").

I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).


Wow...thanks you, I was wondering how they created those LOVELY sounds!


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Posted: 07 Nov 06, 00:34 Edit this post Reply to this post Reply with Quote

Sebastian wrote:

It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things.

For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices.

So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal).

Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt").

I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).


You forgot cowbell.


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Posted: 07 Nov 06, 03:51 Edit this post Reply to this post Reply with Quote

Zebonka12 wrote:

Sebastian wrote:

It's worth mentioning that it wasn't exclusively Brian's Red Special. The others participated there too, even if less frequently, and so did Brian did no-RS things.

For instance there was direct sampling sometimes (Prohpet's Song intro, I'm In Love With My Car, Dead On Time), some additional percussion (bells, gong, chimes), unusual (for the band) no-synth keyboard instruments like organ, harpsichord, jangle piano, e-piano and harmonium, the piano "ring" effect in Nevermore, some tape-manipulation to creat phasing (e.g. Killer Queen), Brian's use of toy instruments (e.g. koto, mini-banjo, that odd acoustic guitar sounding like sitar, plastic piano), loads of backwards, electronic percussion, multi-tracked voices.

So there was much more than just the Red Special. The odd sound in Father To Son intro results of the combination of two guitar tracks doing the arpeggios unisono with the piano. The mystique athmosphere in 'White Queen' first chorus didn't have anything to do with the Red Special: it was all Roger's cymbal rolls (fabulously played and exceptionally mixed) and Freddie's angelical choir (achieved via human natural effects and phasing, which is something machines weren't and won't ever be able to equal).

Even a large part of 'The Game' is synth-free: effects in Another One Bites The Dust are achieved through harmonised-guitar, backwards piano notes and electronic percussion (the "thunderbolt").

I'm not trying to take merit off the Red Special, but there was much more. And btw Brian didn't use many pedals, it was mostly the pre-amp and the treble booster plus the enviable variety of sounds the guitar can produce. And the "aeroplane" noises were done with tremolo bar (check Star Licks).


You forgot cowbell.


What songs that you know of, do they use cowbells in?


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Posted: 07 Nov 06, 06:02 Edit this post Reply to this post Reply with Quote

Liar for example.

It's not a cowbell as in cows but a proper percussion instrument :)

http://www.lpmusic.com/Product_Showcase/Cowbells/index.html


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Posted: 07 Nov 06, 06:23 Edit this post Reply to this post Reply with Quote

I add:

The Loser In The End
Misfire

Probably more...


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Posted: 07 Nov 06, 06:47 Edit this post Reply to this post Reply with Quote

What about the lost 7:33 version of "Innuendo", known as the 'Cowbell Edit'.


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Posted: 07 Nov 06, 08:05 Edit this post Reply to this post Reply with Quote

Keep Yourself Alive (at least some live versions)
Lazing On A Sunday Afternoon

and of course Who Needs You

There are many more percussion instruments in Queen records: marimba, triangle, woodblocks, hawk-bells, timpani (actual or sampled), conga, maracas, castanets...


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.
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Posted: 07 Nov 06, 14:29 Edit this post Reply to this post Reply with Quote

Thank you, Sebastian.

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Posted: 07 Nov 06, 15:47 Edit this post Reply to this post Reply with Quote

Sebastian wrote:

There are many more percussion instruments in Queen records: marimba.......


Where is the Marimba? I have missed that.



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Posted: 07 Nov 06, 21:36 Edit this post Reply to this post Reply with Quote

Loser In The End


John hated HS. Fred's fave singer was not PR. Roger didn't compose 'Innuendo.' Witness testimonies are often inaccurate. Scotland's not in England. 'Bo Rhap' hasn't got 180 voices.