If Jens Johansson read and answer my question...

[cl4udiolari]

... would smash my WC with a bomb in his honor and be thankful for the next of my life

Jokes aside, now it has been many years, (Almost 12) since i start following you and your music, including collaborations with Barilari, Sonata Arctica including all the oldies with your brother, Malmsteen and Holdsworth. I've followed the "evolution" of your Studio Lead sound and i've tryed in many opportunities to emulate it, just because i am crazy of synths, with ok results, but i've never been satisfied.

That's why, now, i am attempting again, and what i'm gonna ask, is not your preset of course, as i would like to understand what makes the lead sound so unique.

Altough it's incredibily beautiful even the one you use live, i still prefer the P6 as it is not Wavetable.

OK basically i know that its VCO it's a Pulse with Width Modulation, distorted through a Morley JD-10.

What i'd like to know is:

How do you create that particular tonal characteristic heard when you hold a note (Weeeooo)?

Is created from the Width Modulation or from the envelope on the VCF?
Is the Morley Jd-10 good because it allows the lead to preserve this characteristic of the PWM instead of having a more Sine-ish result like regular distortion does?
How you keep this characteristic on the higher octaves? with the keytrack?

Last question, do you retrig all of your envelopes when you hit a note?

Thank you very much, you would really allow me to sleep again, after 12 years of trying

CL

[AGAG]

Just learn Bassoon instead.

[Plisken]

... would smash my WC with a bomb in his honor and be thankful for the next of my life

Jokes aside, now it has been many years, (Almost 12) since i start following you and your music, including collaborations with Barilari, Sonata Arctica including all the oldies with your brother, Malmsteen and Holdsworth. I've followed the "evolution" of your Studio Lead sound and i've tryed in many opportunities to emulate it, just because i am crazy of synths, with ok results, but i've never been satisfied.

That's why, now, i am attempting again, and what i'm gonna ask, is not your preset of course, as i would like to understand what makes the lead sound so unique.

Altough it's incredibily beautiful even the one you use live, i still prefer the P6 as it is not Wavetable.

OK basically i know that its VCO it's a Pulse with Width Modulation, distorted through a Morley JD-10.

What i'd like to know is:

How do you create that particular tonal characteristic heard when you hold a note (Weeeooo)?

Is created from the Width Modulation or from the envelope on the VCF?
Is the Morley Jd-10 good because it allows the lead to preserve this characteristic of the PWM instead of having a more Sine-ish result like regular distortion does?
How you keep this characteristic on the higher octaves? with the keytrack?

Last question, do you retrig all of your envelopes when you hit a note?

Thank you very much, you would really allow me to sleep again, after 12 years of trying

CL

"How do you create that particular tonal characteristic heard when you hold a note (Weeeooo)?"

Combination of detuning the tone in cents. Not much, just a little. And also there is a flanger effect going on in the lead.

You dont need the Morley Jd-10 to get it to sound the same. For example, If I remember correctly the Solos he recorded for sonata arctica did not use the Morley Jd-10.

Also, Jens will probably never answer any questions regarding his lead sound. He never has other then what he already posted years ago on his site.

This is just speculation on my part, but im guessing he considers his lead sound as "intellectual property." And it is a part of what he feels like he offers as a musician. Im pretty sure most of the "famous" lead sounds from other keyboardist are also considered IP to them.

I have worked on making his lead sound and others too. I have been able to make some that are indistinguishable from the original. But Jens p6emu lead is the only one I cant quite figure out fully. At this point I just wish I could see what the hell he exactly did to achieve it lol. I was able to make derek sherinian's lead, many of Jordan Rudess's leads perfectly. The p6emu is the only I have like 80% there maybe.

Here is a video I made showing samples of them. The last one is Jens p6emu lead.

https://www.youtube.com/watch?v=XldxZS2 ... fq5CsT-ZNg

[88speedkeys]

Wow Plisken, What a wonderful emulations you constructed!! I am really impressed! (And some serious chops too )

I think you have a point stating Jens may consider it as some sort of intellectual property.
On the other hand, I think it's cool keyboard players can have a 'signature' sound, just like guitar-players.

Do you also have a sound you would consider your own signature (lead) sound?

[Plisken]

Wow Plisken, What a wonderful emulations you constructed!! I am really impressed! (And some serious chops too )

I think you have a point stating Jens may consider it as some sort of intellectual property.
On the other hand, I think it's cool keyboard players can have a 'signature' sound, just like guitar-players.

Do you also have a sound you would consider your own signature (lead) sound?

Thanks I do have my own lead! Though I wouldnt call it "done" yet lol. Maybe ill make a sample and post it later.

Also, I totally agree with you. Its really cool to have signature sounds. If I had to guess at who started it all its probably Jon Lord?

[Plisken]

Maybe ill also include other leads when I make a sample of my lead. Like the different variations of Jens lead. The one I have thats probably closest to the actual thing is Jens first lead. The one from the actual polysix. Its SO close to the original. And funny thing is I made is kinda by mistake. I also made Warmans Lead too. A bunch of Jordan Rudess leads.

[Arnold Layne]

I can easily accomplish these trivial tasks. I live in Leeds, after all. I am a metal worker by trade.

Arnold "LEEDS Zeppelin" Layne

[88speedkeys]

@Plisken: Well let's just say Jon Lord was and still is a big influence to me. Yes, adding a Marshall stack to Hammond/leslie combination sure defined his 'signature' sound. That actually had to do with Ritchie Blackmore's disinterest in playing 'rhythm' parts on his guitar. So instead Jon Lord started doing that with that nicely distorted sound. Which brings us back to one of the fundamental characteristics a (lead) sounds needs (at least to my ears); it needs to cut nicely through the mix with all the other instruments. If there is one thing Jens' sound do, it is that.

I am curious about your own lead. Please do post a sample!

Oh, by the way, are you familiar with http://www.progsounds.com/blog/jens-johansson-lead ?

[Plisken]

@Plisken: Well let's just say Jon Lord was and still is a big influence to me. Yes, adding a Marshall stack to Hammond/leslie combination sure defined his 'signature' sound. That actually had to do with Ritchie Blackmore's disinterest in playing 'rhythm' parts on his guitar. So instead Jon Lord started doing that with that nicely distorted sound. Which brings us back to one of the fundamental characteristics a (lead) sounds needs (at least to my ears); it needs to cut nicely through the mix with all the other instruments. If there is one thing Jens' sound do, it is that.

I am curious about your own lead. Please do post a sample!

Oh, by the way, are you familiar with http://www.progsounds.com/blog/jens-johansson-lead ?

Yeah I am familiar with it. At first I tried doing it like described. But quickly realized how off the guide is. Its got the very fundamentals of the lead down and thats about it. Especially if one is trying to make Jens live lead sound as opposed to his studio lead. I consider that more of a guide of how to get a Jens-like sound. Which is fine, thats what some people want. Others wanna try and go all the way, like me .

As for Jon Lord, im a fan too. Im familiar with the history . And yeah, the most important thing is that the sound cuts through and is of course appealing to you.