The Yamaha AN1x Synthesizer mailing list

I listened to this the other and remembered how much I liked the tune.

How were the sounds made? Pretty impressive, considering that  the tune 
was released in 1975.

I have some synths that can make the airy vox sound I am referring to, 
but was curious as to how it was done on this particular recording.

Linda

. quite amazing indeed that multi vocal layers in there !
i remember i read somewhere that it was a tape multitrack layering of normal
human voices .. 8  or even more layers ..
i think will be easier and more realistic to do it with a sampler in multi
mode
and your own voice + a dense reverb  , then with a synth.

ciao
Andrea

> How were the sounds made? Pretty impressive, considering that  the tune
> was released in 1975.
>
> I have some synths that can make the airy vox sound I am referring to,
> but was curious as to how it was done on this particular recording.
>
> Linda

Hi Linda,

This will be of absolutely no help at all, but I am a great fan of 10cc in
all their various permutations. Godley and Cr�me�s explorations into the
world of video were quite stunning, and while all four were together they
created (in my opinion) some of the best songs to emerge from the seventies
especially with �Sheet Music.�
Kevin Godley and Lol Cr�me were perhaps the most innovative of the band, but
between them Graham Gouldman and Eric Stewart made some timeless songs.
They certainly influenced my musical career.

I have no idea how they created those sounds on that lovely song, �I�m Not
In Love�, but you can get close to it by mixing some Korg choiral sounds
with some real female human vocals, and possibly treating the natural sounds
with a touch of Antares Autotuner, plus some lush reverb and possibly a
slight smidge of chorus. One technique I often use is to record the sounds
of a vocal chorus line in layers from left to right, and pan them
incrementally from either side.

Oh, and I use an AN1x, so I hope it�s not too far O/T.

Best regards to all,

John

-----Original Message-----
From: Linda Dachtyl [mailto:lindaleed@...]
Sent: 03 March 2004 06:48
To: Linda Dachtyl
Subject: [AN1x] OT: How were the sounds made on 10cc's "I'm Not in Love"

I listened to this the other and remembered how much I liked the tune.

How were the sounds made? Pretty impressive, considering that  the tune
was released in 1975.

I have some synths that can make the airy vox sound I am referring to,
but was curious as to how it was done on this particular recording.

Linda



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--- In AN1x-list@yahoogroups.com, "John Jackson" <johnjackson@e...> wrote:
> Hi Linda,
> 
> This will be of absolutely no help at all, but I am a great fan of 10cc i=
n
> all their various permutations. Godley and Crème's explorations into the
> world of video were quite stunning, and while all four were together they=

> created (in my opinion) some of the best songs to emerge from the seventi=
es
> especially with "Sheet Music."
> Kevin Godley and Lol Crème were perhaps the most innovative of the band, =
but
> between them Graham Gouldman and Eric Stewart made some timeless songs.
> They certainly influenced my musical career.
> 

I've been meaning to pick up a 2nd hand copy of Godly & Creme 'History Mix'=
 just to 
get the track 'Golden Boy' - not too mention 'Cry' (the video show's up eve=
ry now and 
again on VH1!)

> I have no idea how they created those sounds on that lovely song, "I'm No=
t
> In Love", but you can get close to it by mixing some Korg choiral sounds
> with some real female human vocals, and possibly treating the natural sou=
nds
> with a touch of Antares Autotuner, plus some lush reverb and possibly a
> slight smidge of chorus. One technique I often use is to record the sound=
s
> of a vocal chorus line in layers from left to right, and pan them
> incrementally from either side.
> 
> Oh, and I use an AN1x, so I hope it's not too far O/T.
> 
> Best regards to all,
> 
> John


Jon

This may have already been answered but...

They created taped tracks of real vocals, one for each note they 
planned to use. So they had a track of E, A, F#, etc. and assigned 
each one to its own channel of the mixing board. The vocal note was 
continuous for the length of the song (tape looped). They 
then "played" the notes by moving the sliders on the mixing board up 
or down. That's why it has such an interesting attack to the notes. 
Bring up three sliders get a chord. Bring up all of them for an 
interesting cluster like at the end of the song.
This song still sounds great today.