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Probably. This version feels stiffer and more rigid than the original. The original sounds like it is moving gradually between tempos, rather jumping straight from 1/4 notes to 1/16 notes or whatever. It's the difference between tempo and note duration.

@@dirtcastle If i remember correctly- Rival answered the question on reddit, and he said that this sound was not made by an LFO.

@@setmabl1381 I saw that. He said no LFO but was vague about how he actually made it, other than to say it was with a Prophet 8. It certainly has an accelerating/decelerating feel to it, but maybe that's partly pitch/filter/amplitude. Hard to say. He sure tech'd out on this one!

I would imagine the velocity was sculpted. If anything it sounds like the chord pattern was triggered with something like a drum pad

it would make more sense to use an arpeggiator (set to like chord trigger) rather than doing it manually :) but in any case this is nice. Also i built something i havent really seen before, using ableton live... using envelope follower, where one track has a clip with the chord to be played and on another track there is the rhythm as single notes, then the envelope follower on the rhythmic track triggers a shaper envelope on the chord track (enabling the T button). It causes a few limits but it opens up way more possibilities than you lose, I havent explored it that much yet, it was recent, but I figured for Rival Consoles type stuff it is ideal even compared to arpeggiators. The downside of arpeggiators is that many of them produce regular patterns, the downside of doing it manually is obviously it is tedious. A smart combination of arp and what i described should honestly be best of all worlds.

Sorry. I checked that the patch I made was still there, but I could not find it. The sound itself is not difficult. I think you can make it this way with enough REV2.

Hey no problem. I think I've figured out a similar sound on the rev 2. I was actually referring to the MIDI file of the notes, since I am interested in how he writes rhythmically. Do you still have that?

C G Eb, 2 octaves. 1st inversion.

It’s a cover not a reproduction, i.e. his interpretation

@@danbentley8747 I hear something you don't, and you hear something I don't.. what shall we do?

Thank you so much!!

whitecoldicecreams why? You should tell me why.

Well I don't mean to be rude, I think you played it really well and it sounds amazing. But to me, some songs should not be touched; some songs are already the best they can possibly be and nothing that anyone does can improve it. Says is that kind of song to me. But who am I, am I right ;)

If he would've done a different interpretation, a modification, your argument would be more valid IMO, but he did it exactly like Frahm soundwise, and damn, I think no one with functioning ears could argue that he nailed it. I would not think of it so much as a cover, it's more of a homage to the song, and a damn good one too.

His cover was lovely and beautiful.

Hey man~ My midi keyboard(Roland A49) has 49 keys and the last phrase needs more octave, so I just changed the controller of 0b-6 from A49 to MM8 for a while.

That makes sense, but I guess what I'm trying to figure out is how you're getting the extra octave to delay coming in after the first octaves? What I mean is, if I set my arp octave from 2 to 3 (or even 4) it sounds very close - but the timing is off - in your version (and Nils version) there is a rest or a pause before the addition of the higher octaves kick in - know what I mean? If you just set the octave from 2 to 3 or 4, it's just playing a continues pattern with no rests, but yours has a rest between the lower octaves and the higher octaves...

I now understand what you want. But because of the language problem, I have no confidence to fully explain it to you. (i'm not good at English) Basically this is 2 octaves arpeggio setting. But the difference is the compositional note. The previous arpeggio section consists of three notes, but the last section consists of six notes. For example, in the previous section, C minor codes consist of C, G, and Eb, and in the last section, C, C, Eb, G, C, and Eb. And this is what happens when a delay effect is added to it. It may not be exactly the same as nils does.