OK...I've been realizing lately how ahead of the curve Nick was in so many respects and hearing things like this confirms it. This is pure creative programming, writing, & sound sculpting from someone that understood a synthesizer's capabilities. Very inspiring.
Fair enough, but, don’t forget that Alex Sadkin and Ian Little were both Producers on this album. Ian Little was also a very competent programmer. Worth keeping in mind.
@@rockknezevic9068 it's actully Alex Sadkin who projected DD to this amazing dimension pushing production work to levels unseen before. Comparing T7&TRT to predecessor Rio and to follower Notorious we notice an impressive layering level closed to perfection, while the two other albums could have virtually have been recorded in a single live performance. John and Andy Taylor were driven crazy by the endless production and mixing sessions in Sydney, although this resulted in the timeless masterpiece we all know. RIP Alex and thanks for this amazing piece of art
@@sfrenato You’re absolutely spot on. A similar example would be what Martin Rushent did for the Human League album - Dare. Another brilliant Producer and Engineer that played a major role. Look him up, there’s a great article about Martin Rushent and his contribution to music and many well known artists can be found at the “Sound on Sound” website.
I remember when this song FIRST came out. From that time until TODAY I have been trying to decode what I was hearing. To me, this is genius! NOBODY has done ANYTHING like this. Nick Rhodes
Nick Rhodes is the reason I became a keyboardist. Listen to the subtle layering and percussive staccato as if he was using the keyboard as a drum. Amazing! He never ceases to amaze me.
I'm a guitarist. We played some DD stuff back in my first band back around 83. Knew the first three albums inside out. Thing that used to intrigue me was all the different parts rarely bore any relation to the others - rhythm guitar didn't follow the bass, bass didn't always follow the drums, usually there'd be a pad, but there'd be two other keyboard parts that were either sequenced or seemingly random stabs, like dramatic sound effects. Individually, all very simple parts, but extremely complex as a whole. They were like a five piece version of The Who, but with a normal drummer and Moon replaced by Rhodes.
That “Indian lament” sounds like a track which has been sampled, and played backwards. So interesting to hear how “sparse” the individual parts are - yet, together, the song is so full and lush. Amazing stuff.
I've been trying since 1984 to figure out how to play this. The chorus melody is absolutely amazing and makes the whole song. Nick Rhodes' genius is hard to emulate and its no wonder I had so much trouble all these years!
"If, for example, you listen to a lot of the synth parts on 'The Reflex', they're borderline out of tune, yet they work. He was more concerned with the effect a part had on the track than whether or not it was perfectly in tune, and that has always been my approach. You can't have things that stick out like a sore thumb, but in the same way as a blue note is bent off what it should be, you can play notes that aren't traditionally meant to be there. And if they create a bit of tension and have the right effect, then so be it. I suppose what I'm saying is that Nick was not a classically trained pianist. His ability was in his taste. He knew what he wanted to hear and I think that's what it's all about. It's about having the vision and the ideas, and knowing when something does and doesn't work.Those were the days: Ian Little as he appeared in the pages of Melody Maker at the turn of the '80s.
wow, i take back everything negative I've ever said about Nick Rhodes. I can really learn a lot from him being the synth player in a band with a gung ho guitarist
And the most impressive thing is, that all those fantastic layers are accompanied by grat bass line and guitar rifs as well BUT - it's all "just" a backdrop that lets the singer stand out. Or we can also look at it as the singer is damn good, he's established himself within those genius parts so that he and his vocal lines are the main thing that /most/ people remember.
He made masterful use of the Linn-9000 sequencer with this along with the Fairlight to do the horn samples! The string part I never knew was a layered sequence. I always thought it was a one layer measure! Great capture!
So false... Linn9000 came out in 1984... Seven and the ragged tiger was recorded between end of 1982 and mid of 1983. Nick used the Linn9000 on the Arcadia album synced to his Fairlight CMI III that he never owned. That fairlight was borrowed from Australia. He used a Fairlight CMI II (that he bought) at the end of the recording of the seven and the ragged tiger and most of the sounds were an Emu - emulator I and II... Later they moved to the synclavier on the Notorious album... The Fairlight was heavily used on arcadias album and he just got bored of it... Synths used on seven and the ragged... Roland Jupiter 8 (80%) Crumar performer Fairlight CMI II Emulator I / II Thank me later
@@synthland4526 Yea but when it was remixed in 1984 for the single version-Nile Rodgers did say to Nick to use an Linn9000! Nick Rhodes is a master as layering synths, and sometimes with piano on other tracks on their hit albums!
I have studied Nick's work for years. Something to keep in mind is that a lot of this was the Fairlight. And I think the strings in the chorus were actually some creation with an Emulator. But as for the sound you're referring to, I think I heard someone say it was a tympani sound from the Fairlight.
This is why 1984 is the best year in music history. Saludos a Nick Rhodes y Duran Duran! (I know The Reflex is from 1983 but received recognition in 1984 thanks to Nile Rodgers mix)
Yeah it's likely a lot of Fairlight with some Roland something-or-other bits in there as well (Jupiter 8 was his go-to at the time). Those bends in the chorus are very Nick-on-Roland. The 'steel drums,' for instance, are Jupiter 8.
Yes that is a DX7. Ian Little said it was a Jupiter 8 layered with a block sound but I know Yamaha gave Nick a DX7 before they came out so it’s possible he used it. I know he didn’t use it much as he wasn’t a fan and that’s the only time I’ve seen him use one live.
Hey Synth guys. You know what Nick does that I never heard anybody else do before him that he uses frequently and that is the cello like stab sound in the choruses on 1. He used that on every hit song they ever had. I think it's the Prophet 5 because it's so rich and organic. Its a clever way to establish a new phrase. I use it all the time. A direct rip off.
@@thepanel2935The accounting firm handles all my invoices. I'm an artist gosh darn it! I can't be bothered to handle all the nit picky details of regular life. I'm creating. I'm busy. I create art that people desperately need to establish their own socio-cultural identity. I'm an important person and what I do is critical. We can go without doctors and engineers for a couple days but we can't miss a single second of art. It's a public service; what I do. So... inhibiting my creative flow will put the whole world in peril. Send the bill to the accountant and leave me be.
![Duran Duran - The Reflex - Guitar [Multi track]](http://i.ytimg.com/vi/FuJNXcrqiLM/mqdefault.jpg)
![Duran Duran - The Reflex - Guitar [Multi track]](/img/tr.png)
![Duran Duran - The Reflex - Drums [Multi track]](/img/1.gif)
OK...I've been realizing lately how ahead of the curve Nick was in so many respects and hearing things like this confirms it. This is pure creative programming, writing, & sound sculpting from someone that understood a synthesizer's capabilities. Very inspiring.
Fair enough, but, don’t forget that Alex Sadkin and Ian Little were both Producers on this album. Ian Little was also a very competent programmer. Worth keeping in mind.
@@rockknezevic9068 it's actully Alex Sadkin who projected DD to this amazing dimension pushing production work to levels unseen before.
Comparing T7&TRT to predecessor Rio and to follower Notorious we notice an impressive layering level closed to perfection, while the two other albums could have virtually have been recorded in a single live performance.
John and Andy Taylor were driven crazy by the endless production and mixing sessions in Sydney, although this resulted in the timeless masterpiece we all know.
RIP Alex and thanks for this amazing piece of art
@@sfrenato You’re absolutely spot on. A similar example would be what Martin Rushent did for the Human League album - Dare. Another brilliant Producer and Engineer that played a major role. Look him up, there’s a great article about Martin Rushent and his contribution to music and many well known artists can be found at the “Sound on Sound” website.
@@rockknezevic9068 I just know that album singles. Thanks for flagging, I will look it up and get back
I remember when this song FIRST came out. From that time until TODAY I have been trying to decode what I was hearing. To me, this is genius! NOBODY has done ANYTHING like this. Nick Rhodes
Nick Rhodes is the reason I became a keyboardist. Listen to the subtle layering and percussive staccato as if he was using the keyboard as a drum. Amazing! He never ceases to amaze me.
Nick Rhodes.... legend
My man, my hero
I'm a guitarist. We played some DD stuff back in my first band back around 83. Knew the first three albums inside out. Thing that used to intrigue me was all the different parts rarely bore any relation to the others - rhythm guitar didn't follow the bass, bass didn't always follow the drums, usually there'd be a pad, but there'd be two other keyboard parts that were either sequenced or seemingly random stabs, like dramatic sound effects. Individually, all very simple parts, but extremely complex as a whole.
They were like a five piece version of The Who, but with a normal drummer and Moon replaced by Rhodes.
Holy shit. Who knew this piece was laying underneath The Reflex.
Genius.
This is awesome. I would love to hear a multi track for A view to a Kill.
I never caught that indian lament in the chorus years ago when listening to the full track , amazing layering
That “Indian lament” sounds like a track which has been sampled, and played backwards. So interesting to hear how “sparse” the individual parts are - yet, together, the song is so full and lush. Amazing stuff.
its not indian its violin backwards
I've been trying since 1984 to figure out how to play this. The chorus melody is absolutely amazing and makes the whole song. Nick Rhodes' genius is hard to emulate and its no wonder I had so much trouble all these years!
Incredible! And thank you! Never heard any stems from Seven and The Ragged Tiger before... Now, if there were any more from that album...
I’m so excited about this! I’ve been waiting forever to hear the stems from this song and hopefully the whole album! Thank you!!
"If, for example, you listen to a lot of the synth parts on 'The Reflex', they're borderline out of tune, yet they work. He was more concerned with the effect a part had on the track than whether or not it was perfectly in tune, and that has always been my approach. You can't have things that stick out like a sore thumb, but in the same way as a blue note is bent off what it should be, you can play notes that aren't traditionally meant to be there. And if they create a bit of tension and have the right effect, then so be it. I suppose what I'm saying is that Nick was not a classically trained pianist. His ability was in his taste. He knew what he wanted to hear and I think that's what it's all about. It's about having the vision and the ideas, and knowing when something does and doesn't work.Those were the days: Ian Little as he appeared in the pages of Melody Maker at the turn of the '80s.
In my opinion the most impressive thing is he does this live on stage. I call him The Mastermind. He is on a level all his own, far above the rest.
Most of the sound effects come from the background tapes.
wow, i take back everything negative I've ever said about Nick Rhodes. I can really learn a lot from him being the synth player in a band with a gung ho guitarist
I know this is from the 1983-Seven Ragged Tiger album version-Do you have the remix version for the 1984 single as that had a different vibe-Thanks
Nick Rhodes inspired the natural musician in me to play keyboards. Thank you Nick Rhodes.
Love Steel Drums
Sounds like an early 90's video game by SEGA.
Japan のリチャード・バルビエリの影響を感じる❤
The rhythmic aerosolized steel drums always get me.
And the most impressive thing is, that all those fantastic layers are accompanied by grat bass line and guitar rifs as well BUT - it's all "just" a backdrop that lets the singer stand out. Or we can also look at it as the singer is damn good, he's established himself within those genius parts so that he and his vocal lines are the main thing that /most/ people remember.
Truly a unique-sounding album. One of the most underrated of the 80s.
Love it. Could you do finest hour or what happens tomorrow?
He made masterful use of the Linn-9000 sequencer with this along with the Fairlight to do the horn samples! The string part I never knew was a layered sequence. I always thought it was a one layer measure! Great capture!
So false... Linn9000 came out in 1984... Seven and the ragged tiger was recorded between end of 1982 and mid of 1983. Nick used the Linn9000 on the Arcadia album synced to his Fairlight CMI III that he never owned. That fairlight was borrowed from Australia. He used a Fairlight CMI II (that he bought) at the end of the recording of the seven and the ragged tiger and most of the sounds were an Emu - emulator I and II... Later they moved to the synclavier on the Notorious album... The Fairlight was heavily used on arcadias album and he just got bored of it...
Synths used on seven and the ragged...
Roland Jupiter 8 (80%)
Crumar performer
Fairlight CMI II
Emulator I / II
Thank me later
@@synthland4526 Yea but when it was remixed in 1984 for the single version-Nile Rodgers did say to Nick to use an Linn9000!
Nick Rhodes is a master as layering synths, and sometimes with piano on other tracks on their hit albums!
Seems like other music inside the music. Outstanding!
Eno would be proud!!!!
I have a couple of Roland's And I'm yet to recreate that drum sound (right before the chorus) any advice?
White noise with a couple of detuned oscillators
I have studied Nick's work for years. Something to keep in mind is that a lot of this was the Fairlight. And I think the strings in the chorus were actually some creation with an Emulator. But as for the sound you're referring to, I think I heard someone say it was a tympani sound from the Fairlight.
Dammit! Great Post👍
Jesus Christ! I love these chords and sounds that legendary Nick Rhodes plays through the equally legendary Roland Jupiter 8 synthesizer!!!
This is why 1984 is the best year in music history. Saludos a Nick Rhodes y Duran Duran!
(I know The Reflex is from 1983 but received recognition in 1984 thanks to Nile Rodgers mix)
I hear some Yello "Ohhh Yeah.... chikka chikkahhhh" in there.
Hahahaha!
Nick Rhodes heavily uses arpeggiators,mainly from j8 & j4s on all these tracks
Does anyone know what sound patch that Nick uses at 3:33 to 3:57 love it is it like a pipe delay sound I’m a bassist btw
Such a treat to hear this, thank you
i heard he-man violins because of e-mu emulator 1
Nick is a genius
Does anybody know what synthesizer he’s using
I'd suggest it's the Fairlight. A sampler, but a synthesizer at the end of the day. Great stuff.
Yeah it's likely a lot of Fairlight with some Roland something-or-other bits in there as well (Jupiter 8 was his go-to at the time). Those bends in the chorus are very Nick-on-Roland. The 'steel drums,' for instance, are Jupiter 8.
Roland Jupiter 8, Fairlight, Prophet 5
@@tritonjbeej2080 steel drums from DX7, you can see it in the Live Aid video
Yes that is a DX7. Ian Little said it was a Jupiter 8 layered with a block sound but I know Yamaha gave Nick a DX7 before they came out so it’s possible he used it. I know he didn’t use it much as he wasn’t a fan and that’s the only time I’ve seen him use one live.
pure gold.
Hey Synth guys. You know what Nick does that I never heard anybody else do before him that he uses frequently and that is the cello like stab sound in the choruses on 1. He used that on every hit song they ever had. I think it's the Prophet 5 because it's so rich and organic. Its a clever way to establish a new phrase. I use it all the time. A direct rip off.
Nick is sending you a bill for all the Royalties...
@@thepanel2935The accounting firm handles all my invoices. I'm an artist gosh darn it! I can't be bothered to handle all the nit picky details of regular life. I'm creating. I'm busy. I create art that people desperately need to establish their own socio-cultural identity. I'm an important person and what I do is critical. We can go without doctors and engineers for a couple days but we can't miss a single second of art. It's a public service; what I do. So... inhibiting my creative flow will put the whole world in peril. Send the bill to the accountant and leave me be.