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Message: [QUOTE="Eric Barker, post: 184585, member: 9068"] The original was done on an Oberheim (not sure exactly which model, but any one would produce the same sound), but ANY polyphonic synthesizer (Oberheim, Prophet V, Roland Jupiter, etc) could be used to create the same sound. If you don't know the basics of subtractive synthesis (what most prototypical analog synths are, like the Roland Jupiter), some of the terminology might be a little tough, but the Jump sound is one of the simplest, and is a good place to start. So the term you're looking for is a "Sawtooth" wave, which is one of the 4 basic wave shapes you'll find on virtually all synthesizers. The Sawtooth makes up the majority of synth brass and string sounds, as well as most iconic keyboard lead sounds. Here are the basic oscillator waveforms: Sine - pure tone with no harmonic complexity. Sounds most like a flute or soft pipe organ Triangle - Like a sine wave but with slightly more harmonically rich (bright), more like a whistle with air Square - Even more harmonically rich. reedy, sort of like a clarinet Sawtooth - The brightest and most harmonically rich of them all, very piercing, used for strings and brass Usually synths have icons for these waveforms. Sine is like your basic sine curve from HS trig, Triangle is like an angular sine. Square (also called "Pulse") looks like a square, and Sawtooth looks like a ramp. The way subtractive synthesis works is that you take a harmonically rich tone, usually from a Sawtooth or Square, and then pass it through a filter (like an EQ) to "sculpt" the sound, usually shaving off the high end for more or less brightness. Then you pass the resulting signal through an envelope to give it an attack and decay. Filters also have what's called "Resonance" which emphasize certain harmonics and changes the timbre of the sound. Also, the Filter can have it's own envelope to change the timbre over time. All synthesizers from the MiniMoog through present day follow these basic principals. So the Jump lead uses two slightly detuned oscillators set to the Sawtooth waveform, this detuning gives it a chorus-like quality. The filter is set pretty high (minimal filtering), but with just a little resonance. The amplitude envelope has an immediate attack, 100% sustain (it doesn't get softer), and fast release. The icing on the cake is that I usually pass that through a chorus to give an even bigger sound, and then a stereo delay. That's basically analog synthesizers in a nutshell. The rest is figuring out individual interfaces and how each manufacturer likes to organize their signal flow. Hope this helps! [/QUOTE]

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