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synth from “sweet dreams (are made of this)” by eurythmics | ToneDB

sweet dreams (are made of this)

eurythmics

synth

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Tone Profile

A punchy, iconic arpeggiated analog synth riff with a characteristic stereo width from chorus, defining the track's cold yet captivating early 80s atmosphere.

Signal Chain

Instrument: Oberheim OB-X Synthesizer

Amp: Soundcraft Series Two Mixing Console Channel Strip

Processing: Roland Dimension D SDD-320 (stereo chorus), Console EQ (for tonal shaping, e.g., boosting highs, cutting mud), EMT 140 Plate Reverb (or AMS RMX16 digital reverb during mixdown)

Other: Instrument configured with two sawtooth oscillators, slightly detuned for thickness. Filter envelope set with a fast attack, medium decay, low sustain, and quick release for a punchy, plucky character. The OB-X's arpeggiator was programmed with the specific 8-note sequence (C, A♭, G, F, C, F, A♭, C - in the key of C minor) and synced to the track's tempo (approx. 125 BPM).

Recording Notes

  • Recorded in Eurythmics' 8-track studio in Chalk Farm, London, using a Soundcraft Series Two console and a Brenell 8-track tape machine.
  • The synth riff was programmed into the OB-X's arpeggiator and synced via a click track, possibly from a Roland TR-808 used for timing.
  • The signal was recorded directly into the mixing console.
  • The Roland Dimension D chorus was a key part of the sound, applied directly after the synth.
  • Reverb was likely added during the mixing stage using available studio units like a plate reverb or an early digital reverb.

Recreation Tips

  • Use an analog or virtual analog synthesizer with at least two oscillators (e.g., Oberheim emulations like Arturia OB-Xa V, or synths like a Behringer UB-Xa or a modern Oberheim OB-X8).
  • Set both oscillators to sawtooth waves. Detune one oscillator slightly from the other (e.g., +5 to +10 cents) to create a thicker, phasing sound.
  • Program the arpeggiator or sequence the notes: C3, A♭3, G3, F3, C3, F3, A♭3, C4 (assuming C minor key). The tempo is approximately 125 BPM.
  • Shape the sound with the filter envelope: fast attack, medium decay, zero or low sustain, and a short release to achieve the characteristic plucky, percussive quality.
  • Apply a stereo chorus effect. A Roland Dimension D emulation (like UAD's or Arturia's Chorus DIMENSION-D) is ideal. Alternatively, a Boss CE-style chorus can work.
  • Add a subtle plate or hall reverb for ambience. Ensure it doesn't overwhelm the riff's clarity.
  • Pan the final sound slightly if desired, though the chorus often provides sufficient stereo width.

Sources