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synth from “kids in america” by kim wilde | ToneDB

kids in america

kim wilde

synth

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Tone Profile

A punchy, iconic monophonic analog synth lead, characterized by detuned sawtooth oscillators and double-tracking for a wide, slightly phased stereo image. Its fast envelopes and resonant filter create a driving, energetic quality.

Signal Chain

Instrument: Moog Minimoog Model D

Amp: Direct Input (DI) into API mixing console (RAK Studio 1)

Processing: Console EQ (API 550A or similar, for brightness and punch), Double-tracking the performance

Other: Monophonic patch per take. Key synth settings: two primary sawtooth oscillators slightly detuned from each other for thickness, fast attack and short decay/sustain on both filter and amplitude envelopes, 24dB/octave low-pass filter with moderate resonance. The two double-tracked Minimoog performances were panned hard left and right.

Recording Notes

  • Recorded in 1980 at RAK Studios, London, produced by Ricky Wilde.
  • The main synth riff was played by Ricky Wilde on a borrowed Minimoog Model D.
  • The Minimoog part was double-tracked (two separate performances) and panned hard left and right to create a wide stereo image and natural chorusing effect.
  • The bassline was performed on an EDP Wasp synthesizer.
  • Drums were provided by a Linn LM-1 drum machine.
  • The track was mixed on an API console in RAK Studio 1.

Recreation Tips

  • Use an analog or virtual analog synthesizer capable of emulating a Minimoog.
  • For the core patch: select two sawtooth wave oscillators. Set Oscillator 1 to the main pitch. Set Oscillator 2 to the same octave and fine-tune it slightly sharp or flat (e.g., +3 to +7 cents) relative to Oscillator 1 to create a thick, beating effect. A third oscillator can be mixed in subtly an octave below or used for LFO modulation if desired, but the core sound comes from the two detuned saws.
  • Set a fast attack (near zero) on both the filter envelope (VCF EG) and amplifier envelope (VCA EG).
  • Set a relatively short decay and low sustain level on both envelopes to achieve a punchy, percussive sound. Release should also be short.
  • Use a 24dB/octave low-pass filter. Adjust the filter cutoff frequency to control brightness and add a moderate amount of resonance (emphasis/contour on a Minimoog) to get the characteristic 'bite' and harmonic emphasis.
  • Record the riff twice on two separate audio tracks, playing as identically as possible. Pan one track hard left and the other hard right.
  • Keep other effects minimal. The original sound is quite dry. A very subtle short plate reverb or room ambience can be added for space, but avoid obvious chorus or delay pedals as the double-tracking provides the width and movement.

Sources