TONEDB

synth from “shine on you crazy diamond” by pink floyd | ToneDB

shine on you crazy diamond

pink floyd

synth

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Tone Profile

A majestic, soaring, and slightly melancholic analog lead synth. It's characterized by its slow attack, rich Minimoog harmonics, prominent rotary speaker swirl from a Leslie, and a spacious, atmospheric ambience.

Signal Chain

Instrument: Moog Minimoog Model D

Amp: Leslie Model 147 (or similar, e.g., 122)

Microphone: Combination, e.g., Shure SM57 (on high-frequency horn), Neumann U67/U87 (on low-frequency rotor/drum)

Processing: Binson Echorec 2 (Tape Delay - via console send), EMT 140 Plate Reverb (Studio Reverb - via console send)

Other: The Minimoog's output was fed into the Leslie speaker cabinet. The Leslie provides amplification and its signature rotary effect. This was then mic'd and sent to the mixing console where additional studio effects like tape delay and plate reverb were applied.

Recording Notes

  • This signature sound was created by Richard Wright for the album 'Wish You Were Here' (1975), recorded at Abbey Road Studios.
  • The core of the lead sound is a Moog Minimoog synthesizer.
  • A Leslie rotary speaker (typically a Model 147 or 122) is absolutely crucial for the swirling, chorus-like modulation and is a defining characteristic of this tone.
  • The Leslie cabinet would have been mic'd in the studio, likely with dynamic mics on the horns and condenser mics on the bass rotor.
  • Generous amounts of studio-quality reverb (likely an EMT 140 plate) and tape delay (such as a Binson Echorec) were used to create the spacious and ethereal quality.
  • While the Minimoog provides the lead, other synthesizers like the ARP Solina String Ensemble were used for underlying pads and textures in the song, contributing to the overall rich soundscape.

Recreation Tips

  • Start with a monophonic analog synthesizer emulation (e.g., Arturia Mini V, GForce Minimonsta, Moog Model D app).
  • Use one or two oscillators, primarily sawtooth waves. If using two, slight detuning can add richness.
  • Set a slow attack on the amplifier envelope (e.g., 500ms - 1.5s) and a long release (e.g., 1s - 3s). Sustain should be relatively high.
  • Use the low-pass filter with a moderate cutoff and some resonance (Q) to make the sound 'sing' without being overly harsh. The filter cutoff can be subtly modulated by its own envelope with a similar slow attack.
  • Enable portamento/glide and set it to a moderate speed for the characteristic smooth pitch bends between notes.
  • A high-quality Leslie/rotary speaker emulation is essential. Experiment with rotation speeds, often a medium to fast 'chorale' or 'tremolo' setting.
  • Add a spacious reverb – a plate or large hall emulation with a decay time of 2-4 seconds.
  • Incorporate a tape delay emulation, either synced to tempo or set for a subtle slapback/ambience.
  • For the full track context, consider layering this lead sound with a string synthesizer pad (e.g., ARP Solina emulation).

Sources