pads from “radio ga ga” by queen | ToneDB

radio ga ga

queen

pads

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Tone Profile

A majestic and warm analog synth pad with a slow, blooming attack and a rich, slightly brassy character. It creates a wide, atmospheric harmonic foundation characteristic of 80s stadium anthems.

Signal Chain

Instrument: Oberheim OB-Xa Synthesizer

Amp: Direct Input to mixing console (e.g., SSL, Neve)

Processing: Studio Stereo Chorus (e.g., Roland Dimension D SDD-320 or internal OB-Xa chorus), Studio Reverb (e.g., EMT 250 Digital Reverb or Lexicon 224)

Other: Recorded to 24-track analog tape. Likely utilized multiple voices of the OB-Xa, possibly in unison or layered mode for thickness. The OB-Xa's own filter and envelope shapers are crucial to the core sound.

Recording Notes

  • Recorded in 1983 primarily at Record Plant Studios, Los Angeles, and Musicland Studios, Munich.
  • Keyboard parts, including these pads, were performed by Fred Mandel.
  • The pad sound is constructed using the Oberheim OB-Xa's analog oscillators, likely sawtooth waves, possibly layered or slightly detuned for richness.
  • The sound emphasizes stereo width, achieved through the OB-Xa's inherent stereo capabilities, external chorus effects, and panning within the mix.
  • Characterized by slow filter envelope and amplitude envelope attack settings, with a long release to sustain the chords and create the 'blooming' effect.

Recreation Tips

  • Use a synthesizer capable of emulating the Oberheim OB-Xa (e.g., Arturia OB-Xa V, GForce OB-E, U-He Diva).
  • Start with two detuned sawtooth oscillators per voice. A slight detuning (a few cents) will create a natural chorus-like movement.
  • Employ a 12dB or 24dB per octave low-pass filter. Set the filter cutoff moderately low and modulate it with an envelope having a slow attack (e.g., 500ms to 1.5s) and some sustain. Add a touch of resonance (around 10-25%) to mimic the Oberheim character.
  • The amplitude envelope should feature a slow attack (matching or slightly slower than the filter envelope, e.g., 700ms to 2s), full sustain (or near full), and a long release (2-4 seconds).
  • Apply a lush stereo chorus. The OB-Xa had a distinctive stereo chorus; emulations of the Roland Dimension D or Juno chorus are also excellent choices.
  • Add a spacious hall or plate reverb with a decay time of 2-3 seconds and a moderate pre-delay (20-40ms) to enhance the sense of space without muddying the attack.
  • If your synth supports it, use voice panning or a unison mode with stereo spread to further enhance the width.
  • Listen carefully to the original track for subtle filter movements or changes in brightness within phrases.

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