Tone Profile

A lush, melancholic, and atmospheric string pad, built upon a prominent orchestral sample, defining the song's iconic and emotive soundscape.

Signal Chain

Recording Notes

• The core sound is a looped 4-bar sample from the 1965 recording of 'The Last Time' by The Andrew Oldham Orchestra, arranged by David Whitaker.
• The Verve utilized an Akai sampler (likely an S1000 or S3000 model, common in the mid-90s) to trigger and manipulate this orchestral sample.
• The sample was pitched to fit the key of 'Bitter Sweet Symphony' (E major) and looped throughout the track.
• Extensive high-quality studio reverb, characteristic of units like the Lexicon 480L or Eventide H3000, was crucial for the spacious and atmospheric quality of the pads.
• Studio EQ was applied to shape the sample, helping it sit in the mix and enhancing its aged, slightly filtered string-like character.
• The track was co-produced by Youth (Martin Glover), known for his work with samplers and creating expansive, atmospheric textures in productions.

Recreation Tips

• If the original Andrew Oldham Orchestra sample isn't accessible, use high-quality orchestral string samples (e.g., from libraries like Spitfire Audio, EastWest, or Vienna Symphonic Library) or a synthesizer with rich, analog-style string patches.
• Program a slow attack (approx. 50-150ms) and a long release (approx. 2-4 seconds) on your sampler or synth envelope to achieve the sustained, pad-like quality.
• Apply a generous amount of high-quality hall or large plate reverb with a long decay time (typically 3-5 seconds). Blend the wet/dry signal carefully to maintain clarity while achieving depth.
• Use EQ to emulate the vintage character of the sample: a gentle high-frequency roll-off (e.g., a low-pass filter around 8-10kHz) and potentially a subtle boost in the low-mids (200-400Hz) for warmth, or a slight dip in the upper mids to reduce harshness.
• If recreating with synthesized strings, consider layering multiple patches (e.g., violins, violas, cellos) with slight detuning or panning differences for a fuller, more complex sound.
• Listen closely to the original track to replicate the specific melodic phrasing and rhythmic feel of the 4-bar loop. The sample is not just a static pad but has melodic movement.
• Subtle stereo chorus or a very short, diffused stereo delay can add width and movement, but use sparingly to avoid an overly processed or synthetic sound. The original relies more on reverb for space.

Recommended Gear

• Eventide Space Reverb Pedal(pedal)
• Warm Audio WA73-EQ (Single Channel British Mic Preamp + EQ)(preamp)
• Source Audio EQ2 Programmable Equalizer(pedal)