The 53 minute mark.
If I can get close I may have a reason to keep the A4. 
Help 
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Eesh, it’s beautiful isn’t it?! I love Nils with his Juno!
You’ll be able to do an approximation, but unfortunately, a Juno 60 going through proper tape delay is about as gloriously analog as it gets… And the A4 really won’t get that close in my opinion. But it depends how close you want to get I guess. I imagine the A4 brigade will vociferously tell you it can be done!
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great word
sounds bloody lovely!
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I’ve got clouds and Echophon ready to accept some A4 sounds. Come on let’s figure this out
Tonnes of Reverb.
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Yeah, this is one of the weird fallacies that happens all the time on forums…
Artist has Synth XYZ, plays great sounds, actual signal flow is something like Synth XYZ --> 4 pedals --> 3 studio rack effects --> huge speakers in an awesome hall recorded in multiple mic positions by professionals… and the bedroom producer goes “Synth XYZ must be magical!”
Well, it’s not. I’d wager what specific type of sawtooth is playing in that piece makes no difference whatsoever.
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Because then there is an excuse to buy one.
Digging my A4 out of its box to have a play.
Echophon to stand in for the RE501. Clouds for smeary shimmer thing going on in the background.
Altiverb+ir of royal albert hall.
The synth patch itself doesn’t sound too complicated. I can’t tell you what waveform it is exactly but it doesn’t sound difficult to emulate.
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I’m confused… Nils’ Juno 60 sounds great through two tape delays, eighteen pedals and god knows what else in the mix buss, so “HEY! I should keep my analog four!”
what am I missing…?
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Well, if you have an A4, you may as well use it.
The other extreme is “sell it”, but then you’ll be further away from the Juno '60, tape delays, fancy desk, and undisclosed outboard because you won’t have any synths. The price a 2nd hand A4 goes for might get you half a channel strip.
I’ve not got on with the A4. At all. It’s my only hardware synth. I was about to sell it. Then I thought, what if it could do these types of sounds? That would give me a reason to keep it.
All I can get out of it is thin sounding IDM techno sounds. Nothing warm and fluffy. The video I shared was to give an idea.
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gotcha. I was just confused how you were making that relation. I didn’t see one in his setup in the video, nor in any quick googles of it.
regarding the A4… I just read that Luke Abbott used it on every track of his latest (among other synths, but not many):
he’s not the same as Nils. but maybe it’ll give you some inspiration. oh and I read about it here:
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I did try to dial in that very “Says”-tone on my A4 when I had it, and I also sequenced all the arpeggios used in it. I loooove that track (and Nils Frahms music in general).
The tone I got wasn’t as juicy, but it was close enough for friday fun.
Don’t remember the exact settings, but something like this:
One saw, one pulse, equal volume. No detuning. Set amp and filter envelopes the same: Zero attack, short decay, sustain at 20-30%, release a good bit longer that the decay.
Now turn filter cutoff reeeeealy low (so you can barely hear the sound), and increase the filter env amount to taste.
BPM 113, arp set to “up” over two octaves and 8th notes.
Start the arp with C4 - G4 - Eb5.
Add dotted eights delay and gobs of long reverb.
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Thank you. I have it close. I can’t try now but tomorrow I’ll play piano over it.
Amazing, thank you.
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I m no Nils Frahm but I don t care when I jam on my my Circuit Mono Station and H9 pedal: