So good.
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For the core sound you can’t go wrong with a Prophet. The key for these stabs, especially in example 2 is you need to dial in the attack. It needs to be a little slow. So you want to start with 1 saw OSC, a minor triad and just dial in the envelopes for the amp and also the filter. That is really the art of the base sound. Then you can see how close you get just with that oscillator. Once you have a similar sound you can then possibly add osc 2, and mess with that level and see how a square sounds.
But for the base sound, you want to spend a lot of time on those steps.
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Thank you for mentioning this album. Had a listen for a few minutes and it really grabbed me. Can’t wait to listen to the entire album on headphones!
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If we want to get super nerdy, I know they used a Vermona e2010 a lot. Live, I’ve seen Moritz use a Prophet 5, Moog Prodigy, a weird Vestax DDG-1 delay, Vermona DRM1, EHX HolyGrail and Electric Mistress flanger, and a Boss RV5. Sorry. Kinda obsessed.
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Do you maybe know how the MOD FM compares to TWIST FM?
Nice…
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ahh so it was a graphic eq! I seem to recall messing around with a beatloop and a graphic eq way back when, and thinking to myself how it sounded a bit like BC stuff at times. Some of the phase shifts a graphic eq can create are nuts
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Add chorus and phaser for movement.
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Name the synth. 
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was it anyone here who just bought the one reasonably priced e2010 on reverb 
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Quite a bit it seems to me. Twist is based on OPL3 chips, different filter and voicing, different modulation architecture, a pretty good sequencer, and stereo out. ModFM has different filter and voicing, CV, and 8 separate outputs. Ideally, I will get both. As I already have a MegaFM mk1 and blast beats, I’m going to get the ModFM first.
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Wow. Didn’t know about their use of the Vermona, only the Speck and Moog EQ.
Here I’ve got two Sonicake eq pedals for each channel coming out of the megaFM. Thinking of picking more up for each mono instrument, and the Boss stereo graphic EQ for stereo.
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I love Basic Channel, and I’ve spent countless hours obsessing over their tracks and their sound.
I have a Speck Model EQ16, which was part of the modular Speck console that they used for many years. While it’s a great and very musical sounding EQ, I don’t think this or any other specific piece of gear is necessary to achieve that sound.
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If I find a decent price on that I’ll likely pick one up but I totally get what you’re saying.
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Well said, while we’re on the topic, I notice you have an analog heat there, I remember trying to get the kind of analogue filter saturation on chords we’re talking about but it never worked well with AH as it was adding distortion then filtering the distortion down, as opposed to the distortion coming from the filter itself. Is that a thing or am I just talking nonsense?
I actually have a saved search on eBay, but they rarely pop up. Moritz sold his studio a few years and it was mostly Speck modules @Nils mentioned above. They pushed the living hell out of them. I second like @insect trick of using a slow phaser/flanger on the “hiss”. You can really hear it on “Smile” on their S/T. They also “live” filtered each delay repeat. I bet it took them days just on the repeats alone! Crazy Moritz started out as an in house producer at Tresor. I dunno if a day goes by I don’t listen to them.
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I understand the question, but I haven’t tried to achieve what you’re asking for specifically. I guess since a lot of the focus of the AH is on the distortion section itself, it’s easy to overlook the option to drive its filters into saturation.
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Dub techno for rainy summer days
EDIT: SC definitely ruins the sound.
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He started out as the percussionist in Palais Schaumburg. 
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What up.
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