If you could have any Genesis sound...

[duncanparsons]

...All of the sounds in the original studio take of Cinema Show. I realise that most of them can be created with more or less thought, depending on the patch.

Synth sounds on:
>Colony of Slippermen.
>Riding the scree.
>In that Quiet Earth/ Unquiet Slumber for the sleepers (esp the swung part).
>Solo in Musical Box

Guitar sounds on:
>Solo in Musical Box
>In the Cage (that kind of overchorused/ ultra tremolo)
>Apocalypse in 9/8 (I realise that part of that is the choice of voicing, but it's a great sound)

>The combined synth and guitar sounds used in that break in 'Ikhnaton And Itsacon And Their Band Of Merry Men' on Supper's Ready.

..I guess that should be enuff for now!

DSP

oh, and:
>Phil Collins Tambourine from the 'I know what I like' solo;
>and the bit where he forgot to come in during the intro of Supper's ready at the Rainbow in 1973 (the Jerusalem Boogie bit )

[mellotronaut]

There are some fantastic glitchy and blippy electronica sounds in Colony of SlipperMen and Doktor Dyper (from Lamb lies down) - tried replicating them myself before

Oh and the beautiful haunting synth sounds in Hairless heart

Eno was involved in 'Colony of Slippermen'.

[Sleep Distance]

I've always loved a lot of the sounds Genesis used. Some favorites:

• 1.) The swelling strings during the solo in Firth of Fifth. I think that's a readily available Mellotron sound though.
  2.) The choir in the middle and end of Los Endos. But this is also a readily available Mellotron sound.
  3.) The Moog Taurus bass in Afterglow. Readily available these days.

A few that I don't know are already available:

• 4.) The choir pad at the end of Afterglow. It doesn't quite sound like a Mellotron. I'm not sure what instrument that is. It's very pretty though. I'd like to have a sound like that available in my studio. I have Eleventh Earl of Mar playing now. It sounds like they use that sound in the dreamy part in the middle of that song too. I'm listening to Down and Out now. They have the same sound swelling in during the choruses.
  5.) The lush string pad in the intro and outro of All in a Mouse's Night.
  6.) The chimey sound that doubles the nylon string guitar in Blood on the Rooftops.
  7.) The little whistley sounding synth that comes in and out on Snowbound.
  8.) The shimmery, arpeggiated sounding pad in the choruses in Snowbound.

Any of those keyboard sounds would be cool, though I think #4 might be my favorite.

Other than keyboard sounds, and Amplitube 2 patch replicating the wierd guitar sounds that Hackett got in the live version of Los Endos from Seconds Out album would be cool.

[Reverend Rhythm]

I know it's clichéd but I like the pad on No Son of Mine. I know it's easy and simple, but I like it.

I like that one too. One of my favorite pads is the one that comes in halfway through Mama.

I agree. But I also like the 90s (commercial) Genesis, so I like the pads on the Invisible Touch and We can't Dance CDs. For all I know they are stock sounds from a Korg or Roland keyboards, but in the hands of Tony Banks.... e He can make a simple synth string pad into a thing of beauty.

[jsp1979]

I like the "swirly sounds" in two mid-era songs:

1) "Me and Sarah Jane"--The keyboard during the part with "First I'm flying going round and round..."
2) The part of Duke's Travels right before the reprise of Guide Vocal ("I am the one..")

How about the weird keyboards in "Whodunnit?" (I'm serious!)

I'd also really like to see how to program some of the cool drum machine beats they've used through the years (e.g. "Mama", Intro to "Me and Sarah Jane", "Duchess"). I've got samples from most of the machines they used, but often I can't quite figure out how to make the beat just right.

--JSP

[aMUSEd]

There are some fantastic glitchy and blippy electronica sounds in Colony of SlipperMen and Doktor Dyper (from Lamb lies down) - tried replicating them myself before

Oh and the beautiful haunting synth sounds in Hairless heart

Eno was involved in 'Colony of Slippermen'.

I know (also in Back in NYC)

[mellotronaut]

well, i have some 'Watcher ... ' sounds already . So, i'd like to have the electric guitar sound (Hackett) from the second part of 'After the Ordeal' (Selling England ... ) and the jazzy guitar (which almost sounds like a keyboard; not the fingered one, the picked one) in 'Aisle of Plenty'.
Lots of others ... .

m

[Paul Vicory]

Hmm.

Tony Banks -

Various organ sounds of interest:

"The Knife"
from the end of "The Musical Box"
solo from "Supper's Ready"
"In the Cage"
All of the organ sounds on "A Trick of the Tail"
"The 11th Earl of Mar"
"Afterglow"

Various Piano/Electric Piano:

"Return of the Giant Hogweed"
"Supper's Ready"
"Undertow"
"Duchess"

Various Mellotron sounds:

"The Fountain of Salmacis"
"Watcher of the Skies"
"Entangled"
"Blood on the Rooftops"

Various Synth tones:

"The Cinema Show"
solo(s) on "In the Cage, The Colony of Slipperman, Riding the Scree, it"
solo on "Robbery, Assault and Battery"
"Wot Gorilla?"
... In That Quiet Earth
"Down and Out"
"Duke's Travels"

Mike Rutherford

Bass Pedals on:

"Back in NYC", "Dance on a Volcano", "Squonk", "Los Endos", "Down in the Motherlode", "Man of our Times"

Bass Guitar:
"The Knife"
"The Lamb Lies Down on Broadway"
"Robbery Assault and Battery"
"The Lady Lies"

12 String:
all of them

non-12 String:
solo on "Burning Rope", "Cul de Sac", "Abacab", "Calling All Stations"

Steve Hackett:

pretty much every single tone, especially the solos on "The Musical Box, Return of the Giant Hogweed, The Fountain of Salmacis, Can-Utility and the Coastliners, Supper's Ready, Dancing with the Moonlit Knight, Firth of Fifth, Los Endos, The 11th Earl of Mar, One for the Vine, All in a Mouse's Night".

Phil Collins:

"The Lamb" era kit and "Duke", of course.

Peter Gabriel:

Flute from "Firth of Fifth", bass drum from "The Musical Box"

Anthony Phillips:

12 String on "Stagnation"
Lead on "The Knife"

Edit: forgot the Synthi sound from Steve on "Counting out Time", and the solo at the end of "Dance on a Volcano"

Another Edit:
Also every instrument on "Seven Stones" - just love that track.

[Diek]

There are a lot of good sounds that come to my mind when thinking on Genesis, but for me the Trade Marks are the Hammond and Mellotron pads (like in "Seven Stones"), the Rickenbaker bass, all the string thinguies and the guitar sound (like the solo at the end of "The Lamia")
All too general, but it's hard to choose

[cgnat]

If you are thinking of something along the lines of Amplitube Steve Hackett then count me in.

Ian

+1

[mellotronaut]

>and the bit where he forgot to come in during the intro of Supper's ready at the Rainbow in 1973 (the Jerusalem Boogie bit )

[Mikem]

I like the "swirly sounds" in two mid-era songs:

1) "Me and Sarah Jane"--The keyboard during the part with "First I'm flying going round and round..."

I was going to say that, dangit!!

[scuzzphut]

the solo from Dodo off Abacab

[Meffy]

This isn't Genesis per se*, but that sharp, clear, crystalline guitar (12-string?) in Anthony Philips' "The Geese and the Ghost." Right at 8:07 it's at its most fur-raisingly glittery. Less than three. Also right at 10:51 when everything kicks in. Glorious stuff that.

[edit: I'd also like a photo of the "Send Barns Orchestra and Barge Rabble conducted by Jeremy Gilbert" but that's another matter for another discussion. Also, I think maybe I'm hearing TWO twelve-string guitars, one played by Philips and one by Mike Rutherford. Whatever it is, I love it.]
_______________________________
* Closely connected with Genesis, at least one or two other Genesis members performed on that "solo" album IIRC.

[blatanville]

<flips over to Genesis playlist in iTunes for a quick audition...>

forgive me if these have been mentioned up-thread:

The Knife:
The distorted square-wavey bass sound

Land of Confusion:
Squelchy synth bass

The Domino:
Squelchy synth bass

there're many other synth sounds listed up-thread that I would echo, too.
mostly, I think they're clever layering and production, but analyzing them is beyond me I fear.

What I'd love to have bottled: the magic in Tony Banks's hands.