Might As Well
The OB-Xa brass stack of the keyboard riff everyone knows from 1984, rebuilt out of the library: four sawtooths spread sixteen cents either side of the note, which is the instrument's two oscillators and its voice-to-voice detune taken together — the beating between them is most of the sound. They go through a four-pole low-pass sitting high and opened further on every stab, because the record is bright: measured against it, a tenth of the energy is above three kilohertz and there is no resonant peak anywhere in the midrange. Nothing is doubled an octave up; the octaves on the record are in the left hand, which is why this wants a voicing with a low root — C3 and G3 under the chord — rather than a fatter patch. Chorus and a small room behind the whole patch rather than one per key, because that is where they sat on the record: after the instrument, not inside it.
