Homeshake, aka Peter Sagar, is a solo musician from Montreal known for RnB influenced indie-pop with a lo-fi, home-recorded aesthetic. Formerly Mac DeMarco’s live guitarist, Sagar uses cheap synthesizers and drum machines to accompany his guitar playing and soft vocal delivery; his newest album, 2017’s Fresh Air, expands upon his sound by incorporating adult-orientated rock into his palette. I’ll dive into his sound, analysing the equipment Homeshake uses to craft his sound and the way that he likes to choose and program his tracks.
Sonically, there’s a lot more of an electronic influence on the record – what about this genre made you want to dive into it on the album? One thing was that I was becoming disenchanted with the guitar a little bit as a writing tool, and I found the more instrumentation you allow yourself, the more texture and feeling you can convey through your music. I just needed something else to work with… And I found a good synthesizer for a good price on craigslist, so that helped. –Homeshake
Homeshake’s go-to pieces of equipment are a Korg Poly 61 and a Dave Smith Instruments Prophet 08. The Poly 61 was the successor to the Korg Polysix, and like the much more popular Roland Juno series, it used DCO’s for a sharp, bright sound. The Prophet 08 is a versatile modern polysynth capable of lush basses, mellow leads and super deep basses, it is commonly used by a variety of artists (Thom Yorke, James Blake, Sufjan Stevens) who appreciate it for it’s versatility.
I’ll use the software synth TAL U-NO-LX to emulate the Korg Poly 61 patches, as it’s an emulation of the similar Roland Juno. The Poly 61 didn’t have an onboard chorus effect, so none of the Homeshake patches will use the chorus effects section. A great software version of the Prophet is Arturia Prophet V, which is an emulation of an older Prophet synth, the Sequential Circuits Prophet-5, a legendary 1978 synth that the Prophet 08 is somewhat based upon.
Every Single Thing
Let’s start with creating the keys sound in Every Single Thing using TAL U-NO-LX, which will introduce some of the modulation elements involved in the Homeshake patches. The patch uses a single square wave oscillator, so turn off the saw and sub oscillators and turn on the square oscillator. If you’re using another synth then keep in mind that this sound utilises digitally controlled oscillators (DCOs) which are prone to less detune than analog oscillators.
Next we’ll adjust how the brightness of the sound changes over time, to make it sound more mellow and less static, which we’ll do by adjusting the filter (VCF) and envelope (ADSR) sections. Set both the HPF filter and VCF freq to around 4 to close the filters, then raise the VCF env to between 3 and 4 to start modulating the filter using the envelope. Now set up the envelope with a low sustain and very long decay (around 6/7) to create a fading envelope. Play a chord and you’ll hear the filter being controlled by this fading envelope.
Lastly we want to create a detuned effect, like the sound is going out of tune slightly every time we play a chord, which we’ll do using the synths LFO modulation. In the LFO section set the trigger mode to sync and the delay time to 1/1; this will keep the LFO in time with our DAW’s tempo. Also click the INV button in the LFO section which willmake the oscillators go flat, rather than sharp. Apply this LFO to our DCO’s tuning with the LFO fader under the DCO section, at the top-left of the interface. Raise it to a setting between 1 & 2 to keep it subtle, as extreme settings will make the synth sound nauseatingly out-of-tune.
- Every Single Thing Keys 00:00
- Every Single Thing Full 00:00
- Wrapping Up Keys 00:00
- Wrapping Up Full 00:00
The thick sounding keys track in Heat was likely recorded on the Prophet 08, utilising its polysynth capabilities to make an otherwise simple patch sound much richer. Start with the basic template Pro5 2 Osc and lower the fine-tuning of oscillator B to 1%. Lower the filter cutoff to halfway and raise the resonance to the 10 o’clock mark. Run this patch through sparing amounts of medium-sized hall reverb to make the patch sound less dry. Check out the full beat using a Prophet bass patch and another drum machine sample kit.
- Heat Synth 00:00
- Heat Full 00:00
Under The Sheet
Under The Sheets features a particularly complex patch that takes advantage of some of the Prophet synths advanced capabilities. Start with the Pro5 2 Osc template and set up the oscillator A with an octave up (+12) square wave, and oscillator B with a saw and square with the fine tuning set to 33% and PW (pulse-width) to the 8 o’clock mark. This will give you a really rich sounding base to start from.
Now lower the cutoff to 9 o’clock and raise the env amt to 3 o’clock to start modulating the filter. Set the envelope with no attack or sustain, decay at 2 o’clock and release at 12 o’clock. This produces a sharp decay that together with the rich sound gives you a metallic plucking effect. Use reverb to make it sound less dry and you’ve got a killer synth patch.
- Under the Sheet Synth 00:00
Call Me Up
This song has a clear 90s soul vibe to it, and the choice of synth patches and drum machine sound are largely responsible. The mellow lead is another Prophet patch, this time just using a single sawtooth oscillator (one oscillator sounds mellower and thinner than multiple detuned oscillators) and another envelope modulated filter, this time with the cutoff at 9 o’clock and the env amt at 11 o’clock.
Set the filter envelope with a medium attack, long decay, low sustain and medium release, check the screenshot below for the exact envelope settings I found sounded closest to Call Me Up. When playing this patch pay attention to the different sound between long notes and short, punchy notes. Experiment with the filter envelope settings to see the different effects you can get, especially with the relationship between the attack and decay portions of the sound.
- Call Me Up Lead 00:00
For the pad chords, we’re going to turn to the Roland D-50. Billed a ‘Linear Synthesizer’, the D-50 was a powerful digital synth that was released as an easier-to-program competitor to the Yamaha DX7, and like the DX7 was capable of rich, complex sounds. It featured a joystick for easy sound manipulation and was the first synth to feature onboard reverb.
Roland D50’s are still relatively inexpensive to find second-hand, and Roland have also released a smaller boutique version, the Roland D-05, as well as a software version that uses samples on their Roland Cloud service. Listen to the Call Me Up chords on the Roland Cloud D-50, with the preset Flute-Piano Duo. Check the D-50 sound and the full arrangement using my Fender P-Bass and another sampled Roland 808 drum kit.
- Call Me Up Pad 00:00
- Call Me Up Full 00:00