Hi, I need to know how to get the exact detuned sound in the intro and verse from this Peter Gabriel song:

I believe it was played and engineered by Brian Eno, who famously (?) once said in an interview he just uses Logic Pro stock plugins for most of his electronic sounds....

From Wikipedia: "The track also features Brian Eno, who previously worked with Gabriel on 1992's Us.[7] Gabriel believed that Eno's synthesisers sounded like electric worms and felt that they "would make a great three dimensional wall paper of sound", so Gabriel asked Eno to create eleven additional similar-sounding parts."

Thanks for the help!

 

Spoiler: Source: ChatGPT KI

The detuned keyboard sound in the intro and verse of Peter Gabriel's song (the specific song isn't named in your query, but the context matches Gabriel's collaborations with Brian Eno) is most likely achieved using a combination of detuned synthesizers and processing. Brian Eno, who contributed to several Gabriel recordings, is known for his distinctive "wallpaper of sound" approach and use of layered, detuned synth patches1.

For Gabriel's albums like "So", the primary synths used included:

• Yamaha CP-80 electric grand piano
  
  
• Sequential Circuits Prophet-5
  
  
• Fairlight CMI
  
  
• Occasionally the Yamaha CS-805
  

The detuned effect is typically achieved by:

• Layering multiple synth patches with slight pitch differences (detuning).
  
  
• Adding chorus or subtle modulation effects to emphasize the “wobbly” or “detuned” characteristic.
  
  
• Possibly manipulating microtunings, envelopes, and additional filtering.
  

Brian Eno's production style frequently relies on such techniques, and in interviews, he has mentioned being comfortable with stock plugins (i.e., using Logic Pro’s built-ins in later years), though in the eras of classic Gabriel albums, he would have employed hardware synths and analog effects.

To recreate the sound:

• Start with a pad or electric piano patch on a synth with at least two oscillators.
  
  
• Detune the oscillators by a few cents in opposite directions.
  
  
• Add chorus/modulation and subtle delay.
  
  
• Experiment with layering different timbres, imitating the “electric worms” quality Gabriel references on Wikipedia.
  

The consensus is that much of the magic comes from detuning and creative layering, not a specific preset or plugin. If you're working in Logic Pro (or any modern DAW), similar results can be achieved with its stock synths (such as ES2 or Alchemy) and effects, following the detuning and modulation recipe outlined15.

If you specify the exact Peter Gabriel track or album, I can try to identify the precise synth/patch used for that session and any further engineering details.

Spoiler: Source: Grok KI

To recreate the detuned keyboard sound from the intro and verse of Peter Gabriel’s song “Four Kinds of Horses” from the album I/O (2023), which features Brian Eno’s contributions, we’ll focus on replicating the “electric worms” synthesizer texture using Logic Pro stock plugins, as you’ve referenced Eno’s preference for these tools. Since you didn’t provide a specific link to the song, I’m assuming you’re referring to “Four Kinds of Horses” based on the Wikipedia quote about Eno’s involvement and the described synthesizer sound. If you meant a different song, please clarify, and I can adjust the response.

Understanding the Sound
The “electric worms” sound, as described by Gabriel, is a layered, evolving, detuned synthesizer texture that creates an atmospheric, almost three-dimensional effect. Based on the I/O album credits, Eno contributed synths, rhythm programming, and “electric worms” specifically for “Four Kinds of Horses.” The sound likely features detuning to create a shimmering, unstable quality, possibly with modulation effects like chorus, reverb, or delay to enhance the spatial, writhing texture. Eno’s known approach, as you noted, often involves Logic Pro stock plugins, which aligns with his use of Apple Logic Pro and minimal external gear for albums like Another Day on Earth.

Recreating the Sound in Logic Pro
Here’s a step-by-step guide to achieve a similar detuned, atmospheric synthesizer sound using Logic Pro’s stock plugins, focusing on the ES2 synthesizer (a versatile Logic plugin Eno likely used) and effects to mimic the “electric worms” texture:

1. Set Up the ES2 Synthesizer:
   • Open Logic Pro: Create a new software instrument track and load the ES2 synthesizer.
   • Waveform Selection: Start with a basic waveform like a sine wave or a triangle wave for Oscillator 1 and Oscillator 2 to create a soft, organic tone. The “electric worms” sound suggests a smooth, writhing quality, so avoid harsh sawtooth waves initially.
   • Detuning:
     • In the ES2, set Oscillator 1 to a sine wave and Oscillator 2 to a slightly detuned sine or triangle wave. Adjust the Fine Tune knob on Oscillator 2 by +5 to +10 cents to create a subtle detuning effect, giving that shimmering, unstable quality.
     • Optionally, add Oscillator 3 with a similar waveform, detuned by -5 to -10 cents, to thicken the texture. This mimics Eno’s layered approach with “eleven additional similar-sounding parts.”
   • Mix Balance: In the ES2’s triangle mixer (center of the interface), balance the oscillators so Oscillator 1 is dominant (e.g., 60%), with Oscillators 2 and 3 contributing less (e.g., 20% each) to create a cohesive but slightly chaotic sound.
2. Add Modulation for Movement:
   • LFO Modulation: Use an LFO in the ES2’s modulation matrix to add subtle pitch or filter modulation. Route LFO 1 to the Pitch 1+2 destination with a low intensity (e.g., 0.1–0.3) and set the LFO rate to a slow value (e.g., 0.5 Hz) to create a gentle, writhing motion like “electric worms.”
   • Filter Modulation: Apply a low-pass filter in the ES2 with a moderate cutoff (e.g., 800 Hz) and slight resonance (e.g., 0.2). Route LFO 2 to the filter cutoff for a subtle sweeping effect, enhancing the evolving texture.
3. Apply Stock Effects for Spatial Depth:
   • Chorus: Insert the Chorus plugin to enhance the detuned, shimmering quality. Set a low rate (e.g., 0.2 Hz) and depth (e.g., 20%) to widen the sound without overpowering it.
   • Reverb: Add Space Designer or Chromaverb with a medium hall setting (e.g., 2–3 seconds decay). Adjust the wet/dry mix to ~30% to create a spacious, atmospheric backdrop, as Eno often uses reverb to make sounds feel immersive.
   • Delay: Use the Tape Delay plugin for subtle echoes. Set a short delay time (e.g., 1/8 note synced to tempo) and low feedback (e.g., 20%) to add rhythmic interest without cluttering the sound.
   • Pitch Shifter (Optional): For extra “wobble,” insert the Pitch Shifter plugin and detune one channel slightly (e.g., +2 cents on left, -2 cents on right) to enhance the stereo spread and detuned effect.
4. Layering for the “Three-Dimensional Wallpaper”:
   • To replicate Eno’s “eleven additional parts,” duplicate the ES2 track multiple times (e.g., 3–5 tracks for practicality). On each duplicate:
     • Slightly vary the detuning (e.g., +7 cents on one, -3 cents on another).
     • Adjust the LFO rates or filter settings slightly to create phase differences.
     • Pan each track differently (e.g., one hard left, one center, one hard right) to achieve the “three-dimensional” effect Gabriel described.
   • Lower the volume of each layer so the combined sound remains balanced and not overly loud.
5. Processing for Warmth and Texture:
   • EQ Eight: Insert an EQ Eight to roll off high frequencies above 8 kHz for warmth and cut low frequencies below 100 Hz to avoid muddiness.
   • Compressor: Add a Compressor with a light ratio (e.g., 2:1) and moderate threshold to glue the layers together.
   • Tape Saturation: Use the Vintage Warmer (or Logic’s Tape Delay with no delay) to add analog-style warmth, reflecting Eno’s occasional use of tape-based processing.
6. Automation for Evolution:
   • Automate the filter cutoff, LFO rate, or reverb wet/dry mix over time to make the sound evolve, mimicking the dynamic, living quality of “electric worms.” For example, slowly increase the filter cutoff during the verse to brighten the sound gradually.

Tips for Authenticity

• Eno’s Philosophy: Eno often emphasizes simplicity and happy accidents. Keep plugin settings minimal and experiment with slight imperfections, like uneven detuning or subtle LFO desync, to capture his organic approach.
• Reference the Track: Listen to “Four Kinds of Horses” (available on streaming platforms or Gabriel’s website) to fine-tune parameters. Focus on the intro and verse, where the detuned synths are prominent.
• Logic Pro Stock Plugins: Eno’s claim of using Logic Pro stock plugins is consistent with his setup for albums like Someday World and Another Day on Earth, where he relied heavily on Logic’s ES2, Sculpture, and effects like Chorus and Reverb.

Notes on Eno’s Engineering Techniques
While Eno contributed synths and programming, the I/O album was primarily engineered by Katie May and Oli Jacobs at Real World Studios, with additional production by Richard Russell. Eno’s role was likely focused on creating the synth parts rather than engineering the final mix, which was handled by professionals like Hans-Martin Buff for the Dolby Atmos “In-Side Mix.” However, his use of Logic Pro stock plugins aligns with his minimalist, computer-based workflow, often involving layering and subtle processing to create complex textures from simple tools.

If You Need Further Help

• Specific Song Confirmation: If you meant a different Peter Gabriel song (e.g., from Us or another collaboration with Eno), please provide the title or a link, and I can tailor the instructions further.
• Sound Example: If you have access to the song, upload a short clip (if possible) for more precise analysis of the sound.
• Gear Clarification: While Eno used a Yamaha DX7 and EMS Synthi AKS in earlier works (e.g., Apollo or Dune), I/O’s production leaned on Logic Pro, so the ES2 is a safe bet. If you suspect a specific synth (e.g., Prophet 5 or CS-80), let me know, and I can adjust the approach.

Try these settings in Logic Pro, and tweak while referencing the track to get as close as possible to that “electric worms” vibe. Let me know if you need a deeper dive into any step!

 

The song in question is from May 2023. It has nothing to do with the albums "Us" or "So". They are from 20+ years before this song. The album it is on is I/O.

 

they're is a lot going on in there...Intro: the pounding rythmic delayed beat (sounds like a reeeeeeaaallly slowed down shakers maybe, Intro Pads melody (looped octaved sequence in higher register, the bass notes is more like a drone and the top is the melody), guitar, Then it changes completely to something else @ 13 seconds with Levin's bass, distorted guitar, and the bouncing fast arppegieted high register melody with string-bell like that get detune (at least one "synthetic string" retrigger a decreasing fast detune..), guess it's that last sound your talking about ?

Edit: sorry for the bad wording, me mama not english speaking

 

Last edited: Aug 1, 2025

To find out, you could start with a flanger with high feedback settings.

 

you'll never know for sure unless you ask Brian, it could be anything even a sample from Logic default library or Synplant resynthesised synth from Gabriel collection

some various pitched and panned sample

 

Aren't you tired falling into the same AI trap over and over, enough of that nonsense please

 

I'm actually sick of AI bearing the brunt of the blame for a user who does not even read their own comments before clicking "post reply". If you click More Options button on this forum, there is even an option to Preview Reply. If the answers were correct, where the information comes from or its format would not bother me any more than if it was from Google or from Wikipedia. It's so blatantly incorrect it is obviously not any effort whatsoever. Garbage in, Garbage out. That is not the fault of any AI. It's not perfect or infallible, but none of this is the little details it may get wrong. Don't blame the computer for your output; just like music.

 

agreed, tools should be in right hands
Hand searching is always better: in case of using Google or Wikipedia you at least do some work reading checking the data for accuracy, not just blindly copy the result AI spits at you

 

I agree.

 

yes it's that last sound. To my ears it's a high-pitched and detuned piano with some flanger or chorus.

 

I agree, it could be anything... but it's driving me crazy. I would even ask Eno by email but I'm sure Id be ignored...

 

You should email and ask, you might be surprised; he loves explaining and educating people

 

The idea of it is a bit intimidating... Wrote to Jerskin Fendrix to ask something similar about one of his Winterreise song and he never replied back... Do you really think Eno would reply? I'll try

 

LFOed ring modulator on square waveform.