DeepMind's DCO/4-pole path is the closest Juno analogue here, but its filter is not the Juno IR3109 and its onboard FX engine is not exposed in this spec, so chorus comes from the JUNE-60 pedal. The ENVELOPES sliders are the panel's shared set: apply the same ADSR to both the VCA and VCF envelopes. Play in mono/legato (voice mode not in spec). All values are inferred; research confidence is low (39).
21 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer DeepMind 12 · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
DeepMind's DCO/4-pole path is the closest Juno analogue here, but its filter is not the Juno IR3109 and its onboard FX engine is not exposed in this spec, so chorus comes from the JUNE-60 pedal. The ENVELOPES sliders are the panel's shared set: apply the same ADSR to both the VCA and VCF envelopes. Play in mono/legato (voice mode not in spec). All values are inferred; research confidence is low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer DeepMind 12
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
VCO saw is brighter and less stable than a Juno DCO; the ladder filter is heavier than the Juno's. Internal FX left off so the JUNE-60 pedal supplies chorus. Brute Factor kept at 0 to avoid grit. All values inferred; research confidence low (39).
32 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Arturia MatrixBrute · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
VCO saw is brighter and less stable than a Juno DCO; the ladder filter is heavier than the Juno's. Internal FX left off so the JUNE-60 pedal supplies chorus. Brute Factor kept at 0 to avoid grit. All values inferred; research confidence low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Arturia MatrixBrute
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
The MS-20's 12 dB/oct filter is rawer and less smooth than the Juno's 24 dB filter, and EG2 is shared between filter and amp, so both follow one ADSR. No onboard chorus: the JUNE-60 pedal supplies it. All values inferred; research confidence low (39).
17 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Korg MS-20 Mini · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The MS-20's 12 dB/oct filter is rawer and less smooth than the Juno's 24 dB filter, and EG2 is shared between filter and amp, so both follow one ADSR. No onboard chorus: the JUNE-60 pedal supplies it. All values inferred; research confidence low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Korg MS-20 Mini
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Neutron's shape knob morphs continuously, so the saw position (~50%) needs checking by ear. Its 12 dB multimode filter and VCO character differ from the Juno. Envelope depth is bipolar (50% = none). Onboard delay and overdrive are off; the pedals supply chorus, delay and reverb. All values inferred; research confidence low (39).
22 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer Neutron · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Neutron's shape knob morphs continuously, so the saw position (~50%) needs checking by ear. Its 12 dB multimode filter and VCO character differ from the Juno. Envelope depth is bipolar (50% = none). Onboard delay and overdrive are off; the pedals supply chorus, delay and reverb. All values inferred; research confidence low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer Neutron
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Prologue's 2-pole filter is gentler than the Juno's 4-pole, so the tone is slightly brighter and less rounded. EG INT is bipolar (50% = none). Onboard mod and delay/reverb are off so the pedal chain supplies chorus, delay and reverb. All values inferred; research confidence low (39).
27 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Korg Prologue 8 · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Prologue's 2-pole filter is gentler than the Juno's 4-pole, so the tone is slightly brighter and less rounded. EG INT is bipolar (50% = none). Onboard mod and delay/reverb are off so the pedal chain supplies chorus, delay and reverb. All values inferred; research confidence low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Korg Prologue 8
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
The UB-Xa's Oberheim VCOs and filter are thicker and brassier than a Juno DCO; voice detune is kept at 0 to stay close to a single clean saw. OSC 2 is removed from the filter route. Play mono/legato. The pedals supply chorus, delay and reverb. All values inferred; research confidence low (39).
24 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer UB-Xa · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, …
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The UB-Xa's Oberheim VCOs and filter are thicker and brassier than a Juno DCO; voice detune is kept at 0 to stay close to a single clean saw. OSC 2 is removed from the filter route. Play mono/legato. The pedals supply chorus, delay and reverb. All values inferred; research confidence low (39).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer UB-Xa
Revision 1 · source version: juno60
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Two reconstructions add delay (Flypaper, Synth Ctrl); kept low under the reverb, tapped to song tempo. Settings inferred.
11 saved controls · — means no saved value
Meraki Stereo Analog Delay
FEEDBACK L
25%
MIX
18%
FEEDBACK R
30%
MOD
10%
TIME
40%
TONE
45%
DIV L
dotted 1/8
FEEDBACK PATH
PP
MOD // TIME
SYNC
DIV R
1/4
BYPASS
OFF
TAP/OSC
—
Internal Feedback Trim
LEFT
—
RIGHT
—
Scroll →
Why use this reverb?
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
Every source hears a prominent reverb: load a plate-style reverb algorithm and use the Hotknob as mix. Algorithm selection is not in the spec; inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
35%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
No FM on the DeepMind panel in this spec; hard sync approximates the piercing, inharmonic edge but not true DX7 operator FM. No algorithm or ratios are documented anywhere. Shared ENVELOPES sliders apply to VCA and VCF. Research confidence for this reading: 25 (single hedged source).
19 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer DeepMind 12 · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
No FM on the DeepMind panel in this spec; hard sync approximates the piercing, inharmonic edge but not true DX7 operator FM. No algorithm or ratios are documented anywhere. Shared ENVELOPES sliders apply to VCA and VCF. Research confidence for this reading: 25 (single hedged source).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer DeepMind 12 · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Analog through-zero-less FM (VCO1 > VCO2) drifts and is less precise than DX7 digital operators; the 2:1 ratio and index are guesses, since no algorithm or ratios are documented. Internal FX off; pedals supply reverb and delay. Research confidence for this reading: 25.
33 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Arturia MatrixBrute · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Analog through-zero-less FM (VCO1 > VCO2) drifts and is less precise than DX7 digital operators; the 2:1 ratio and index are guesses, since no algorithm or ratios are documented. Internal FX off; pedals supply reverb and delay. Research confidence for this reading: 25.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Arturia MatrixBrute · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The MS-20 has no FM between VCOs in this spec; ring modulation stands in for FM sidebands and sounds clangier. Shared EG2 drives filter and amp. No algorithm or ratios are documented. Research confidence for this reading: 25.
18 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Korg MS-20 Mini · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The MS-20 has no FM between VCOs in this spec; ring modulation stands in for FM sidebands and sounds clangier. Shared EG2 drives filter and amp. No algorithm or ratios are documented. Research confidence for this reading: 25.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg MS-20 Mini · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Neutron FM would need patch-bay cables; the panel-only map uses hard sync as a stand-in, which gives edge but not true operator FM. No algorithm or ratios are documented. Research confidence for this reading: 25.
22 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer Neutron · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Neutron FM would need patch-bay cables; the panel-only map uses hard sync as a stand-in, which gives edge but not true operator FM. No algorithm or ratios are documented. Research confidence for this reading: 25.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer Neutron · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
VPM is 2-operator phase modulation, simpler than a 6-operator DX7; the VPM type and shape positions are guesses, since no algorithm or ratios are documented. Onboard FX off; pedals supply reverb and delay. Research confidence for this reading: 25.
28 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Korg Prologue 8 · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
VPM is 2-operator phase modulation, simpler than a 6-operator DX7; the VPM type and shape positions are guesses, since no algorithm or ratios are documented. Onboard FX off; pedals supply reverb and delay. Research confidence for this reading: 25.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg Prologue 8 · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The UB-Xa has no oscillator FM on this panel; hard sync supplies a piercing edge but not DX7 operator FM. No algorithm or ratios are documented. Research confidence for this reading: 25.
24 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Behringer UB-Xa · DX7-style FM lead (Loopcloud) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
The UB-Xa has no oscillator FM on this panel; hard sync supplies a piercing edge but not DX7 operator FM. No algorithm or ratios are documented. Research confidence for this reading: 25.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer UB-Xa · dx7-fm
Revision 1 · source version: dx7-fm
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Follows Flypaper's envelope (no sustain); Synth Ctrl's 40% sustain / 1.2 s decay is the disputed alternative. The DeepMind ENVELOPES sliders are shared, so the filter envelope's near-full sustain from Flypaper can't be set independently here. OSC2 +12 pitch position (~62%) should be checked by ear. Research confidence for this reading: 10 (mixed).
19 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Follows Flypaper's envelope (no sustain); Synth Ctrl's 40% sustain / 1.2 s decay is the disputed alternative. The DeepMind ENVELOPES sliders are shared, so the filter envelope's near-full sustain from Flypaper can't be set independently here. OSC2 +12 pitch position (~62%) should be checked by ear. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
A monosynth can't do Flypaper's 4-voice unison; the detuned VCO2 and chorus II stand in for it. The VCF2 12/24 dB toggle is left OFF on the assumption that OFF = 12 dB; check on the panel. Envelope follows Flypaper; Synth Ctrl's 40% sustain is the disputed alternative. Research confidence for this reading: 10 (mixed).
34 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
A monosynth can't do Flypaper's 4-voice unison; the detuned VCO2 and chorus II stand in for it. The VCF2 12/24 dB toggle is left OFF on the assumption that OFF = 12 dB; check on the panel. Envelope follows Flypaper; Synth Ctrl's 40% sustain is the disputed alternative. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Arturia MatrixBrute · sw-recon
Revision 1 · source version: sw-recon
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
No unison on a monosynth; VCO2 detune and chorus II stand in for it. Shared EG2 means the filter also gets the no-sustain shape rather than Flypaper's near-full filter sustain, so notes darken as they decay. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
18 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Korg MS-20 Mini · Detuned saw subtractive rebuilds (Flypaper, Synth Ctrl) · Single notes · 4/4
Listen for clear attacks, consistent note levels and the release at each gap.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
No unison on a monosynth; VCO2 detune and chorus II stand in for it. Shared EG2 means the filter also gets the no-sustain shape rather than Flypaper's near-full filter sustain, so notes darken as they decay. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg MS-20 Mini · sw-recon
Revision 1 · source version: sw-recon
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
No unison on the Neutron; OSC2 and chorus II stand in for it. Shape positions (saw ~50%, pulse ~85%) and the +12 tune position (~75%) must be checked by ear. Onboard overdrive adds Flypaper-style drive. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
23 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
No unison on the Neutron; OSC2 and chorus II stand in for it. Shape positions (saw ~50%, pulse ~85%) and the +12 tune position (~75%) must be checked by ear. Onboard overdrive adds Flypaper-style drive. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer Neutron · sw-recon
Revision 1 · source version: sw-recon
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Prologue unison and its 2-pole (12 dB) filter with drive match Flypaper's recipe closely. Unison detune depth (voice mode depth 30%) and pulse width are set by ear. Envelope follows Flypaper; Synth Ctrl's 40% sustain / 1.2 s decay is the disputed alternative. Research confidence for this reading: 10 (mixed).
31 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Prologue unison and its 2-pole (12 dB) filter with drive match Flypaper's recipe closely. Unison detune depth (voice mode depth 30%) and pulse width are set by ear. Envelope follows Flypaper; Synth Ctrl's 40% sustain / 1.2 s decay is the disputed alternative. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg Prologue 8 · sw-recon
Revision 1 · source version: sw-recon
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
UB-Xa unison (voices ~25% ≈ 4 voices) with voice detune approximates Flypaper's 4-voice unison. The OSC2 +1 octave frequency position (~75%) and pulse width are set by ear. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
27 saved controls · — means no saved value
Demo this preset
Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.
Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.
Why this preset? Sources, design & revisions
Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.
01
The reference
Retrieved sources · scope below
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Released Nov 2019 on *After Hours*; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
UB-Xa unison (voices ~25% ≈ 4 voices) with voice detune approximates Flypaper's 4-voice unison. The OSC2 +1 octave frequency position (~75%) and pulse width are set by ear. Envelope follows Flypaper; Synth Ctrl's 40% sustain is disputed. Research confidence for this reading: 10 (mixed).
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.
Research & revision history · 3 saved events
Updates
The saved research and rendition history.
Re-researched
No write-up sections changed.
Research: 39/100 → 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer UB-Xa · sw-recon
Revision 1 · source version: sw-recon
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Full saved write-up
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Flypaper uses an EMT 140 plate send and Synth Ctrl heavy reverb: load a plate algorithm, Hotknob as mix. Inferred.
2 saved controls · — means no saved value
Eventide H9 Max (#1)
HOTKNOB
40%
ENCODER
—
PARAM 1
—
PARAM 2
—
PARAM 3
—
PARAM 4
—
PARAM 5
—
ACTIVE
ON
HOT SWITCH
—
TAP
—
Scroll →
Saved settings outside this route
dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Notes
Studio collection · lead
Inferred reconstruction: bright Juno-60-style sawtooth lead, open filter, fast attack, generous reverb. The original studio instrument is unconfirmed; the Juno-60 is seen only in live footage.
Primary choice: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Panel view: Simple shows the sound core, Used every section used in this sound, Full the whole panel.
Primary · Roland Juno-60 saw lead (Google Arts & Culture, MusicRadar)
Research confidence: 39/100 · low
Instrument is a Roland Juno-60 (live footage; magazine consensus), vs DX7/FM in dx7_fm and unspecified software in sw_recon
Single sawtooth-based analog voice, filter mostly open, sharp attack; no unison detune or second-oscillator layering asserted (vs sw_recon)
Subtractive, not FM (vs dx7_fm)
Chain A: DeepMind 12 — Lush Pads & Strings: for Behringer DeepMind 12 · Arturia MatrixBrute · Korg MS-20 Mini · Behringer Neutron · Korg Prologue 8 · Behringer UB-Xa. Saved devices outside the active scope: dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Research & sound notesRead the write-up +
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two tier-3 sources name the Juno-60; one describes a sawtooth, mostly open filter and sharp attack. The Juno evidence is a live performance, which does not prove the studio take used it.
Inferred patch (not documented): DCO saw (pulse optional), sub off, HPF 0–1, VCF cutoff high with low resonance, slight env→VCF, ENV attack ~0, decay medium, sustain mid, release short; chorus I possible.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Piercing FM/DX7-like timbre rather than an analog saw (vs juno60, sw_recon)
No specific hardware sourced; contradicts the Juno-60 identification
Chain A: DeepMind 12 — Lush Pads & Strings: for Behringer DeepMind 12 · Arturia MatrixBrute · Korg MS-20 Mini · Behringer Neutron · Korg Prologue 8 · Behringer UB-Xa. Saved devices outside the active scope: dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Research & sound notesRead the write-up +
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
One source (Loopcloud; Beatportal is the same origin) hears the lead as 'suspiciously DX7-like'. It is hedged, and contradicts the two Juno-60 sources. Inferred: bright bell/brass FM lead with fast attack; no algorithm or ratios documented anywhere.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Detuned/unison saw plus a second oscillator (pulse +1 oct, or square sub), vs a single saw in juno60
Envelope disputed: no sustain (Flypaper) vs 40% sustain, 1.2 s decay (Synth Ctrl)
Software rebuild with no original-gear claim (vs juno60 hardware, dx7_fm FM)
Chain A: DeepMind 12 — Lush Pads & Strings: for Behringer DeepMind 12 · Arturia MatrixBrute · Korg MS-20 Mini · Behringer Neutron · Korg Prologue 8 · Behringer UB-Xa. Saved devices outside the active scope: dbx1066: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. tl-audio-c1: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. mindprint-tcomp: saved values exist, but this unit is not confirmed in this chain. Repatch before using it. behringer1273: saved values exist, but this unit is not confirmed in this chain. Repatch before using it.
Research & sound notesRead the write-up +
identity
Monophonic lead hook of The Weeknd's 'Blinding Lights' (2019). The track credits The Weeknd with keyboards/programming alongside producers Max Martin and Oscar Holter.
Two by-ear software rebuilds agree on a detuned saw core but disagree on the second oscillator and the envelope. Neither A/Bs against the record or claims original gear, so both count as tier 3, not demonstrated reconstructions.
Released Nov 2019 on After Hours; produced by Max Martin, Oscar Holter and The Weeknd, mixed by Serban Ghenea. Holter's synthpop background is credited for the idiom. No producer, artist or engineer source opened documents which instrument played the hook. The Mixonline engineer interview (Hanes/Ghenea) was opened and says nothing about it.
Intro hook; returns in the post-chorus doubling the vocal chorus melody (~1:30). A muted-to-bright filter change is noted around the first verse (~0:50).
Single-note line played as a hook. | Gesture | Evidence |
|---|---|
| Filter opening muted→bright across a section | Notetracks 0:50 (could be automation or cutoff ride — inferred) |
| Hook played live on a Juno-60 | Google Arts & Culture (live, not studio) |
Every source hears a prominent reverb; two reconstructions also add delay. Specific units are the reconstructors' choices (EMT 140 plate, stock delay, MicroShift, saturation), not documented on the original. A Juno-60's built-in chorus would be natural if that reading holds — inferred, no source.
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer UB-Xa · sw-recon
Revision 1 · source version: sw-recon
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A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg Prologue 8 · sw-recon
Revision 1 · source version: sw-recon
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A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer Neutron · sw-recon
Revision 1 · source version: sw-recon
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A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg MS-20 Mini · sw-recon
Revision 1 · source version: sw-recon
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A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Arturia MatrixBrute · sw-recon
Revision 1 · source version: sw-recon
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A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
A distinct source reading was saved. Write-up unchanged.
Research: 10/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer DeepMind 12 · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer UB-Xa · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg Prologue 8 · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Behringer Neutron · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Korg MS-20 Mini · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Alternate added · Arturia MatrixBrute · dx7-fm
Revision 1 · source version: dx7-fm
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A distinct source reading was saved. Write-up unchanged.
Research: 25/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer UB-Xa
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Korg Prologue 8
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer Neutron
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Korg MS-20 Mini
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Arturia MatrixBrute
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Rendition added · Behringer DeepMind 12
Revision 1 · source version: juno60
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First saved rendition. Write-up unchanged.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).
Researched
First research write-up · sound-research@v2.
Research: 39/100
Stated reason: Adam's DECIDE direction selects juno60 as provisional primary; it is also the highest computed score (39 low vs dx7_fm 25, sw_recon 10). It is an inferred reconstruction: the original studio instrument remains unconfirmed, and the Juno-60 evidence is live footage plus magazine consensus (tier 3 only).