Remember this song from the 70s? (I had no idea that it was covered so many times.)
How was the sound of the melody achieved? This same sound was used by Keith Emerson in the solo to Stones of Years on the album Tarkus.
I’ve tried in vain many times to duplicate this sound. It seems to me that the ADSR envelope would be something like A=0, D=a very small number, S=0, R=0. I’ve tried all sorts of wave forms for it. Nothing I’ve tried even comes close.
GAAAAHHHHH
Now that song is stuck in my head.
AGAIN!
Truly, I am evil. 
Wow, I never realized that song is from 1969. Sounds way ahead of its time.
As to the OP, have you tried playing with a low-pass filter and delay? I’m not an expert in creating synthesized sounds, but I hear (at least in the original) basically what you describe, with a low-pass filter coupled with delay. As to the waveform, I’d guess it’s some form of pulse wave.
http://blog.wfmu.org/freeform/2007/03/79_versions_of_.html
Play them all and torture your neighbors!
From the age, it would have to have been created on one of the large, modular Moogs, as the Mini didn’t come out until 1971. The tricky part is that Bob made a lot of custom modules for different artists. Wendy Carlos has some total one-offs that have the same quality and finish as any of the regular ones in her modular.
Silly question, but have you sampled one of the notes and displayed it to see the shape of the envelope?
I don’t have the technology to do that, unfortunately.
I’ll try the low pass filter.
You’ll note the sound changes as the song gets more intense. The low pass filter is opened up to let in more high frequencies and you get a less muted sound. This would have been done by turning a knob on those old Moogs labeled “cutoff filter” or something like that. With a modern synthesizer, you can also map this filter to key velocity, so when you hit the keys softly, you get the higher frequencies cut out and a duller sound, and when you hit them hard, you get the full spectrum of frequencies and a bright sound.
Excellent point, thanks!
Notice, too, that in Stones of Years, the same sound opens up to an organ patch. That really mystifies me.
Thanks. That’s one earworm I’d forced myself to forget, now I don’t think I’ll ever be able to again.
According to the official website of composer Gershon Kinglsey and this tribute site, the song was performed on a Moog synthesizer.
The version by Hot Butter- the most well-known version which contains the distinct “popping” sound absent in Kingley’s original- was recorded in 1972.
Not an organ “patch”; the solo on “Stones of Years” is pure Hammond C3.
Even more interesting. Does the C3 have ADSR controls?
Ah, my comments were about the patch in the original version. The sound on the Hot Butter version sounds like a wide pulse wave, maybe a square, with a cutoff filter, but the cutoff filter sounds like it remains at the same level throughout the whole song, instead of opening up as the song progresses, as in the original. Also, the Hot Butter version doesn’t have the delay effects I mentioned upthread.
This might be interesting, although it applies to the original version: Popcorn cover. It shows how the filter knobs affect the sound.
Well, I opened up my version of Remedy (software synth) and it seems like either a square wave or triangle wave gets you in the right area. The ADSR envelop is set to zero for attack and sustain, and about 50% for decay and release. Cutoff frequency is set to about 75%. You can play with the filter resonance setting: higher values will give you more “pop.” I have it set at 100%. I’m using a single oscilator. Play around with some of these (and other values) to fine-tune the sound, but this should provide a good starting point.
Awesome, thank you. I’ll try that tonight.