Your Music

LoboLives · « **Reply #760 on:** March 19, 2022, 11:12:01 AM »

This is an original track I did when I was in the studio recently. I was inspired by straight to video, low budget zombie flicks. While I'm not a huge zombie film fan myself, I do appreciate a lot of the soundtracks that accompanied those films.

I wanted to give a really lo-fi sound so I used the Prophet X's sampled synth sounds and altered the tone to thin them out as well as changed some of the loop points. Almost to give the impression of a really cheap, radio shack type synth. I added some onboard chorus since most thin sounding synths have onboard chorus in order to thicken them out. No filter action or real articulation at all. Just flat sounding and cheap which totally fits the style.

The ISLA S2400 is doing all the drums (done with samples of the EMU Drumulator). These EMU samples also included guitar and bass sounds as well so the muted guitar and FM style bass you are hearing are factory Drumulator sounds too. I went with a dry sound for these to also add to the lo-fi feel.

Just a really simply track that I hope you will enjoy!

© Everett Dudgeon 2022
℗ Everett Dudgeon 2022

https://www.youtube.com/watch?v=OQZJEhjbHg0

LoboLives · « **Reply #761 on:** March 25, 2022, 05:38:37 PM »

It's fantastic that so many obscure soundtracks are getting official releases as of late. Composers for films like Blood Harvest, Slaughterhouse and Demon Wind likely never dreamed their work on these films would be getting such treatment....and well deserved treatment at that.

Bruce Michael Miller's score for the 1990 film Demon Wind is criminally underrated. From slow brooding synth pads to heavy as hell drum machine hits to fantastic electric guitar work, it's almost as if John Carpenter asked David Gilmour to do a few guest solos over some of his pulsating synth scores.

In the liner notes, there's not much information in regards to what equipment was used other than Miller mentioning he used "Oberheim and Juno synths" because of the thunderous rumbling low end. My ears detect some sampler action and drum machine work as well.

For this set up the ISLA S2400 is providing the driving beat using some EMU samples. I increased the gain on the snare and toms and also tuned them down a bit to give them a massive sound.

The Prophet X is doing some slap bass (with a Prophet 2000 sample) as well as the panning pulsating synth pulse.

The Prophet 6 is doing some vintage sounding pads,

There's also some incidental sound effects of demonic growls (using the sample of a lion growling and pitched down) and wind blowing all done on the Prophet X as well.

The Stratocaster is running through the Roger Linn Adrenalinn iii Effects Box with a Gilmour style lead tone with chorus, delay and reverb.

I hope you enjoy!

© Everett Dudgeon 2022
℗ Everett Dudgeon 2022

https://www.youtube.com/watch?v=yPypLuR3NKQ

jok3r · « **Reply #762 on:** March 28, 2022, 11:08:00 AM »

I bought myself a Matriarch last weekend and did a little track last night. Everything is done with Matriarch, except drums and effects. Those come from Ableton Live.

The matriarch gave instant retro vibes and so I wanted to do something in synthwave style. I love this kind of music from past decades.

I also posted this in the single synthesizer multri-track challenge.

As with most of my music: not the greatest of all compositions, but I really had fun doing it.

https://soundcloud.com/user-113276372/matriarchs-wave

EDIT: Forgot to paste the link

*idiot*

Sacred Synthesis · « **Reply #763 on:** March 28, 2022, 11:47:27 AM »

A nice little piece with some fine patches, Jok3r. How many tracks did that take?

For the first thirty-five seconds, you seem to have the staccato patch combined with a soft legato patch in the background playing the same chords. I like that effect. At first, I thought it was delay.

The Matriarch definitely is an impressive synthesizer. It was a good choice on your part.

Manbird · « **Reply #764 on:** March 28, 2022, 01:39:22 PM »

Quote from: jok3r on March 28, 2022, 11:08:00 AM

I bought myself a Matriarch last weekend and did a little track last night. Everything is done with Matriarch, except drums and effects. Those come from Ableton Live.

The matriarch gave instant retro vibes and so I wanted to do something in synthwave style. I love this kind of music from past decades.

I also posted this in the single synthesizer multri-track challenge.

As with most of my music: not the greatest of all compositions, but I really had fun doing it.

https://soundcloud.com/user-113276372/matriarchs-wave

EDIT: Forgot to paste the link *idiot*

Yeah, nice vibe to the track. And it shows off the impressive range of the Matriarch. I've got a Grandmother and adore that thing. You've got me tempted by the Matriarch now!

jok3r · « **Reply #765 on:** March 29, 2022, 02:03:42 AM »

Quote from: Sacred Synthesis on March 28, 2022, 11:47:27 AM

A nice little piece with some fine patches, Jok3r. How many tracks did that take?

For the first thirty-five seconds, you seem to have the staccato patch combined with a soft legato patch in the background playing the same chords. I like that effect. At first, I thought it was delay.

The Matriarch definitely is an impressive synthesizer. It was a good choice on your part.

Besides the Drumtrack there are only 5 tracks in there. Bass, the "staccato patch", high solo strings, string pad and the noisy filter-fm lead sound.

In fact there is a little bit of this gorgeous analog delay on the bass and staccato patches. Those are not layered any further. It sometimes sounds a little bit like legato/glide because - as I learned just over the past days - you can not turn the glide function entirely off. Even if you turn the knob all the way down, there is a little bit of glide remaining. Perhaps I turned it up a little bit in this case, because I liked it... but I can't remember.

Quote from: Ant of 12047 on March 28, 2022, 01:39:22 PM

Yeah, nice vibe to the track. And it shows off the impressive range of the Matriarch. I've got a Grandmother and adore that thing. You've got me tempted by the Matriarch now!

Thank you both for your kind words. The Matriarch is an absolute beast. Of course, I did a lot of other sounds this weekend and especially for basses and leads I must say: there's nothing like a Moog. There's so much beef in the sound. I can absolutely recommend buying one. I think I will not regret it.

Manbird · « **Reply #766 on:** March 29, 2022, 03:20:37 AM »

"Fortunately," I'm not tempted by the Matriarch. I love the Grandmother so very much and it serves the role as "only Moog in the house." I do miss the Micromoog I sold when I left Berlin (all the more right now, as I'm back in Berlin with zero synths!), as it has its own groovy sound, but the Grandmother - and Matriarch - do that Thang and they take up the right amount of sonic space.

jok3r · « **Reply #767 on:** March 29, 2022, 04:09:18 AM »

In fact, I'm already thinking about buying an additional Grandmother... not for what it is, but for its modules. More LFOs and Envelops for my Matriarch ;-) I think they would make a great pair.

LoboLives · « **Reply #768 on:** March 31, 2022, 08:35:53 PM »

I recently watched Patrick Still Lives and absolutely loved it. The score was done by Berto Pisano and is completely chaotic and often times random so I decided to try my hand at composing something original with a few nods to Pisano's soundtrack.

I also did this track to showcase the external sequencing capabilities of the ISLA S2400. While the S2400 isn't doing any of the sounds in this piece, it's handling 90% of the sequencing with only a few parts done with the Prophet X's internal arpeggiator and step sequencer.

The Prophet X is doing everything using the factory samples from 8Dio. From the electronic drums, jazz drums, piano, jazz flute, brass. The "Synth" type pulse you hear is actually a PX's Hammond organ sample run through the onboard ring modulator and phaser effect. I cranked the filter drive on most of this to give everything a fairly gritty signal. Oh and the faux Theremin (which is a key element in the Pisano score) was done by cranking the filter resonance and using PX's touch sliders to control the cutoff frantically.

I hope you enjoy this experimental piece.

I'm thrilled with the S2400's sequencing capabilities. The only thing I wish that would be implemented in a future firmware update is the ability to step record manually from an external midi controller...as of right now only real time record allows this.

© Everett Dudgeon 2022
℗ Everett Dudgeon 2022

https://www.youtube.com/watch?v=TA9Oxou3Ra0

Manbird · « **Reply #769 on:** April 07, 2022, 12:44:37 PM »

My album Power Pop!!! was released a couple weeks back. The album title is meant as a poke in the eye of the genre that's sorta claimed me for decades, but for our purposes on the forum, I assure you, this is a very synth-rich record. There's a track called "Prologue, Literally," which was inspired by our very own Sacred Synthesis, even. I posted a video not long back of a song called "Rain, Rain." This song is part of a trio of songs I wrote as a synth-obsessed teen. One way or other, I do think it's a record that might appeal to a few folks here. You can check out the various tracks via the label's BC page. Thanks!

https://bigstirrecords.bandcamp.com/album/power-pop

Sacred Synthesis · « **Reply #770 on:** April 08, 2022, 06:08:08 AM »

Well that was a pitch that was guaranteed to work! I had to listen to that last track. I get it; it's a spoof on my monster bass disorder. Yes, I admit I've got a serious case of MBD. I'll get you for that, Ant.

chysn · « **Reply #771 on:** April 08, 2022, 06:32:47 AM »

Quote from: Sacred Synthesis on April 08, 2022, 06:08:08 AM

Well that was a pitch that was guaranteed to work! I had to listen to that last track. I get it; it's a spoof on my monster bass disorder. Yes, I admit I've got a serious case of MBD. I'll get you for that, Ant.

I love it when an album has a nice big Sgt. Pepper ending!

Manbird · « **Reply #772 on:** April 08, 2022, 08:53:27 AM »

Sacred Tim - "Prologue, Literally" came out of a forum chat where we were talking about the Prologue, a synth I adore. I snuck a wee bit of P5 onto the track, and yeah, the MBD moment is courtesy of the Grandmother. The Korg just doesn't go that deep!

Chysn - I'm always happy when anybody even mentions Sgt. Pepper, whether in regards to my own work or not, so thanks!

This is a long read, but Pop Matters did a feature on the album, with a fair bit of synth-related scribble. If you're curious/bored/waiting to have a cast removed etc. take a look!
https://www.popmatters.com/anton-barbeau-power-pop-2022

LoboLives · « **Reply #773 on:** April 10, 2022, 07:46:32 AM »

My girlfriend suggested I do another full length original soundtrack to follow up my Axe Of Violence video. I took her recommendation and did this score.

The Hoodoo Ship was inspired by late 80s/early 90s Italian productions such as Black Demons so I wanted to give a very digital sounding approach to the music.

The Prophet X is only using patches with the Prophet VS waves. No traditional "sampled" sounds at all. The VS choir, wavetable E.P., are all pure VS sounding patches.

The ISLA S2400 is handling both traditional drum machine sounds (using samples of the Alesis HR-16) as well as a sampled loops of African tribal drumming.

The dialogue you hear is from one of my favorite radio shows "The Shadow" and the episode The Hoodoo Ship. About an old slave ship that is said to have a curse on it and kill those that board it. I used this as the main inspiration for the music's story.

As always, I hope you enjoy and hope the music stimulates your imagination and allows the story to develop in your mind.

© Everett Dudgeon 2022
℗ Everett Dudgeon 2022

https://www.youtube.com/watch?v=GpRPsfGQNC0

ToyKeeper · « **Reply #774 on:** April 13, 2022, 04:52:09 PM »

Something a little different...

A long time ago I used to make songs with my friend, basically my “brother from another mother”. And we knew this guy who could belch like nobody’s business. He could say words, burping out just about anything.

So my brother asked him to belch some stuff for us.

He laughed at the idea, but then he showed up one day with a cassette tape he recorded for us. The plan was to make a song out of it.

But we never did.

Time passed. We all went separate ways.

Then a couple weeks ago I found that old tape in a storage box. And my brother’s birthday was coming up… so I made this for him:

This was made using a Pro 3, an Akai Force, and an ancient tape from someone I haven't seen this century.

https://www.youtube.com/watch?v=1t9GcPZfxvU

LoboLives · « **Reply #775 on:** April 15, 2022, 04:22:04 PM »

Had an incredibly stressful week and I wanted to try and do something a bit more mellow for this track. I'm a fan of the late 80s film Jack's Back. I've always been fascinated with Jack The Ripper in general and the idea of a Jack The Ripper in a modern day setting has always been a favorite interpretation of the character. The score was done by Danny Di Paola. It isn't synth heavy but there are a few synth elements here and there mixed with the slow noir-esq jazz.

The Prophet X is doing everything in this track and it's all done in one pass. No overdubs at all. The right hand is doing a Rhodes electric piano layered with a synth pad (from the PX's oscillators) and run through the onboard Super Plate Reverb effect and the right hand is doing a saxophone with aftertouch controlling some of the pitch bends.

Couldn't resist doing a filter sweep near the end

LoboLives · « **Reply #776 on:** April 21, 2022, 07:16:59 PM »

This week I wanted to try and tackle a more traditional style soundtrack with an original suite composition. This piece was heavily inspired by 1960s/1970s Italian gothic horror films. Films like Castle Of Blood or Terror Creatures From Grave.

A story that's set in an old castle with a storm raging on outside and inside an infighting family with a macabre secret.

The Prophet X is doing everything here. Strings, woodwinds, gongs, cymbal rolls, acoustic guitar, ghostly female vocals, piano and organ.

I really like how this turned out and I think I'll certainly try my hand at more of these type of scores. Perhaps one day, a complete soundtrack of one. Just have to find the right story....

As always, I hope you enjoy..

© Everett Dudgeon 2022
℗ Everett Dudgeon 2022

https://www.youtube.com/watch?v=U8uAEBNRiAg

Sacred Synthesis · « **Reply #777 on:** April 21, 2022, 07:45:19 PM »

This being your particular genre, LoboLives, I can see why you so like the Prophet X. The piece is an assortment of hauntingly altered and unaltered acoustic/natural instruments and tones. The instrument is perfect for what you do.

LoboLives · « **Reply #778 on:** April 22, 2022, 05:21:32 AM »

Quote from: Sacred Synthesis on April 21, 2022, 07:45:19 PM

This being your particular genre, LoboLives, I can see why you so like the Prophet X. The piece is an assortment of hauntingly altered and unaltered acoustic/natural instruments and tones. The instrument is perfect for what you do.

Absolutely. I'm still tempted to hunt down a PXL one day and have them both. I really want to get more orchestral samples into the PX as well. It's hard to justify spending $200-300 on a high quality orchestral VST just to import it into the PX using SampleRobot.

Manbird · « **Reply #779 on:** April 26, 2022, 01:10:41 PM »

Here's another song from my new album, Power Pop!!! I coulda sworn I posted this already, but I've searched the forum and didn't see this one pop up. Anyway, it's called "Never Crying Wolf Boy" and it's one of the early songs I wrote after getting my P5 and Grandmother. I'd moved my studio into my wife's former office, and only took the two synths just mentioned with me. The Prophet is the main synth in the track - doing bass and chords and riffs. The Moog doubles up the chorus riff and is the synth for the solo. There's also a bit of Pianoteq in there, dressed up as a CP, and the horns are Logic's own.

There are two sampled guitars - my own twangy Danelectro is turned a bit slide-ish here - and the backwards, psychedelic bits come from Donald Ross Skinner, Julian Cope's erstwhile right-hand man. Donneye played on the title track of my record and, with his consent, I sampled the hell out of his tracks for use throughout the album.

The song - lyrics aside - was inspired by my discovery of the band New Musik. Prophet 5 seems to have been their primary synth. Now that my Pro One is back from Berlin, I tend to use it for typical 8th-note parts, but the P5 sounds lovely on "Wolf Boy," I'd suggest.

Thanks for your time, and hope you dig!

https://www.youtube.com/watch?v=lFXwlwCGczA