Your Music

Soundquest · « **Reply #1000 on:** June 25, 2024, 09:30:11 AM »

Quote from: Manbird on June 24, 2024, 09:54:28 AM

Gang! My new video is out today via It's Psychedelic Baby Magazine.

Usually, I'd just post the YT link, but in this case I'm posting the full article, just cos the photo is very synth-rich!

Despite the very electro-pop vibe of the song, the only synths used are a Pro One doing the bass and a Korg Prologue doing strings. Originally there was a section w P5, P6 and MS10, but minimalism won the race in the end.

Hope you enjoy!

https://www.psychedelicbabymag.com/2024/06/chrono-optik-by-anton-barbeau-new-album-morgenmusik-nachtschlager.html

Congrats Anton, good pic too.

LoboLives · « **Reply #1001 on:** June 29, 2024, 11:27:23 AM »

One of the greatest Made For TV horror films of all time. Dark Night Of The Scarecrow. I remember getting a beat up copy at Jumbo Video one year and watching it several times.

The score for the film was done by Glenn Paxton, who was a prolific television composer. The heart of the score consists of four keyboards, three synthesizer players, and a piano. The rest of the orchestra: brass, percussion, and strings, reinforce and embroider on what the synthesizers and piano are doing or have done.

This cover is 100% Prophet X. All recorded with a sort of "Free form" with no midi sync or tempo. It only has 4 tracks going. The orchestral strings, the synth, upright piano and incidental percussion/cymbals.

I think this turned out quite well for how simple it is.

Hope you enjoy!
℗ Everett Dudgeon 2024

https://www.youtube.com/watch?v=HIQsQmXki1M

Soundquest · « **Reply #1002 on:** July 01, 2024, 01:24:46 PM »

Sound Good Lobo Lives. Sounds like brushes on snare drum at one part, is that sample on the PX?

LoboLives · « **Reply #1003 on:** July 05, 2024, 06:17:29 AM »

Quote from: Soundquest on July 01, 2024, 01:24:46 PM

Sound Good Lobo Lives. Sounds like brushes on snare drum at one part, is that sample on the PX?

Yes it’s in the Percussion category. I believe it’s a Latin Kit.

Soundquest · « **Reply #1004 on:** July 14, 2024, 01:45:35 PM »

The UDO Super 6 shows some of its pad abilities while the Pro 3 fills in the sequence parts.

https://youtu.be/8LASKmK3njc

Manbird · « **Reply #1005 on:** July 14, 2024, 02:09:10 PM »

Quote from: Soundquest on July 14, 2024, 01:45:35 PM

The UDO Super 6 shows some of its pad abilities while the Pro 3 fills in the sequence parts.

https://youtu.be/8LASKmK3njc

Really nice. And REALLY lush! I liked the odd harmonic twist around/right before 1:30, where the keys kinda fall away from themselves. What's/who's the spoken voice?

Soundquest · « **Reply #1006 on:** July 15, 2024, 09:36:42 AM »

Thanks Manbird. I have a sort little story/poem that I wrote for a photographic slide show I did called "Starlight on Granite". I just had PDF reader on the computer read the text

Just meant to add some presence, not really intelligible.

LoboLives · « **Reply #1007 on:** July 16, 2024, 02:54:17 PM »

I've always been a big fan of Richard Band's scores and his score for the underrated late 80s film, Prison, is no exception.

Richard worked with Christopher Stone on this and they used the ultra rare Waveframe Audioframe synth system.

For this, everything is done with the Prophet X. I utilized a lot of the "Cinematic" and "Ambience" categories as well as traditional string samples. Like Richard, I wanted to combine traditional orchestral sounds with more synthetic type tones.

Near the end I actually start to shorten the loop size of the "String scrape" sample as it becomes more frantic and eventually turns into a single cycle waveform.

I hope you enjoy!

© Everett Dudgeon 2024
℗ Everett Dudgeon 2024

https://www.youtube.com/watch?v=dDYYmR-o5Oc&t=2s

LoboLives · « **Reply #1008 on:** August 11, 2024, 08:35:42 AM »

Hey all! I recently found a new career path (I'll do a video on that later) and to celebrate I was in the studio working on some tracks. I am also currently working on the soundtrack for Delirium 13 from Astra United Films.

This first track is a tribute to the awesome and underrated action film McBain. I remember first hearing about this when I was younger and thought the video store clerk was pulling a Simpsons joke on me. Turns out I was wrong. James Glickenhaus (The Exterminator, The Soldier) directs Christopher Walken, Michael Ironside, María Conchita Alonso, Steve James, Victor Argo in a badass action film with Tangerine Dream's Christopher Franke doing a synth soundtrack. Wow!

This isn't a cover of Christopher Franke's score but it's heavily inspired by Berlin School with the Tempest doing the majority of the synth sequences and the Prophet X doing some orchestral strings and thunderous drums.

Hope everyone enjoys!

© Everett Dudgeon 2024
℗ Everett Dudgeon 2024

https://www.youtube.com/watch?v=6WpVQaBTwTQ

Manbird · « **Reply #1009 on:** August 21, 2024, 10:55:17 AM »

Quick, cute, quaint little thing, this!
Prophet 5 on bass, Prophet 6 on brass. Real piano, real fake drums.

https://on.soundcloud.com/uxhbLBTEUYc8zstt8

Soundquest · « **Reply #1010 on:** August 22, 2024, 09:51:16 AM »

the trumpet patch at the beginning sounds like the famous Mannheim Steamroller patch. Not really sure what they had used back then though.

Manbird · « **Reply #1011 on:** August 22, 2024, 10:31:32 AM »

Quote from: Soundquest on August 22, 2024, 09:51:16 AM

the trumpet patch at the beginning sounds like the famous Mannheim Steamroller patch. Not really sure what they had used back then though.

I know of the MS, but am not familiar with their music, so couldn't really guess as to what synth they might've used...
My brass patch was just a very basic P6 sound, nothing tricksy...

Manbird · « **Reply #1012 on:** August 30, 2024, 09:15:30 AM »

Hi gang - this might be a bit of a stretch, as it's not very synth-focused, but I'm holding a listening party on Bandcamp today at 11am (California time) for a new release, Ras! As you might guess, Ras! is a reggae record - a mini-album or a maxi-EP - who can say? - recorded with my band in my basement studio, the record does feature a fair bit of Prophet 5, but it's not an overtly electronic affair. Mostly proper skanky reggae, with Ludwig drums, a Hofner bass and electric guitar/piano.
We took a handful of my tunes and reworked them. Tune in if you're curious...
https://antonbarbeau.bandcamp.com/merch/the-maude-squad-presents-ras-listening-party-2

Soundquest · « **Reply #1013 on:** September 03, 2024, 05:41:33 PM »

The Moog Matriarch drives a sequence into the Vermona Perfourmer synth.
The Perfourmer has envelope generators that can be set to pitch, which offers some interesting voicey inflections.

https://soundcloud.com/wavescape-1/zone-six

Manbird · « **Reply #1014 on:** September 06, 2024, 08:35:14 PM »

Quote from: Soundquest on September 03, 2024, 05:41:33 PM

The Moog Matriarch drives a sequence into the Vermona Perfourmer synth.
The Perfourmer has envelope generators that can be set to pitch, which offers some interesting voicey inflections.

https://soundcloud.com/wavescape-1/zone-six

This is nice. Very filmic... the post-breakup 4am taxi ride, Berlin.
The squelchy stuff - I guess the Perfourmer - has a bit of Kluster vibe...

Elric · « **Reply #1015 on:** September 07, 2024, 05:25:27 AM »

Just starting a channel. Don't tell anybody yet...
(I think this might be 2 Pro3s at once..)

https://www.youtube.com/watch?v=-Gow2fmIMJo

LoboLives · « **Reply #1016 on:** September 08, 2024, 11:04:06 AM »

It's no secret that one of my favorite composers is Carlo Maria Cordio. Cordio was Stelvio Cipriani's keyboard/synth-player for about 10 years from the latter half of the '70s onwards (lots of film scores and library albums) - some exceptions where Cordio was not available are "Solamente nero" (1978, which featured Claudio Simonetti on synths) and "Nightmare City" (1980, most likely featuring Sandro Centofanti).

Cordio also also played on soundtracks by Roberto Donati (Cannibal Ferox) and Riz Ortolani (he might have played on Cannibal Holocaust but he wasn't totally sure about that), Nico Fidenco (eg Zombi Holocaust, he often worked with Fidenco), Francesco De Masi (eg "Lone Wolf McQuade") the great Ennio Morricone, Armando Trovaioli, Nino Rota, Carlo Savina and others.

His own scores include the fantastic Absurd, Aenigma, Beyond The Door III, Zombi 5: Killing Birds, Beyond Darkness, The Crawlers, WItchery, Troll II, Hitcher In The Dark, Deep Blood, Metamorphosis, The Curse II: The Bite.

The synths and keys used on his early scores included Minimoog, Polymoog, mellotron, Logan and Solina string ensemble.

However for his later work, he used
Emulator III
Kurzweil K250
Kurzweil RMX250
Roland D-50
Roland D550
Korg M1
Ensoniq SQ-80
All sequenced by Digital Performer's software sequencer.

This isn't a cover at all but it's more or less a love letter to his later scores which were all over the Filmirage productions. It's also my first attempt at using Digital Performer's sequencer to control my external gear (in this case Prophet X). It's essentially 3 sequences, each bounced down and edited together.

I used some user samples from Emu, Ensoniq and the D-50, mostly as a nod to how often Cordio would use the iconic presets like "Digital Native Dance" or "Intruder Fx" on his work. There's also some M1 nods as well. There's still a lot of native Prophet X samples being used as well.

Overall, I'm happy with how it turned out. Hope you enjoy!

https://www.youtube.com/watch?v=Fjw2fEsLoPU

markwilkins · « **Reply #1017 on:** September 14, 2024, 08:41:23 AM »

My latest song "Analog Gecho" makes use (over use?) of the Walrus Audio Meraki pedal. The bulk of the melody is from the Minimoog Model D going through the Meraki for delay/echo. The song is in two parts. The first section also utilizes the Novation Peak on the melody line a little bit with the Moog and Peak alternating between leading/supporting. The second section (starting at 2:25) has the Moog double-tracked on the melody. I played the exact same line twice and panned them partially left/right. I used the exact same settings on the Meraki both times. The delay turned out kind of fun in the stereo imaging where each side is following its own pattern.

Both the Prophet 6 and Trigon 6 are used in the pad section. The Trigon handles all of the bass. The cheesy attempt at a tiny bit of "lo-fi" vinyl needle drop/lift at the start/end of the song is from my Thorens turntable when I was playing my Wendy Carlos "Switched on Brandenburg" album. The scratch/pop was also from the album. A flaw in the vinyl introduced a pop that I included at 33.3 rpm for a couple of clicks and then sped it up to get in sync with the initial drum beat. Some of the links from the annoying streaming services.

https://www.youtube.com/watch?v=bRHmHDCUig0

https://open.spotify.com/track/3nW9QS8o6wrIfyMcbi8MYp

https://soundcloud.com/markwilkins/analog-gecho

LoboLives · « **Reply #1018 on:** September 16, 2024, 08:16:00 AM »

Hey all, been busy these past few weeks and I'll be doing an update "Talking" video next and discuss my new career field, current soundtracks I'm working on, thoughts on new gear, old gear, what I've sold, what I'm interested in and in general just a rambling video talking lol

In the meantime while I work on the soundtrack for Delirium 13 I'm also doing some sketches and compositions on the side and this is one of them.

Although it's not a cover, it's inspired by Harry Manfredini's score for Hills Have Eyes Part 2. I have a soft spot for the film for a number of reasons and believe it or not, I saw it before I watched the original. One thing I loved was the character of The Reaper and I really believe he would have been bettered served in a standalone film rather than shackled to a sequel that was thrown together haphazardly. The Reaper was played by John Bloom who I was a big fan of. A giant of a man who was no stranger to playing monsters, in fact he was the tallest actor to ever play Frankenstein's Monster in Al Adamson's epic Dracula vs Frankenstein. Other credits include, The Dark, The Incredible Two Headed Transplant and Brain Of Blood.

More on the music, I wanted to approach this as Manfredini would around this time. While he incorporated electronic elements in his music prior, it was his use of the DX7 that I worked best in my opinion. You can hear it in his other scores for Friday The 13th: The Final Chapter and House. I used some user sampled DX7 patches in my Prophet X to pay tribute to this and used them for some "stingers" alongside orchestral elements.

Soft woodwinds, menacing brass, electric bass guitar, frantic quartet strings and exotic percussion were my main focus here. I wanted to imagine that I had a smaller orchestra and didn't want to be a gluten with the amount of instruments/players but simply focusing on what each of these instruments could do and how they would compliment each other. Sometimes, less is more.

Hope you enjoy!

P.S. I loved the dog flashback. I guess given my new field, I'm more touched by it than dismissive of it.

© Everett Dudgeon 2024
℗ Everett Dudgeon 2024

https://www.youtube.com/watch?v=yzBqZH_RBN8

LoboLives · « **Reply #1019 on:** September 29, 2024, 11:15:06 AM »

https://www.youtube.com/watch?v=PwBB49_LpZ4

I haven't been in the studio recently but I've managed to have a few tracks that I did previously that I'll be releasing until I'm back in there. This week I wanted to pay tribute to one of the greatest horror flicks of all time: Carnival Of Souls. Film and music scholar Julie Brown comments on the score, noting: "The organ is one of the spectral presences in Carnival of Souls, summoning up, or being summoned up by, the various allusions in the film to cinema's past."

While not a 1:1 cover, it's heavily inspired and is just done in one take with the Prophet X and one of the stock Hammond organ samples. The tone is swamped in heavy reverb with the reverb mix being set quite high-giving the organ a blurred quality (which reflects Mary Henry's loss of time/memory). A random LFO affects the pitch of the organ as the track progresses which gives a strange, unnerving effect as if there's something "not right" about what you are hearing.

Hope you enjoy!
© Everett Dudgeon 2024
℗ Everett Dudgeon 2024