Your Music

[markwilkins]

Here is a song that I wrote while my right arm was in a sling after shoulder surgery earlier this summer. It resulted in some different kind of choices (e.g., a lead cello melody). The pads are all Trigon-6 and Prophet-6. The arpeggiated synth (easily heard in the intro) is the Trigon. I also broke out the old DX7 to use that path 11 to double track the Rhodes piano sound. Yeah … kind of embarrassing, but I really like that particular DX7 sound.

https://www.youtube.com/watch?v=aXtftii94Xc

[Manbird]

Here is a song that I wrote while my right arm was in a sling after shoulder surgery earlier this summer. It resulted in some different kind of choices (e.g., a lead cello melody). The pads are all Trigon-6 and Prophet-6. The arpeggiated synth (easily heard in the intro) is the Trigon. I also broke out the old DX7 to use that path 11 to double track the Rhodes piano sound. Yeah … kind of embarrassing, but I really like that particular DX7 sound.

https://www.youtube.com/watch?v=aXtftii94Xc

A nice slice! And I recognized the Trigon right away.

[LoboLives]

I've been getting a lot of requests lately to do some original tracks as opposed to covers so here we are.

This is an original track I put together recently called Primal. The main inspiration was those 90s/early 2000s jungle creature features — films like Anaconda, The Relic, and DNA. I wanted it to feel like a main title or end credits piece you’d hear over a VHS rental from that era, setting up (or closing out) a pulpy “big game hunter vs. jungle monster” story.

The foundation is all Prophet X, sequenced in Digital Performer. The track opens with a haunting choir pad to set the tone before the beat kicks in, followed by menacing low brass swells, pan flute flutters and cinematic string layers. I also worked in some creepy distorted sound effects throughout to give it that unsettling, swampy atmosphere.

The percussion carries the track — heavy Taiko-inspired hits that drive the primal energy forward. Halfway through, I added an electronic drum beat to play against them. The contrast works nicely: the Taikos give it that ancient, tribal weight, while the electronic kit adds a modern pulse, almost like the clash of man vs. nature in the story itself.

Overall I think it turned out pretty close to what I was aiming for: suspenseful, primal, and a little nostalgic for that VHS monster movie vibe.

Hope you enjoy!

© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=2o_T3KDW17c

[markwilkins]

A nice slice! And I recognized the Trigon right away.

Thank you for the kind words! And the Trigon is ... simply great. That intro arpeggio on the Trigon sounds pretty wonderful to me. But the funny thing is that I didn't actually remember what I used when I started creating this video last week. It was obvious when I looked at the track in the DAW of course, but it was kind of an "aha! that trigon synth sounds fantastic" moment for me. The pad part with the swirly whooshing sound from the Trigon was a patch I stole directly from a Tim Shoebridge video on the Trigon when I was first working on this track.

[LoboLives]

This is another original track I did called Echoes In The Dark. I was going for that late 80s/early 90s haunted house and possession sound — the kind of moody, atmospheric horror scores you’d hear in films like The Amityville Curse, The Unholy, or Witchboard.

I wanted the piece to feel cold and ghostly — like a slow walk through an abandoned house at night. It blends cinematic string passages with Prophet VS-inspired synth textures — digital basses, shimmering bell tones, and an eerie synth choir — all working together to create that uneasy mix of sacred and synthetic.

Everything was done in Digital Performer using the Sequential Prophet X, and I focused on keeping the arrangement true to that transitional period in horror scoring where analog warmth met digital precision. The result is a slow, creeping soundscape that feels both nostalgic and unsettling.

Overall, I think it captures that late-night cable horror atmosphere I was aiming for — cinematic but intimate, like something pulled from a forgotten VHS.

Hope you enjoy!

© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=F-qXT7bQjLE

[558]

This is another original track I did called Echoes In The Dark. I was going for that late 80s/early 90s haunted house and possession sound — the kind of moody, atmospheric horror scores you’d hear in films like The Amityville Curse, The Unholy, or Witchboard.

I wanted the piece to feel cold and ghostly — like a slow walk through an abandoned house at night. It blends cinematic string passages with Prophet VS-inspired synth textures — digital basses, shimmering bell tones, and an eerie synth choir — all working together to create that uneasy mix of sacred and synthetic.

Everything was done in Digital Performer using the Sequential Prophet X, and I focused on keeping the arrangement true to that transitional period in horror scoring where analog warmth met digital precision. The result is a slow, creeping soundscape that feels both nostalgic and unsettling.

Overall, I think it captures that late-night cable horror atmosphere I was aiming for — cinematic but intimate, like something pulled from a forgotten VHS.

Hope you enjoy!

© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=F-qXT7bQjLE

Yes it was just like something in an old movie.  Even hads that grainy sound quality.  I don't know if that was intentional or if you recorded it to an old VHS tape then re digitized it to a high bitrate or something.  But it is just like some old horror flick.  Very timely October and all. 

Here is something completely different just me sitting at the synth and working on sounds for 23 minutes.  Thought I got some good sounds in the end.  Prophet 10 description of video as follows:
Well, so the prophet sounds, are created from a filter based off velocity which is something only available on Prophet rev 4. Vintage prophets never had velocity as far as I know. There is an overtone that I develop towards the end using the LFO. At first I am using LFO source Noise source and controlling the Osc B freq, but I turned that off during the last sound, and it makes a real smooth overtone above the velocity filter plucks which I set to long release time and they got even smoother.
https://rumble.com/v70rc3c-sounds-of-2-synths-prophet-10-and-iphone-model-d.html

[LoboLives]

Admittedly, I wasn't a huge fan of Carpenter's later scoring work when I was first getting into synth scores. A lot of them felt like meandering pads and relying on atmosphere and sound effects as opposed to his usual hard hitting, minimalistic themes from his early work.

Then upon revisiting them I started to grow more and more fond of his work alongside Jim Lang: In The Mouth Of Madness/Body Bags. I realized that Carpenter was scoring his earlier films with the limitations he had at that time whereas his later work it felt like he was approaching things more on a granular level. Less focus on character themes and more focus on scoring for the scene.

His work with Jim Lang was done using Digital Performer software running on a Macintosh Iicx computer and the following synths/instruments.

Emulator IIIxp (EIVxp on MOM)
Forat F16.
Hammond B3,
Wurlitzer electric piano,
MicroMoog,
Roland MKS80, D550,
Prophet VS,
Yamaha DX and TX series,
EMU Proteus 1 and 2,
Korg M1r and M1rex,
AKAI 612

For this, everything is 100% Prophet X being sequenced by Digital Performer with a few user samples thrown in there as well as some personal patches I created.

I wanted to approach this as a suite of sorts and focus on my favorite story from the Body Bags anthology: Gas Station. It's such a simple story but it's done incredibly well and the underlying score really amplifies the mood.

Soft atmospheric pads (done with a combination of 8Dio Atmosphere samples as well as EMU and D50 style sounds), some Prophet VS and D50 bells, creepy "Horror" sound effects, a bit of FM tones, hard hitting drums, electric guitar and also an emulation of the Roland S50 Air Vocal sample just for fun. I think it turned out incredibly well. Hope you enjoy!

℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=HUsPQEZYh30

[LoboLives]

Happy Halloween everybody!


© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=nUqiCmx49h8

[jok3r]

Happy Halloween everybody!


© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=nUqiCmx49h8

Yeah... sounds very good...

... but why Tchaikovsky's Swan Lake? I don't get it... was that used in these films?

You are explaining you're videos and soundtracks all the time... and the one time I'm really looking for an explanation, you didn't write one 

[LoboLives]

Happy Halloween everybody!


© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=nUqiCmx49h8

Yeah... sounds very good...

... but why Tchaikovsky's Swan Lake? I don't get it... was that used in these films?

You are explaining you're videos and soundtracks all the time... and the one time I'm really looking for an explanation, you didn't write one 

When Universal Pictures released Tod Browning’s Dracula (1931) starring Bela Lugosi, it was made at the dawn of the sound era. At that time, original film scores were rare — synchronized sound was still a novelty, and music was typically used only over opening and closing credits (if at all) because continuous underscoring could muddy the dialogue.

Universal needed a musical overture for the film’s opening credits, and rather than commission new music, they chose an existing recording of Tchaikovsky’s Swan Lake, Op. 20 – Act II, “Scene” (Moderato). It was taken from a then-popular 1920s recording of the ballet by the Philharmonic Orchestra under Leopold Stokowski.

The association between that music and the undead aristocrat was so strong that Universal reused the same cue for later monster films:

The Mummy (1932)

Murders in the Rue Morgue (1932)

Dracula’s Daughter (1936)

Because Dracula was such a massive cultural hit and Lugosi’s portrayal became the image of the cinematic vampire, audiences began linking that particular section of Swan Lake with him. In fact, Howard Shore deliberately quoted that same Swan Lake cue in Tim Burton’s Ed Wood (1994). Martin Landau plays Bela Lugosi near the end of his life, and Shore’s use of Tchaikovsky’s theme acts as an aural shorthand for the entire Lugosi mythos.

[jok3r]

Happy Halloween everybody!


© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=nUqiCmx49h8

Yeah... sounds very good...

... but why Tchaikovsky's Swan Lake? I don't get it... was that used in these films?

You are explaining you're videos and soundtracks all the time... and the one time I'm really looking for an explanation, you didn't write one 

When Universal Pictures released Tod Browning’s Dracula (1931) starring Bela Lugosi, it was made at the dawn of the sound era. At that time, original film scores were rare — synchronized sound was still a novelty, and music was typically used only over opening and closing credits (if at all) because continuous underscoring could muddy the dialogue.

Universal needed a musical overture for the film’s opening credits, and rather than commission new music, they chose an existing recording of Tchaikovsky’s Swan Lake, Op. 20 – Act II, “Scene” (Moderato). It was taken from a then-popular 1920s recording of the ballet by the Philharmonic Orchestra under Leopold Stokowski.

The association between that music and the undead aristocrat was so strong that Universal reused the same cue for later monster films:

The Mummy (1932)

Murders in the Rue Morgue (1932)

Dracula’s Daughter (1936)

Because Dracula was such a massive cultural hit and Lugosi’s portrayal became the image of the cinematic vampire, audiences began linking that particular section of Swan Lake with him. In fact, Howard Shore deliberately quoted that same Swan Lake cue in Tim Burton’s Ed Wood (1994). Martin Landau plays Bela Lugosi near the end of his life, and Shore’s use of Tchaikovsky’s theme acts as an aural shorthand for the entire Lugosi mythos.

Wow... I didn't know anything of this. Thank you very much for explaining.

Since I'm not into films very much, but into music of all epochs, I guess I would recognize most "classical/romantical/..." pieces just for themselves. I know that a lot of this music was and is used in films of all genres, but if someone would ask me, I could not name one usage out of memory :-D I'm impressed by your knowledge in this area, even if I'm not into horror movies at all. But I'm so used to read all your explanations, that I really missed it for this video. 

So if you're right with everything above, I guess I'm really the only person on earth who didn't get it m)

[Soundquest]

Some music from the Modor NF1 synth- including a train whistle


https://www.youtube.com/watch?v=4Re_DIdE8js

[LoboLives]

The Guyver and The Guyver 2: Dark Hero are just awesome. I remember renting out these constantly from Jumbo Video and always being disappointed they were the cut versions. Luckily Unearthed Films recently released The Guyver fully uncut in 4K last year.

Matthew Morse did the score for the film and according to the interview he did for liner notes of the soundtrack he used the following synths:
Synclavier ll
MemoryMoog
OSCar
PPG Wave 2.3
Yamaha DX7
Yamaha SY-77

For this cover I used nothing but the Prophet X being sequenced by Digital Performer.
While I incorporated some samples of the PPG Wave and Synclavier most of the piece is done using stock 8Dio samples as well as some synthesizer sounds from the onboard oscillators. I even programmed some FM bells and tines using the onboard oscillators as well (The PX manually actually talks about how to program FM with the oscillators and some tips and tricks...I might attempt a full track using FM sounds-no samples-from the PX).

Overall I'm very happy with how this turned out.

℗ Everett Dudgeon 2025

https://www.youtube.com/watch?v=BZkVy7ZCi14

[LoboLives]

Here is something very different!

I attempted to do an old school video game type soundtrack for an imaginary game called Dracula Lives. I tried to emulate a classic video game type score. Sort of like an 8 Bit adventure through Dracula's castle as he sends zombies, giant spiders, his brides, a hunchback and finally he's the final boss. I think it really captures the vintage vibe of various levels as the player makes their way through Dracula's domain.

All I used was the Tempest in real time with only an external reverb via Digital Performer added later on.

Hope you enjoy!!



© Everett Dudgeon 2025
℗ Everett Dudgeon 2025

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

[LoboLives]

Here's a track I did last year (2024) that I never got around to posting!

The Being is easily one of my favorite films of all time. I remember renting it from Jumbo Video because the font on the cover was the same as John Carpenter's The Thing. I absolutely loved the flick and became obsessed with it, even getting an original one sheet poster for it.

The score by Don Preston is very simple and focuses mostly on slurping synths mixed with acoustic piano and various percussion elements (mostly waterphone).

The Prophet X is simply doing 2 tracks here. The first is a repetitive piano/synth dirge mixed with swishing sewer sounds while the next is mostly focusing on string and brass effects as well as some waterphone effects all run through heavy reverb and delay.

Hope you enjoy!

© Everett Dudgeon 2024
℗ Everett Dudgeon 2024

https://www.youtube.com/watch?v=9TaychdI1t0