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Strange Sounds From Deep Space

edited January 21 in Creations

This is a slow krell patch. This is a self-modulating monosynth (Buchaudulus) patch running through 3 instances of THAFKNAR.

This is for lovers of strange atonal music.

Or listen on Soundcloud

Comments

  • Very interesting and deeply atmospheric.
    This creation awakens my imagination, and I am floating deep into space with your lead!
    Very well done!!!

  • This is great.
    Lots of movement here.
    Nicely done.

  • Sounds fantastic, some incredible tones here, very orchestral. Great work!

  • @ReneAsologuitar @JeffChasteen @Gavinski : thanks so much for listening.

    This one was surprising to me in that "orchestral" sound that emerged (a very Edgar Varese sort of thing). I find it strangely meditative to let this patch run in the background.

    It is interesting how the reverb decay (and it's shifting placement in space) results in a sense of polyphony even though the synth is strictly monophonic.

    Nerdy side-note: these sorts of self-modulating simple systems fascinate me in the way they demonstrate certain principles of chaos theory. Small changes in the initial settings can yield highly divergent results with one setup -- and a slight change can result in a system that isn't sensitive to those initial conditions.

    It is fun tinkering and letting something run and tinkering again until you find something that you like (which'll be different for everyone).

  • It is also amazing to me how much character Wires adds. It softens a lot of digital edges here in a very good way.

  • @Gavinski said:
    Sounds fantastic, some incredible tones here, very orchestral. Great work!

    Definitely orchestral! Very very organic. I love it!

  • Another fine piece @espiegel123 .
    I totally agree with the Varese reference.

  • Strange AND deep. Oceanographic.

  • @sevenape @Moderndaycompiler @LinearLineman : I very much appreciate the kind words and your taking the time to listen.

  • Late to the party on this, apologies, but this is totally up my street. Very Forbidden Planet!.

  • Great sounds, vibrant and evocative!

  • @Svetlovska @zvon : thanks for listening.

    S: this piece was the fruit of my thinking about your noticing my comment as to whether the previous "krell" really was one. I tried to set it up to be truer to the krell spirit (as described to me by Todd Barton a few years ago).

  • Would love a quick summary of what Todd said to you about that, Ed. In the meantime I will go Google him 😂

    @espiegel123 said:
    @Svetlovska @zvon : thanks for listening.

    S: this piece was the fruit of my thinking about your noticing my comment as to whether the previous "krell" really was one. I tried to set it up to be truer to the krell spirit (as described to me by Todd Barton a few years ago).

  • Nice! I tried something a bit different. I played this in one tab, and Charles Ives Central Park In The Dark in another tab. The two compliment each other perfectly.

  • @Gavinski said:
    Would love a quick summary of what Todd said to you about that, Ed. In the meantime I will go Google him 😂

    @espiegel123 said:
    @Svetlovska @zvon : thanks for listening.

    S: this piece was the fruit of my thinking about your noticing my comment as to whether the previous "krell" really was one. I tried to set it up to be truer to the krell spirit (as described to me by Todd Barton a few years ago).

    super short summary: attack and decay should vary independently. pitch and duration should be associated (low notes should tend to be longer than high pitched notes). there should be variation within those categories and the variations should be decoupled from the attack and decay variations. He was responding to an early trial of mine that was very either/or.

  • @espiegel123 said:

    @Gavinski said:
    Would love a quick summary of what Todd said to you about that, Ed. In the meantime I will go Google him 😂

    @espiegel123 said:
    @Svetlovska @zvon : thanks for listening.

    S: this piece was the fruit of my thinking about your noticing my comment as to whether the previous "krell" really was one. I tried to set it up to be truer to the krell spirit (as described to me by Todd Barton a few years ago).

    super short summary: attack and decay should vary independently. pitch and duration should be associated (low notes should tend to be longer than high pitched notes). there should be variation within those categories and the variations should be decoupled from the attack and decay variations. He was responding to an early trial of mine that was very either/or.

    Thanks for that. Sounds like an interesting chap btw
    https://toddbarton.com/

  • For those that don't know, Todd is a master synthesist known for his Buchla and Serge work (he is also an eclectic composer in a wide variety of styles that utilize diverse instrumentation. He was the composer in residence at the Ashland Shakespeare for many many years). He long studied wrote and spoke about the Barron's work and at some point came up with a Buchla patch that emulated the music of the Krell as heard in Forbidden Planet...and that patch went viral and gave rise to the krell patch/music genre popular in some circles since then.

  • @Gavinski said:

    @espiegel123 said:

    @Gavinski said:
    Would love a quick summary of what Todd said to you about that, Ed. In the meantime I will go Google him 😂

    @espiegel123 said:
    @Svetlovska @zvon : thanks for listening.

    S: this piece was the fruit of my thinking about your noticing my comment as to whether the previous "krell" really was one. I tried to set it up to be truer to the krell spirit (as described to me by Todd Barton a few years ago).

    super short summary: attack and decay should vary independently. pitch and duration should be associated (low notes should tend to be longer than high pitched notes). there should be variation within those categories and the variations should be decoupled from the attack and decay variations. He was responding to an early trial of mine that was very either/or.

    Thanks for that. Sounds like an interesting chap btw
    https://toddbarton.com/

    He is very interesting, talented and generous.

  • His videos on YouTube and Instagram are great sources of knowledge and demonstrations of "west coast" synthesis techniques.

  • @espiegel123 said:
    His videos on YouTube and Instagram are great sources of knowledge and demonstrations of "west coast" synthesis techniques.

    Will definitely check them out, thnx.

  • @Paulieworld said:
    Nice! I tried something a bit different. I played this in one tab, and Charles Ives Central Park In The Dark in another tab. The two compliment each other perfectly.

    Cool. I'll try that out.

  • Interesting piece. I like it!

  • You tweaked this one into the right place. A nice piece of atmosphere.

  • @Mountain_Hamlet said:
    You tweaked this one into the right place. A nice piece of atmosphere.

    Thanks!

  • Wow. You're mastery of Adults 4 is really, really impressive. I could only make it beep and boop in ways that I found offensive. I prefer something like a Virsyn synth that just gets me there without learning anything.

    This is music I'd associate with a sci-fi classic like Metropolis to create a sense of a dystopian future... not unlike last Thursday in my nightmare. Music in my dreams is often a sense of sound without actual sounds... like remembered sound.

  • edited January 25

    @McD said:
    Wow. You're mastery of Adults 4 is really, really impressive. I could only make it beep and boop in ways that I found offensive. I prefer something like a Virsyn synth that just gets me there without learning anything.

    This is music I'd associate with a sci-fi classic like Metropolis to create a sense of a dystopian future... not unlike last Thursday in my nightmare. Music in my dreams is often a sense of sound without actual sounds... like remembered sound.

    Thanks. Abstract soundscapes have been a love of mine since I was a kid.

    At this point, Audulus is largely geared towards people that enjoy patching things together and who want to create architectures not found in off-the-shelf synth. In my case, it gave me a chance to cobble together bits similar to the gear I covet but cannot afford...and to explore the sonic territory of Buchla/Serge ilk synths. When I was a teenager, I spent a lot of hours playing what-if on modular systems at the local junior college. I am re-discovering a joy in exploration.

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