Name: intermission by alasen
Duration: 1 min 11 s
Description: if u wanna support me cop my kits: https://shoptly.com/i/b2up

most underrated track on the album. fantastic interlude

49, 7, 8 - hawk macheen type beat

A promo reel highlighting sounds from my serum kit. All absolute bangers btw, thanks everyone for the support and for giving me the confidence to release this <3

payhip.com/ryuuji

Tracks In Order

@kryolitemusic
@prodryuuji
@korewakosu
@juniasule
@achorda
@prodgolden

ryuuji! kit no.1

scorpiioh - cyanide.

if u wanna support me cop my kits: https://shoptly.com/i/b2up

intermission

4/4 | 3/4 | 5/4 | 7/8
just a sound design and technicity playground.

times goes by [keeth sample challenge] 3rd place <3

idols

beyond

blank w/ izumi !

Other Thing

soft warning.v1.2

Title:
Tri Fractal

Dates:
04-Jan-2026 (inception), 04-Jan-2026 (finalised), 10-Jan-2026 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/tri-fractal

Description: (SUMMARY -- see my BANDCAMP for full details)
So here I was listening to a YouTube video on microtonal music (thanks Levi McClain) and immediately I thought about fractals and microtonal music (the video by the way, did not cover fractals). Video passed, out came pen and paper to sketch some ideas down.

The basic concept is a splitting tree fractal structure. Cutting a long story short, end up with say, root as 1/1, level 2 as 3/2 and 2/3, level three as (3^2/2^2), (2/3)*(2/3), (2/3*(3/2), (2^2/3^2). So continuing this further you get frequency ratios of : (N/D)^i, N/D are fixed, i=.. -3, -2, -1, 0, 1, 2, 3 ... . 

I was curious what a chord formed from such a fractal iteration would sound like. I took it a step further and extended it to three voices inspired from a fractal tree splitting from one parent into three children using:

R_0=(N_0/D_0)^r_0
R_1=(N_1/D_1)^r_1
R_2=(N_2/D_2)^r_2

where
R_0, R_1, R_2 = frequency ratios of voices 0,1 and 2 (all with a common reference frequency)
N_0, N_1, N_2 = integer numerator for voices 0, 1 and 2.
D_0, D_1, D_2 = integer denominator for voices 0, 1 and 2.
r_0, r_1, r_2 = integer exponents for voices 0, 1 and 2

I wanted to explore this harmony performed on a midi interface that has an 8x8=64 note pad, with real time picking of these inputs of numerators, denominators and exponents. It also needed to mimic the fractal behaviour already discussed. I decided to limit my choice of numerators and denominators to a list of four integers -- the composer picks this before the performance. The performer gets a choice eight exponents, -4, -3, -2, -1, 1, 2, 3 and 4.

This almost fully populates the 8x8 note pad, an Ableton Push2 used in this case. 8x3=24 entries for the exponents for voices 0, 1 and 2; 4x3=12 for the choice of four numerators for voices 0, 1 and 2; and 4x3=12 for the choice of four denominators for voices 0, 1, 2. The layout of the notes had to be logical, no strange splitting of lists from one column to another. This means the composer/performer has a choice of 48 note tuning buttons to press all interrelated to bring about a final three part harmony. Yes, very experimental, you have an educated guess (or a wild guess), start playing and listen, experiment some more.

The graphical user interface (GUI) gave the musician the possibility of assigning the numerator and denominator lists as well as other timbral choices. A rotary encoder on the Push2 was dedicated to incrementing or decrementing one of the six numerators or denominators of the three voices -- this allowed an exploration of harmony.

So what did I pick for this composition? List of available integers for the N and D assignments: 5, 9, 12 and 23; plus the occasional deviation from this by direct assignment of a voice's N/D integers.

The synthesiser I developed for this, I called the TriFractal. It uses frequency modulation (FM) sound synthesis from sine waves, a pulse envelope generator, and a bank of three stereo filters (low pass, band pass and high pass).

It also includes some interesting cross coupling, both on the harmonic side and the timbral side. On the harmonic side, voices 0 and 1 frequency ratios can be multiplier together; or multiply all three frequency ratios together. Similarly on the timbral side, an amplitude modulation (AM) option is available to take the FM sound from voice 0, 1 and 2 and multiply them all together.

Finally, TriFractal, includes an eight track recorder and the ability to record stereo audio from external sources. In this case the Soma Lyra 8 synthesiser was used for the external audio source.

More sonic explorations using the TriFractal to come.

Tri Fractal

packs/drumkits: https://shoptly.com/i/b2up
guitar/synth https://soundcloud.com/dearlysomber
buy: https://alasen.bandcamp.com/
contact: alasenmgmt@gmail.com
https://discord.gg/hAGdDScBvN

intermission

alasen

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