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AMBIENT CINEMATIC LO-FI BEATS - FREE BEATS - FREEDL

Silent Orbit - Ambient Cinematic Lo-Fi

Six Three
1: Six Three, 02:32
2: Six Three Touch, 03:00
3: Six Three Orbits, 03:39
4: Six Three Particles, 02:13

Dates:
05-Dec-2025 (inception), 06-Dec-2025 (finalised), 07-Dec-2025 (released)

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

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/six-three

SHORTEN VERSION, excludes Table 1 tuning, see my BandCamp site or my social media page for full details (https://www.facebook.com/norman.freund.545/)

Description:

Marcelo Leal Ref. [1] posts an article on FaceBook group, "Microtonal Music and Tuning Theory" and tags me, I looked on with interest. A tuning scale developed using at most harmonics one through to and include sixty three, octave reduced (i.e. divided by powers of 2 to ensure the frequency ratios remained within the 1. to 2. range. 32 Notes were used in this scale with adjacent note intervals starting from 53 cent, gradually reducing to 27 cent for the last interval to the first octave. So loosely speaking a quarter tone tuning with some stretching. I have tried quarter tone equal divisions of the octave tunings (24EDO) in the past and could not really get warm with them. Still, I was intrigued. 

Thirty notes, a lot of intervals to imagine, so I thought some form of colour coding on my Ableton Push2 midi controller would help. My Digital synthesiser, PulseRectOsc has micro-tuning and a user definable colour table, so switched this on and began experimenting. Stepping back just a bit, some preparation work on a spread sheet was necessary to calculate the frequency ratios, figure out a colour system using nearest 12EDO notes as a frame work.

The colour coding was to start the root note out as RED (1), colour all the diatonic notes of the nearest 12EDO major scale notes (the white keys on a piano) in GREEN (10), colour the nearest 12EDO sharp accidentals (#) in BLUE (15) and what was left over (the ^ and \/'s) coloured in PURPLE (18). The note naming convention used here was intended as a performer guide.

The PulseRectOsc synthesiser is a drone with a pulse like wave shape, amplitude modulation, wave folder distortion, a delay+feedback net work and your choice of VST reverb (or other effect). I used the Native Instruments' Raum for reverb. PulseRecOsc has an eight track audio recorder, so I recorded some four note chords to improvise over on the Soma Lyra 8.

The Soma Lyra 8 tuning approach was to tune it by ear to eight notes from the Table 1 tuning for the first track prior to the performance, then improvise a melodic line. Subsequent tracks would use a different four note drone chord from the PulseRectOsc and the Lyra 8 would use the tuning from the previous track as a starting point but alter the tuning during the performance. Each performance would introduce additional entropy into the tuning as performed on the Lyra 8, all done live, by ear, during the performance.

Each track's duration was purposely kept short, I wanted to demonstrate the various flavours of the 63-Limit Otonality tuning and in Lyra 8 style interpret this tuning organically.

The signal chain for the Lyra 8: mono out to the Soma COSMOS (rhythmic firmware, adds reverb and stereo space) -> stereo to digital interface -> 8 track recorder of PulseRectOsc.

The tuning of the Lyra 8 is very organic, is influenced by adjacent oscillators and has a "MOD" dial to accept frequency modulations from what it calls a "Hyper LFO". The Hyper LFO comprises of two low frequency oscillators, I used them here in the OR mode not synchronised, each pulse of the LFO changes the oscillator voice frequency according to the MOD dial. You don't control it strictly, more like guiding it, you listen and decide to increase or decrease the amount of modulation. A very organic approach.

References:
[1] Marcelo Leal, 5-Dec-2025, 63-Limit Otonality by Pitch (tuning scale). FaceBook group "Microtonal Music and Tuning Theory" Link: https://www.facebook.com/share/p/1asmaHiK7G/

Six Three Touch

LockDown - ste rozza - dark drone isolation pandemic scape

Lock Down

A track from "Haunted Houses" album. Released by Laverna label. Digital copy is available for free download here: http://www.laverna.net/releases/Lav85.html

Composed, recorded and mixed by Alessandro Barbanera (march - july 2020)
Mastered by Francis M. Gri

"Haunted Houses" is a collection of seven tracks in slow, melancholy, dreamlike, nocturnal mood. It's a work made of waiting, of grainy sounds and silences full of rustles. It's a work talking about isolation, either in a physical and mental space; which talks about full spaces and empty or restricted spaces, of presences and absences, of memory and hope, of distances, of houses and rooms. Rooms innervated with restlessness and waiting (the opening track "Sleepless"). Houses where memories crowd, layered memories that coexist with the present (the title-track "Haunted Houses" is a short electroacoustic study on perception: indistinct, evanescent sounds, old pianos in the distance, confused and ectoplasmic voices, furniture that moves from the floor above, sighs...). And then there are presences such as those of literary characters, which can come to life in the mind while reading ("The death of Joe Christmas" is inspired by the restless and controversial character narrated by William Faulkner in "Light in August"). 
Even absences find space in the album, manifesting themselves in their impalpable distance (the piece "In Absence"), as memories of a past that has no place in the present. Then the rooms can become places overloaded with pain (the track "Torture Room"), where this suffering and effort can take an expiatory, spiritual, meditative form. And after all this inner torment, even isolation can turn into an opportunity for reflection, "redemption" and sincere change: the final tracks "Pure" and "Endless" try to capture this renewed spirit, following a strongly emotional path. “Endless” closes the circle, but it can also reopen it. 

"Haunted Houses" was made with guitars, contact microphones, an old cassette recorder, field recordings, dusty and grainy lo-fi sounds, found objects, recordings of streets at night, sounds of a carpentry workshop, slowed sounds, manipulation of loops of classical music taken from the radio. Every detail, every sound has been carved and polished day after day, chiseled and positioned with care and devotion, in a work of "sound craftsmanship".

Haunted Houses

Sleepless

Performed & Recorded by Matteo Mariano (2019/2020) http://macrogramma.com
Original cover art by Dario Panzeri (2020) http://dariopanzeri.org

AN ELECTRONIC VOICES ALBUM

"Metafonia" is the Italian word that identifies the phenomenon known in parapsychology as "electronic voices".

- Metafonia II, IV and V are the less edited tracks, in order to leave the spirit of improvisation unchanged. Ideally these three represent a second volume within the first volume.

Each piece was made starting from vocal samples recorded and processed in real time with a laptop (and with the addition of some synths). The only voice behind these pieces is mine (at least I think, and above all I hope, even if I can never be completely sure), recorded while I was improvising random phrases, as if I were my own medium.

I waited a long time before deciding to finish and release this series of songs, the gloomy atmosphere of this end of October 2020 made me realize that it was time to let them go.

This is the first collection of songs made with this technique of editing random vocal recordings. Others to come.
---

"Metafonia" è la parola italiana che identifica il fenomeno noto in parapsicologia come "voci elettroniche".

- Metafonia II, IV e V sono le tracce meno editate, in modo da lasciare invariato lo spirito dell'improvvisazione. Idealmente queste tre rappresentano un secondo volume dentro il primo volume.

Ogni brano stato è realizzato a partire da campioni vocali registrati ed elaborati in tempo reale con un laptop (e con l'aggiunta di un po' di synth). L'unica voce alla base di questi brani è la mia (almeno credo, e soprattutto spero, anche se non potrò mai esserne del tutto certo), registrata mentre improvvisavo frasi casuali, come fossi il medium di me stesso.

Ho aspettato diverso tempo prima di decidere di terminare e pubblicare questa serie di brani, l'atmosfera cupa di questo fine di ottobre 2020 mi ha fatto capire che era arrivato il momento di lasciarli andare.

Questa è la prima raccolta di brani realizzati con questa tecnica si editing di registrazioni vocali casuali. Altre a venire. 

Released October 31, 2020

all rights reserved

Metafonie

Metafonia V

PARTICLES

as many others, I got inspired to play with the following open collab track:
https://soundcloud.com/blink-twice-archival/ch-4-120-bpm-4-1

Have a listen at the full playlist: https://soundcloud.com/blink-twice-archival/sets/ark-dambient-open-collab

Blink Twice - Ark Dambient [name constant slow walking remix]

Artefacts of a down slope

Man Tin

Tibetan Monastery (Mastered By Fat As Funk)

This is  my page for sound experiments, some field recording , some modular synth noise, I would be delighted if anyone wants to rework,remix, or use anything in their recordings, just credit me or any of my collaborators in the title, contact me and I will send you the files.

Tibetan Monastery (Mastered By Fat As Funk)

Ankhtifi

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