Luftrum 26 demo track by Martin Stürtzer.

On two patches, a bit of reverb was added (Valhalla Super Massive with 15% mix ratio). The delay tempo was changed on a few patches to match the context of the arrangement and on a few other patches, the envelope and filter settings were slightly altered, but nothing drastic.

Patches used in the demo track:

Gnaderath SU
Stratosphere I LUF
Darkseid SU
Suitcase Nostalgia SU
Asyrica SU
Spectral Run SU
Vailant SU
Nyxia SU
No Sleep till Wonderland SU

https://www.luftrum.com/

Martin Stürtzer - Valence Rising

Deep funk grooves create a universe of chippy arpeggiations and swirling leads.  Get ready for a fusion of new-jack FM chip and oldschool Amigafied chip tones.

Equipment used:  Renoise, Alpha, VOPM

MIDI Murder Box (chiptune/fm)

First Harvest

"Fragile" is a third full-length album by Endless Melancholy. Recorded during 2013-2014 it was released as limited edition 12" vinyl and limited edition CD via Hidden Vibes and AZH Music Label on 21 Oct 2014. Little Hands is a third track on album.
Piano by Oleksiy Sakevych 
Viola by Anatoliy Gavrilov 
Cello by Vladimir Babutin 
Mastering by James Plotkin 
Special thanks to Anton Belov, Konstantin Naumenko 
Photography by Aldona Pieniążek

Little Hands

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Look back
To when midnights broke their sleep
Awake in our memories
Of when we would make believe

Collide
Colors of the masquerade
Watch as they fall away
Faceless under faces made

And weeks went by but felt like hours 
Spring would lie in summer showers
In my hair were winter flowers

And weeks went by but felt like hours 
Seasons multiplying power
That I found in winter flowers

Turn back
I see rivers beyond the line
Ancient roads in broken design
Angels running thru our minds

Look up
Your city's built on marble floors
Neon lights in the falling snow
Those night back in tokyo

And weeks went by but felt like hours 
Spring would lie in summer showers
In my hair were winter flowers

And weeks went by but felt like hours 
Seasons multiplying power
That I found in winter flowers

And we said
This has only just begun
In the end
Time forever favors the young

And we said
This has only just begun
In the end
Time forever favors the young

Young

I imagined that I was given a basic animatic for the intro FMV, so that I would understand the plot and make music that would serve the story beats of the video. Given Cyberpunk 2077 as my main reference, the imagined video features the main character, an anti-authoritarian, punk slacker, as they find an abandoned terminal that they can use to access the rough, retro-futurist version of the internet, which they are eventually totally lost in.
Progressing from the dingy, rough human world, where you can hear an out of tune, imperfectly-timed upright piano and the ordinary sounds of computer hardware, the piece hits a transition point where the slacker character is slowly digitized as they log on, and moves to the climax where the character is subsumed by the online world, at which point all sounds become distorted and unfriendly, and rise into quiet.
With the musical sound design, I wanted to lean into the rough, industrial, and discarded aesthetic that the Cyberpunk 2077 composers spoke about. Thus, many of the building blocks for the percussion are found recordings of decades old computer equipment, including CD-ROM drives (ref), floppy disk drives (ref), hard drives (ref), and modems (ref), in various states of (dis)repair. The main rhythm for the piece was based on the rhythm of one of the recordings that I found, of a 3 ½ inch floppy trying and failing to read a disk, which I shaped a bit to be more musical.

Cyberpunk-style Intro Video

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This session contains ethereal soft ambient music in 432Hz. Enjoy while relaxing, meditating, yoga, or use as background music. 


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Ethereal Adventure ~ Ambient Healing 432Hz Yoga, Relax, Meditation, Sleep

Recorded at the Wellington Opera House 2nd November 2013 (Audio taken direct from desk.)

Rhian Sheehan - Guitars, Ukulele, keyboards, fx.
Jeff Boyle - Guitar
Andy Hummel - Omnichord, Vox
Steve Bremner - Drums
Ryan Prebble - Guitar
Raashi Malik - Piano
Jane Pierard - Vox
Mailee Mathews - Bass
Ed Zuccollo - Keyboards
Grant Myhill - Percussion

Featuring the Orchestra Wellington String section conducted by Ewan Clark, Arranged by Ryan Youens and Rhian Sheehan.

Front house mix: Brett Stanton

More info here: www.facebook.com/pages/Rhian-Sheehan/15584763065


The Upper Sky (Live at the Wellington Opera House)

Sometimes there are projects that take a little eternity. They'll get started, dropped and picked up again in a frequent manner and the as time passes by, you'll start to doubt that they're ever completed. 

Dreams of Flight is a piece that I started thinking about in 2008, I wanted to challenge myself writing a Symphony piece of extraordinary proportions containing powerful themes and clever orchestration, all packed into a Hollywood worthy production. The subject was storytelling through music, something a few listeners would often highlight in my arrangements. Filmmusic needs to tell a story after all, otherwise it could just be described as background music. I started this piece with a piano suite and wrote the first themes in 2009, when I actually began writing the track in 2010, I started to work on a feature film, marking my entrance into the commercial world of scoring. Due to these forthcoming commercial project the progress of this piece started to become negligible, there were times where I laid it down for half a year, picked it up again only to drop it again one week later. Luckily my experience and technical possibilities have evolved greatly during that time which enabled me to lift the quality of this track into new heigths. However, getting back into the piece after half a year wasn't easy sometimes and often left me with a headache.

The piece is portraying all sorts of excitements one could get from orchestral music. You'll spot some obvious influences like Powell's Dragon score as well as nods towards Zimmer and Alan Menken which have always been my favorites. However, with this piece I was aiming for a signature sound, with thematic quality high enough that one could easily mistake it for a suite to an animated movie. This piece was supposed to be used for my application at Berklee, but knowing what they charge composers I'm currently rather doubtful that I'll make an entrance there, it's just too expensive.

Dreams of Flight contains 4 movements, similar to a symphony but not following the rules excactly. So I want to use this term with caution.

1. Once upon a Nighttime

The piece makes a calm start with woodwind solos and light orchestration. This part was inspired by Irish Folk music, putting a strong storytelling aspect into the piece. It ends with a buildup that hints at the main theme.

2. Building upon Dreams

A typical montage arrangement introducing the main theme and its continuation. The second part was obviously influenced by Powell's Dragon score, ending with the "musical line of awesomeness", rowing a line of exciting themes.

3. Journey

At this point the piece will calm down and move back to a similar sound as heard in the first movement with the focus on wind solos. In the second part it goes back to the familiar montage sound, but with a lesser presence focusing on explorationary aspects. It ends with a buildup towards the last movement.

4. Limitless

The most powerful and epic movement, throwing everything around that was introduced in the former movements. Several ups and downs here with the focus to never run out of energy. It ends with the maintheme similar to the second movement.

This piece would've never been possible without the great players who performed in this piece. I'd like to thank everyone who had the patience and time to record for this piece!

Kristin Naigus: Oboe, English Horn, Tin & Low Whistle
Sean Lin: Clarinet
Daniela Koch: Flute
Berker Sen: Bassoon
Mario Hinke & myself: Some choir voices

Special thanks to: Robert Eisenhauer (for introducing me to a flute player), Toniko Pantoja (for keeping me motivated), Mario Hinke (additional motivation) and Eastwest Quantum Leap for their excellent libraries.

Dreams of Flight

A ship. Stranded. What was his fate and that of his crew when they were shipwrecked? A lot to fantasize about and speculate.Ghost Ship' is a track of mostly gloomy soundscapes on the border of dark ambient, with the voices of the crew ghosts. Dark, abstract, in contrast to what Zazenkai usually releases. Enjoy listening.

Ghost Ship

Imagine you are floating in a dive boat just above the seabed. From time to time you see a fish, the sand is whirled up. Weightless in another world. Without the small and big problems of our civilization. This warm drone ambient track tries to convey exactly this experience.

Seabed

Composer, Sound Designer. These days focusing on games and dynamic audio (including implementation).

Cyberpunk-style Intro Video

cloudy day music

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