Seven

All sounds made using 64 instances of Zebralette in Bitwig 5.27 for the KVR OSC #191 challenge


Milkster & MadMcMan - The Pissed Up Frog

55ish instances of zebralette using Reaper 6.83

OTT, ReaLimit, LoudMax, TSOM's B&S, Supermassive Valhalla, Raum, A1TriggerGate, ReEQ, TDR Kotelnikov, Replika, Reaverb, A1StereoControl

LUFS-I = 11.1

The last 7 minutes are very slow ambient which isn't popular in OSC and of course it's long. Feel free to skip if that's a problem for you, although just to be clear, I love it. 

Thank you Jas (white noise), TSOM (cymbals), Exponent (exophase!) for sound design help.

OSC191 Forgotten Dream (Zebralette 6th)

Drifting off the coast of an alien sea.
All sounds made with 46 instances of Zebralette 2 in Ableton Live 12

Effects include native Ableton eq, compression, limiter as well as
Valhalla SuperMassive, The Sound of Merlin Heart and Soul, TDR Nova, Slick EQ, BX Masterdesk Classic.

Hydrofluoric (OSC 191 Zebralette2)

One Synth Challenge entry #192 using Six Sine to create all sounds. About 26 instances. Created in Ableton Live 12 using native effects + OTT, Jacked Brat, TDR Nova, Brainworks Masterdesk Classic, Valhalla Supernova, Boba, Cambridge Bloatanizer, kHs Limiter.

More Than Six

Genre: Blippity Bloop Rhythm Thing
DAW: Reaper

All melodic allusions intentional and tongue in cheek.

My Circus My Monkeys OSC 192 Six Sines

Daylight (Instrumental)

Unseen lane toward the deferral breath
Fog unspools, hums like it knows me
Straining to perceive what I have encoded
And they leave anyway
Countless doors to exit

Tracing the edges of each shade
Arise from the entrails of circuitry vain
Withhold in a corridor - ornaments of the dim ache

Patina Lush is an electronic composer from Austin, Texas, rooted in tactile emotion. His music is vivid and hallucinatory — shaped by layered textures, shifting patterns, and a pulse that bends between clarity and dream.

'Mist Unseen' is a sonata of phantoms: somatic grace drifting through vapor. The pieces move like shifting fog — elusive, dissolving, yet leaving traces that return unexpectedly, almost as if hummed back from memory. It unfolds in tension — between what is traced and what has not yet taken form — a work that moves like memory, half-revealed and ever-becoming.

OSC191 Forgotten Dream (Zebralette 6th)

Empty Castle