My submission for KVRs OSC161 using Synth1 as only sound source. All sounds made from init.

Made with Ardour 6.9 on ArchLinux
37 instances of synth1 via yabridge / wine.

Effects:
-LSP Parametric Equalizer 
-ZaMultiCompX2
-Dragonfly Hall Reverb
-ACE Compressor
-LSP Sidechain Compressor Stereo
-Calf Compressor
-TAP Scaling Limiter
-LSP Sidechain Multiband Compressor Stereo
-x42-eq - Parametric Equalizer Stereo
-TAP Tubewarmth
-LSP Slapback Delay Stereo
-LSP Artistic Delay Stereo
-Texturize
-ADClip7
-Galactic

Master Chain
-LSP Parametric Equalizer 
-LSP Multiband Compressor Stereo
-ToTape5
-LSP Limiter Stereo
-ZaMaximX2
-x42-dpl - Digital Peak Limiter Stereo

Analyzers:
-Calf Analyzer
-EBU R128 Meter
-DR-14 - Crest Factor Loudness Range Meter
-LSP Spectrum Analyzer

MyLoFy - Smize

The track is made for the KVR One Synth Challenge #161 using sounds made by the VSTi Synth1. DAW, free 3rd party and some commercial FX used.

Tracks
9 * Synth 1
9 * Waves VEQ4 (Commercial)
5 * OTT
1 * TAL Dub Delay
1 * Twin Delay
1 * Waves Maxxbass (Commercial)
1 * Valhalla Room (Commercial)

Master
Stillwell 1973 (Commercial)
FerricTDSMkII
Ozone 8 Elements (Commercial, but was a free download!)

Meter
Youlean Loudness
SPAN

Stats
LUFS: -16.2
DR: 10

The Zen Pot - OSC #161 - Synth1

Created using only instances of Synth1. No samples or external modulation used. Inspired by older handheld RPG music.

OSC #161

Exploring the Unknown

Exploring the Unknown - Synth1 OSC#161 (ChristopherWD)

My submission for the July 2022 One Synth Challenge:

https://sites.google.com/site/kvrosc/2022/osc-161-synth1

- 83 instances of the classic freeware VST Synth1 v1.13
- All effects either freeware VSTs or FL Studio native effects
- 113 mixer tracks, lots of bussing
- 353 effects in total, not all used
- No modulation effects, overdrive/bit-crushing applied subtly per the rules
- 7886 notes
- No samples obviously, no presets used
- Upload is undoctored straight from the FL Studio render
~90% average CPU usage on average, with some parts peaking above 100% (meaning these portions take longer to render than to glitch through in realtime lol)

I tried to keep it short, promise. There are many songs for people to evaluate in this competition with undoubtably a lot of skipping-through. But this is song is many different sections strung together by a common chord progression. For such reason these markers are provided for easier evaluation:

0:13 Breakbeat/Rock instrumentation
1:12 Techno/909 section
2:20 Chiptune deviation
3:40 Electro/808 section
5:09 Acoustic string ensemble

Namesake: I played-through Fallout: New Vegas this month, often alternating between exploring The Wasteland and producing this song. In F:NV the player-character is a Courier tasked with bringing many different things concrete and otherwise to very different places with widely varying environments. Similarly this song's widely varying sections delivered to you with only brief transitions. I am The Courier.

Production: Between running out of time and being sick of hearing this track a thousand times, I am finalizing it here and now. I have good monitors but poor acoustics, no headphones and a motorbike instead of a car. As such the bass management/spectral profile is what it is. Crossing my fingers and walking away.

Happy to share the sound design behind any elements in the song, and after the competition is finalized presets can be provided on request.

I love synthesizers and cats.

One Synth Challenge July 2022

The Courier

The Chase - The Courier (July 2022 One Synth Challenge)

Entry for One Synth Challenge #161
14 Instances of Synth1 - all from init.

Remember You Are A Soldier Of The Light

My Submission for KVR OSC #161. Brutal feedback please!

Plugin counts:
- VST3: OrilRiver (Denis Tihanov) x1
- VST3: TDR Nova (Tokyo Dawn Labs) x1
- VST: ReaComp (Cockos) x2
- VST: ReaEQ (Cockos) x2
- VST: ReaLimit (Cockos) x3
- VSTi: Synth1 VSTi (Daichi) x36

Heist Planning

My entry for OneSynthChallenge 161

All sounds made from scratch with Synth1 vst instrument.

x19 instances of Synth1

FX List

MAXBAX
FerrickTDS mkii
LoudMax

GClip
x3 Freeclip
dBComp
KSHMR Essentials Kick
Initial Clipper
x3 FirComp
x2 ReaEQ
TAL Filter 2
SequencAIR
PreBOX
Panstation
x2 Wider
epicPLATE
HY Delay 4 Free

Nameless City (by phankiejankie303)

NEW REMASTERED VERSION ON YT: https://youtu.be/EYnCzPoYtKo

Submission for One Synth Challenge #161 featuring "Synth1" by Ichiro Toda.

KVR forum: https://www.kvraudio.com/forum/viewforum.php?f=1&sid=8a6945574871baa71b8a28dd42a9ae6c
One Synth Challenge archive: https://sites.google.com/site/kvrosc/2022/osc-161-synth1?authuser=0
Thread, related to this round: https://www.kvraudio.com/forum/viewtopic.php?t=583839&sid=44a7bb877b5ac263c864b33ec3661db1

YouTube:  https://youtu.be/QuDxKEwqG1Q

Working with Synth1 is like meeting an old friend. You know exactly what to expect from it, yet still it can surprise you with something new. I stated my whole music making hobby five years ago with this instrument. I even found my old presets, created in 2017, which I used in this track. Some of those sounds still couldn't be matched by commercial instruments. There is some magic behind the code of Synth1, especially in the effects section. I definitely could make a whole album with it.

And it also can make one of the most realistic electric guitar sounds (among free software).

39 instances of Synth1 used. Some instruments were created by layering two or more instances. All sounds from "initial sound".

Some commercial FX were used.

Follow me on Patreon: https://www.patreon.com/infravolt

Technical details:

Produced in FL Studio 20.9.2

Native Effects:

x10 Parametric EQ 2
x11 Delay 3
x1 Love Philter
x1 Stereo Enhacer
x3 PanOMatic
x1 Wave Candy
x1 dB Meter
x2 Layer

VST Effects:

x11 AdHd "Leveling Tool"
x11 Thomas Mundt "LoudMax"
x1 D16 "Frontier"
x1 TDR "Kotelnikov"
x2 TDR "Nova"
x19 TDR & VoS "Slick EQ GE"
x1 VoS "epicVerb"
x2 VoS "epicPLATE"
x1 Eventide "Blackhole"
x2 U-He "ColourCopy"

Master Chain:

TDR "Nova"
TDR "Limiter №6 GE"

Total:

x39 Generators
x82 Effects
x28 MIDI Patterns
x28 Mixer Tracks
No Audio Clips
x24 Automation Clips

Dystopia Today

Dystopia Today (OSC#161)

‍   ‍   ‍    ‍    ‍Somewhere,
     ‍ on the edge of nowhere, 
the Gnomes of Garden gather.
      ‍  to dream a new dawn.
             ‍ ‍   A new day.
       ‍     ‍   A new world.
 
 
 
An entry for One Synth Challenge 161  - Synth 1 by Daichi Laboratory
Made in REAPER 6 using:
Synth1   (20, 11 patches , from scratch as always ; no layering just voice splitting )
TDR Nova Free( 10, doing household stuff )
ReaEQ ( 1, more household stuff  )
Black Rooster VLA-3A ( 1, slightly compressing plucks )
Hy-Delay4 Free ( 6, delaying lead and mallets )
ADPTR Sculpt ( 1, blunting transients on a delay send )
JS Time Adjustment Delay (1)
JS Channel Time Delayer (1)
Oril River ( 8, mono )
Protoverb ( 4, mono ; 1 stereo )
A1 stereo Control ( 2, what it says on the tin ) 
Sonible SmartEQ3 ( 1, being dynamically smart on master )
Pulsar Mu ( 1, compressing master somewhat ) 
PSP Xenon ( 1, limiting master )
Limiter No6 ( 1, ISP thereafter )
PSP X-Dither ( 1, final bit reduction )

Somewhere, Nowhere

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?


If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities. Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation.

7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.
A1 by Alex Dickson, Joe Baker.
A2 by Olivier van der Lugt.
A3 by Andre Lira.
B1 by Flore Morfin.
B2 by Jdotbalance.
B3 by Charlie “Eric” Baldwin.
B4 by J. Coles, P. Tipler.


Mastered by Pedro Pina.
Artwork by Aleix Font.
CEEXYZ05.
©️ & ℗ 2025 Lapsus Records.
ceexyz.bandcamp.com

Buy Link (Bandcamp)

Pugilist & Forest Drive West - Polygon [CEEXYZ05]

Radiola

I barely make music anymore so this is mostly used to host my old tracks and One Synth Challenge submissions. And random bits/bobs for demonstration.

The Chase - The Courier (July 2022 One Synth Challenge)

Feeding Cone