Name: OSC159 Frank Geppert Cyber Passion by Frank Geppert in One Synth Challenge #159: Surge XT
Duration: 3 min 45 s
Description: This song is made with only one open-source synthesizer called "Surge XT" in the Digital Audio Software "Reaper" with only a few free effects (EQ, Compressor, Limiter).

I like the faux-stereo on the 'naked' bass arp. It gets layered later on, but the underneath one is nice. Great job!

definitely has a message within it, great sounds.

Cool sounds! The cyberpunk aestetic is definitely there...

I like that kinda DX7-ish Bass here. I can agree, it has cyberpunk-ish atmosphere - well done!

Hello, I also like it a lot. What master keyboard do you use please ?

How many instances of Surge XT were used in this track?

This is Brilliant!!! Did you change these presets if so do you share your presets?

One Synth Challenge #159: Surge XT

This song is made with only one open-source synthesizer called "Surge XT" in the Digital Audio Software "Reaper" with only a few free effects (EQ, Compressor, Limiter).

OSC159 Frank Geppert Cyber Passion

In this track for the OSC # 159 I used 33 instances of the free Surge XT synthesizer.

DAW: Cubase 11 Pro (Frequency, GEQ-30,  Stereo Delay,  Revelation, Tube Compressor, AutoPan and Maximizer)

Free 3rd party plugs: Panagement 2 by Auburn, Baby Come Back by Baby Audio, MCharmverb by Melda Production, Wider by Polyverse Music and Supermassive by Valhalla.

All sounds are TSOM originals. Except: Flutish Organ and the 10CC Choir Pad are tweaks I did with some wonderful presets by Martijn Deluxe. The Alien Voice has been created using the Vowel/Speech wavetable in Surge's TWIST engine.

Surge XT - Utopian Mornings

For the One Synth Challenge

Uses One (1) (!) instance of Surge XT.
Uses MEqualizer, Reacomp and Realimit 

Fun fact: The sound you hear starting around the 03:50 mark, comes out of just a single _oscillator_. Surge is nuts man.

Rahodees -- A Hatchling (Remembers) || Single Instance Challenge

KVR Audio OSC #159 entry.
All sounds are made with Surge XT.

Synthetic Adventures

Aurora Consurgens

bandcamp

Dakkra - Nightmare Reaper (KVROSC 159)

Recorded in Birmingham 2023
Music by Pedro
Original artwork by Patrick Elvin www.saatchiart.com/account/artworks/1745314
Dub Bird production 
All rights reserved

3am Shuffle

Commissioned and performed by Prague Quiet Music Collective

Part of a project called 'Five Uncertain Situations' with Prague City Gallery. Exhibition and concert at Dům U kamenného zvonu (Stone Bell House), Old Town Square, Prague in December 2022.

Bass clarinet - Anna Paulová
Baritone electric guitar - Ian Mikyska
Violin - Milan Jakeš
Double bass - Luan Goncalves

Mixed by Juraj Mišejka

This piece was written in response to a set of photograms from Aleksandra Vajd’s The Thirty-Six Dramatic Situations, which features two parallel lines, each changing colour halfway. To me this work is about things in flux, things moving toward or away from something else. In my piece, I am interested in how players might focus on periods of instability and change within and between sounds. By leaving the score more open, I hope to provide more space for the players to follow their curiosity and their ears, to be responsive to the sounds and to each other in the moment. - SL

"Sylvia’s piece is a rare occurrence: a simple, relatively undefined score that does not provide instructions for formal development over the entirety of the piece, yet immediately, the first time we rehearsed it, it was clear that the piece had a clear-cut character and a complex web of internal relationships. The simplicity and directness of Vajd’s photograms is here transformed into a focus on all the chaotic and noisy shadows, interferences, and byproducts that appear when players are tasked with exploring well-chosen, fluctuating effects and various transitions between them. Here, instability is always present at multiple levels — perhaps we could even speak of an interaction between instabilities, a dusty sonic layer covering the simple material play of the photograms." - Ian Mikyska

Overlapping Transformations (2022)

"I think someone is trying to drive you crazy before finally killing you."

A tribute to an early work by the master of Giallo, Dario Argento. Long on style, short on logic, the movie is a twisted tale of murder. The original score by Morricone naturally sets a very high bar, and I am confident I might, with luck, one day manage to limbo under it. In the meantime: my own poor alternative take… Made & mixed live in AUM on IPad, using Hilda, Sopranotron, Speldosa, et al. Sequencing by midiDreams. No keyboards harmed during making of the piece.

Four Flies On Grey Velvet

I wonder occasionally if using various effects on instruments and the digital processing of sound ion general is not some kind of mind-altering substance or like a drug. So I am toying with the idea of calling the album I recorded rather spontaneously on May 18th, "Under the Influence of Latency".  The fact of the moment was some issue with my soundcard. Rather than pull out the tool-kit, I decided to let the latency take me where it listeth. Been listening to the resultant 7 tracks thinking in might be a go for a full album. Time will tell.

Latency

Beyond the blue sky

Gefährtenschaft

noxpox - Ho Ho Ho (Early Grown Version)

Disquiet Junto Project 0622: Know the Shadow
The Assignment: How do you depict a shadow in sound?

I started playing around in the DAW and somehow ended up with old step samples. The simplest idea of musical shadows are certainly delay and reverb, and initially I built a (virtual) modular thing behind the steps that changes the shape of the steps but still lets us think of the original, just as shadows only hint at what cast them.

The second idea was the drums, and what could be the shadow of a drum kit? I used a looping noise sample (coming in very late, and not too loud) and carved out a kind of kick drum with negative noise using filters, so the absence of sound is the shadow here. I'll tell you why it has to be like this at some point far, far away … 

The third idea was to use two different types of motifs in one scale: An FM synthesizer using only the black keys of a blues scale (the real thing), and a classic basic saw synthesizer using only white keys (the shadow). 

Em ... and in general: first comes the real and then you hear the shadows, and in the end there are only shadows, because the word also stands for a kind of vague memory that continues to have an effect even after the real has disappeared. And remember, samples are shadows of real sounds …

The result is undoubtedly overly intellectual and musically not a gem. But it wouldn't be experimental music if the experiment couldn't - as here - go badly wrong. That's why I kept it under 3 minutes ...

Image: Dall-E

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More on this 622nd weekly Disquiet Junto project, Know the Shadow (The Assignment: Use recently discarded material to make something new), at: https://disquiet.com/0622/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0622-know-the-shadow/

3 Shadows [disquiet0622]

hybrid_undefined_06

Old tracks I never made use of. All of these are fair to use however you please. Just send me a link to whatever is done so I can hear how others have used what I created :)

Wanna be a Star

Join the challenge by going here: https://shorturl.at/bhBFQ

OSC159 Frank Geppert Cyber Passion

Frank Geppert

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