i am so glad that orchestral hardstyle is now a thing that exists in the world, well done

No, sorry, this one didn't work for me at all. Too big a gap between music and sounds.  That transition is just brilliant, though. More of that would have been needed, imo.

lol, wasn't sure until that happened - but now i have an urge to drink many pints of beer

I think this should be used on news programmes these days

it sounds like happy adventure to me, good progression, interesting effects fills track well. Great work!

One Synth Challenge #177: Synful Orchestra & VSCO2 Percussion

An entry for the KVR One Synth Challenge #177 - Synful Orchestra & VSCO Percussion.

As the sun sets on the horizon, casting long shadows across the alien landscape, a lone figure sits cross-legged, silhouetted against the fiery sky. In his hands he holds his trusty bass guitar, its strings gleaming in the fading light.

Lieutenant Spaceman D. Bassman had been stranded on this planet for 7 months, his crashed spaceship was damaged beyond repair, but he hadn't given up hope of being rescued. Every day he would refill his oxygen tank and walk into the poppy fields at sunset to jam on some dubby grooves, his music echoing across the vast expanse.

As he plays, he feels a sense of peace wash over him. The sounds emanating from his instruments are an ethereal mix of orchestral timbres and heavy dub, infused not only with the smells, sights and sounds of the alien planet and his hopes for the future, but also mixed with the melancholy of longing for his home-world. Music is his last connection to humanity, his way of staying sane in the face of loneliness.

One day, as Bassman was jamming on a particularly bad-assed groove, he heard a faint sound inside his helmet. His heart beat faster with excitement; At last, the Corp had located his damaged ship and had come to rescue him! Then, almost imperceptibly at first, he started to make out a strange melody, not entirely inharmonic to his tasty bass licks.

Bassman was stung violently on the forehead. He flinched and almost dropped his guitar. "Feck!", he howled. Out of the corner of his eye, he spotted a bee crawling on the inside of his visor, it's wings implausibly buzzing in a near perfect B Major. Desperate not to be stung again, he flailed his head around inside the helmet, attempting to squash the musical intruder against the side. After many attempts and with great effort, he struck one blow, then another, and with each strike the bee's buzzing became more and more erratic and atonal. Sensing victory, and with a final yank of his head, Bassman dealt a fatal blow, and the bee was silenced. 

As the sun continued it's slow descent below the horizon, Bassman composed himself, picked up his bass and continued jamming. Tomorrow he would seek out more of these alien musical bees, not only in the hope that one day they could forgive him for killing one of their own kind, but also that they might continue the collaboration between their two species on some more of those sweet-assed tunes.

Fin.

Reaper 7
Synful Orchestra (8)
VSCO Percussion (7)

A special guest appearance from an alien bee. RIP.

TrackFx : BC Chorus, CHOWTapeModel, db_Glitch1, IVGI2, MComb, MFlanger, MFreqShifter, MPhaser, Pro-C2 (7), Pro-Q3 (13), Ripple Phaser (Geraint Luff), Tape MELLO-FI, TEOTE, Kotelnikov GE.

MasterFx : Satin, TEOTE, Pro-Q3, Pro-L2, Loudness Meter (Cockos)

SendFx : Pro-R2, ValhallaDelay, ValhallaVintageVerb (2), Echobode, Ripple Phaser

OSC177 - Synful Orchestra

Dub Synfony

My entry for KVR OSC #177.

Professor Bertrand Snook loved playing with his band on a sunny Sunday in the bandstand.  But the mighty starship Argenti was waiting patiently in the distance.  This would be the band's last song, and he let them play their hearts out.  Soon he would be on his way out of the system and towards the mysterious object he had been working towards for his whole academic career.  
But for now - play on!  The sun is shining and the starship can wait!

DAW: Reaper

15 Instances of Synful
3 Instances of VSCO2

Dead Duck:
Filter, Limiter, Compressor, Flanger, Delay, Phaser, Chorus, TiltEQ, Overdrive, Autopan, BitCrusher.

Reaper JS:
Channel Time Delayer, Sweeping Resonant Filter, Event Horizon Limiter

Reaper: ReaEQ, ReaComp, ReaCompX, ReaDelay

Boogex Amp Sim
OrilRiver Reverb
SPAN, Youlean Loudness Meter, kHs Gain

Bertand's Last Band

OSC#177: Synful Orchestra

DAW: Cubase
Instances: 3 + VCSO2 Percussion
FX: Cubase EQ, Frequency 
3rd Party FX: Panagement 2, Berlin Studio, LALA, Oril River, Deelay, The God Particle

Taron - Synfully Romantic [Synful Orchestra]

Final Placement: 5/32 (Top 5)
Made for KVR Audio's "One Synth Challenge" #177

This month, it was "SynfulOrchestra" by Synful; and "VSCO2 Percussion," recorded by Versilian Studios/Sam Gossner. These two plugins, as well as some raw approved samples used in the latter, were the only plugins(/samples) used across multiple instances. This month, in addition to the use of stock-effects and perpetually-free effects, free plugins could be used to break the normal rules, while commercial plugins were allowed and could be used to follow them.

Because of this rule-forgiveness, it was also requested that the use of these plugins be explained. Instead of wasting the space required to do so in this description, I have instead done so in this Google Doc: https://docs.google.com/document/d/1X0a-u-xW2ewqLFM5_s7vW8pk0zEhk5rLwspcwQKPEQ4

--------------

YouTube: www.youtube.com/user/NeuKatalYst
SoundCloud: soundcloud.com/neu-katalyst/tracks
FaceBook: www.facebook.com/NeuKatalYst
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Email: NeuKatalYst@gmail.com
Discord: neukatalyst

Thanks for all your support!!

KVR One-Synth Challenge entries

From The Marble (SynfulOrchestra / VSCO2 Percussion)

Neu KatalYst - From The Marble [KVR OSC #177: SynfulOrchestra & VSCO2 Percussion] [DnB]

Made for the KVR One Synth Challenge #177 with 6 Instances of VSCO2 Percussion and 21 Instances of Synful Orchestra in FL Studio  21.2 Producer Edition. I wanted to make Hardstyle, I made something barely listenable - What A Success!

DAW Effects:
Channel EQ [10]
Fruity Envelope Controller [1]
Fruity Limiter [3]
Fruity Multiband Compressor [1]
Fruity Parametric EQ 2 [6]
Fruity Reeverb 2 [10]
Fruity Stereo Enhancer [4]
Maximus/Soundgoodizer [9]
3rd Party Effects:
Arturia Comp VCA-65 [1]
Arturia EQ Sitral-295 [1]
AXP SoftAmp 300 [1]
AXP SoftAmp GT [1]
kHs Comb Filter [2]
kHs Distortion [2]
kHs Flanger [1]
kHs Formant Filter [2]
kHs Frequency Shifter [2]
kHs Phase Distortion [3]
NI Replika [2]
Ozone 9 Elements [1]
Smartelectronix Supaphaser [1]
TAL BitCrusher [1] 
TAL Filter 2 [4]
TAL Tube [1]
xFer OTT [1]
Youlean Loudness Meter 2 [1]

Testimonial:
"Ich glaub hier war wohl jemand am Werk der Reinsch heißt!" ~ein deutscher Youtuber.

Sorry, our conductor got a short circuit (OSC#177 Synful Orchestra & VSCO2 Percussion)

Entry for KVR One Synth Challenge 177
All sounds from Synful Orchestra & VSCO2 Percussion, in Ableton, with free FX.

Zarf - Wonekut

Loris - Wake Up
Reaper 7

108 instances of Monolit

FX Used: 
Gclip
frequency spectrum analyzer
VUMeter
Voxengo SPAN
Signilizer
KHz Distortion
ReaComp
ReaPhaseRotator - to try to get the sine wave in the kick phase aligned
MCompressor
KHz Clipper
ReaXComp
ReaEQ
Khz Reverb
KHz Filter
Ozone 8 Imager
MBandPass
Mequalizer
KHz Delay
MConvolutionEZ
KHz Formant Filter
Khz transientShaper
Ohmicide - not used to its full potential
ReaLimit
MCharmVerb
Khz gain
MComb - for light accentuation on percussion
Khz Stereo
KHz trance Gate

This song took several tries to get to where i want it. Once i fleshed out the idea, i started layering sounds to get a fuller feel for the track and to decorate the space. im particularly proud of the kick which is three active instances of the synth, i crafted the envelopes down to the milisecond and used an oscilliscope to precisely dial in the timing. I had several initial approaches for the kick none of which worked well. I worked a lot on the percussion to get metallic sounds using the FM function of the synth and also using a lot of EQ to peak frequencies. I woulnd say i went full 11/10 but i went 9/10 on EQ. I also used some distortion, to about 8/10. I accentuated sounds but did not completely distroy them. A lot of texture to certain percussion was obtained by layering different sounds at different pitches and also different FM ratios etc. Playing with envelopes goes a long way. 

The bass sounds are all very simple actually and most are a few layers deep with different waveforms FMing at different ratios and pitches. I was gonna go ballistic on the basses and use EQ, clipping and even convolution to obliterated the sound. But to avoid being DQ i opted for the PG 13 version. 

the amount of automation in this project with greater than 100 instances of the synth has made it a chore to navigate. Some midi clips have 6 or 7 layers of automation and other have only one but heavily adjusted everywhere. the automation i used the most is volume. Cutting sounds so they dont interfere with other sounds and to cut reverb tails, and also to shape sounds since i did not like the way the envelopes in the synth itself worked at times. Working with audio clips would have made this much more easy. I do not think i will go this hard for OSC ever again. But then again...it was kinda fun...

The song is clipped and compressed severely. I could have pushed it harder but i did NOT!! in order to preserve that last gasp of dynamic range that was slowly waiting to die. This is not a ballad, or classical, its dubstep - or something like it. 

The song got its name from the distinct digital alarm sound that we're all so familiar with. I used it in the buildup, in the drop, everywhere...

Nothing on the master except Gclip and ReaLimiter. 

Thats all i got

Loris - Wake Up!

Völuspá
By Seap for One Synth Challenge 195, May 2025

In the Völuspá, one of the most important poems of the Poetic Edda, Ragnarök is described as the apocalyptic end of the world and the gods' fate. The poem presents a prophetic vision delivered by a völva (seeress) to Odin, recounting the world's creation and its inevitable destruction.

Ragnarök begins with a series of omens: the Fimbulwinter (a great, harsh winter), moral collapse, and chaos among humans. Then, cosmic disturbances occur—wolves devour the sun and moon, plunging the world into darkness. The world tree, Yggdrasil, trembles, and the boundaries between realms dissolve.

The gods face their doom in a final battle against the forces of chaos—giants, monsters, and Loki's brood. Odin is killed by the wolf Fenrir, Thor slays the Midgard Serpent (Jörmungandr) but dies from its poison, and other gods fall in combat.

Despite the destruction, Völuspá ends on a hopeful note: the world is reborn from the sea, new gods arise, and a golden age returns, suggesting a cyclical view of time and renewal.


-----------------------------------------
All synth sounds from Full Bucket Ragnarök 2

Instruments:
15x  CLAPi: Ragnarok2 (Full Bucket Music)
1x   VSTi: RandARP (x86) (CodeFN42)

Effects:
1x   VST3: LoudMax (Thomas Mundt)
3x   VST3: MAutopan (MeldaProduction)
2x   VST3: Raum (Native Instruments)
2x   VST3: ValhallaSupermassive (Valhalla DSP, LLC)
2x   VST3: kHs Transient Shaper (Kilohearts)
7x   VST: ReaEQ (Cockos)
2x   VST: ReaLimit (Cockos)
2x   VST: ReaXcomp (Cockos)

Seap - Völuspá [OSC195]

Created with  OSC 196 Primer 2 for all sounds.

Feedback of all kind welcomed including critical for improvement.

Daywalker

This song has been sequenced Using my Synthstrom Audible Deluge groovebox for the OSC#198 challenge. Every sound has been made from init with the synth engine of this device. I then imported the stems and recorded additionnal deluge synth sounds using Bitwig. Hope you enjoy!

Black Wink (OSC#198 Deluge HW Synth)

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

I make noise which mostly resembles music.

Sorry, our conductor got a short circuit (OSC#177 Synful Orchestra & VSCO2 Percussion)

Impedance Music

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