OSC One Synth Challenge

5 Star!

Just to keep youse all going until the official playlist comes out on the 1st September...

OSC#198 Prelim

One Synth Challenge #198: Any One Synth

My submission for the OSC187 competition using only the Extrabold synth

Johnkhf_Day and Night

My contribution to the OSC188
A bit 70's Pink Floyd

Johnkhf Time

Atmospheres from Tibet with an Ambient sounscapes and heavy percussion.
Created with Myth 1.5 synthesizer from Dawesome

Tibet OSC189

Track made for OSC190, in this challenge all sounds are created using the free version of Vital from Matt Tytel

OSC190_Hope

My submission for OSC192 using Six Sines Synth by BaconPaul  Inspired by oriental music

Bedouin Dreams OSC192

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!

Stream on Spotify: https://open.spotify.com/album/6mSKcze7qnV0bQKOpDLn42

DAW: Reaper

Synth: Monolit (35 Instances)

Mixing FX (Free): ReaComp (Only Sidechain), ReaGate(Gating Snare Reverb), ReEQ (HP/LP), Flux Mini 2(Sidechain),  Orilriver, Supermassive, Deelay, DD AutoPan, Panagement 2, Wider, Lil Tube (Subtle Bus Saturation), GClip, Loudmax, ReaLimit

Mastering: Nova, Lil Tube, Kotelnikov, LoudMax

Metering: Prism

Calling the Monolith

Call the Monolith (OSC 194 Monolit)

This is my OSC for May 2025 made from the sounds of Ragnarok2
made with 58 instances of Ragnarok2 and the following free vsts:


TDR Kotelnikov
BX Masterdesk Classic
Airwindows Monitoring 3
KHS Delay
DevilSpring
Deelay
TDR Nova
DearVr Pro2
Raum
Valhalla Supermassive
KHs Dual Delay
Saturation Knob
AirWindows DubSub2
Spacer
KHs Transient Shaper
ExoVerb
FreshAir
Limiter No6
KHs Haas
Pancz
STFU
TensJr
IronOxide Classic2
BusterSe
TDR Molotok
GClip
Ozone Imager 2
BussColors 4
KHs Clipper

Bitwig:
Sculpt
Focus
EQ2
Convolution
Tool
FX Layer
Key Filter
Note Transpose
Multiband fx2
Mid-Side Split
Instrument Layer
Delay-1
Filter+
Delay-2
Multinote
Fx Layer

Kiltarlity

OSC#195 - FullBucket's Ragnarök 

DAW: MuLab
Instances: 40
FX: DearVR Pro 2, Deelay, Supermassive, FrankCS, OTT, LoudMax, Magic Carpet, KSHMER EssentialKick, TDR Nova, TENSjr, IVGI2, Plateau2

Taron - Stealing the Ragnarök

Hi everyone, I created a similar piece to the previous one from OSC 194, but in a different sound version.
I used 31 instances (Ragnarök 2)

All effects from Studio One 6.6 + free Dreverb2
=========================================



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DAW: Studio One 6.6
31 instances - Ragnarök 2 / basic sounds from bank 1 and 2

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FX:
- built-in plugins from Srudio One 6.6
"Compressor, Binaural Pan, mixverb, Pro Eq, splitter, mixtool, limiter, analog Delay
+ free Dreverb2"

=====================

Mastering:
Mastering using built-in Studio One 6.6 effects

=========================

The joyful 90's Hard ver. (OSC #195 - All instruments in the song are from VST Ragnarök Mk2)

For this OSC Any Synth Challenge, I chose the PS-3300, a beautiful software emulation of a late 1970s analogue polyphonic synthesizer from KORG. Cherry Audio developed this soft synth. Every sound you hear was created using the PS-3300. I tried to create an overall sound that matches the capabilities of a studio production in 1978. This is in honour of this beautiful synthesizer and its creators.

29 instances of PS-3300 by Cherry Audio 
Reverbs: Body &Soul by TSOM, VertiVerb by Audiority and VitaliumVerb
Delays: Deelay by Sixth Sample and Dual Delay X by UVI
EQ: Claro by Sonnox and Graphic EQ by Viator
Compression: FET-76 by Arturia
Enhancer: Type B by Audiothing
Mastering: Smart:Limiter and Smart:EQ4 by Sonible

Please note: I haven't used any distortion or saturation plugin to create the guitar tone. It's all been synthesized in PS-3300

After the Rain (OSC#198-Cherry Audio PS-3300)

Hey ! Here's my entry to OSC 200 !

All sounds are synthesized using Native Instrument's Massive X.

Daw : Ableton Live
Massive X : 21 instances including 
- The preset "Full Blown" for the flute
- The percussions are tweaked from the base library presets
- The hurdy-gurdy is made from scratch

FX from Ableton :

- ∞ x Compressor
- ∞ x Auto Filter
- 2 x Delay
- 2 x Auto Pan
- 4 x Glue Compressor
- ∞ x Utility

Free plugins :
2 x KHearts Trance Gate

Paid plugins :
- 3 x FabFilter Saturn (Drum bus and Basses, subtle Warm Tube)
- 1 x Valhalla Vintage Verb
- 2 x Eos 2 
- 1 x FabFilter Pro-G
- 2 x NI's Replika
- ∞ x FabFilter Pro-Q 3

Mastering (paid) :
- 1 x Endless Smile (Pace Melting Joy preset = delay + filter)
- 1 x TRacks Saturator X
- 1 x FabFilter Pro-L 2
- 1 x TRacks 5 Quad Imager

Metering :
- Youlean Loudness Meter (free)

The Oneiric Ball (OSC #200)

One Synth Challenge #198:  AnyOneSynth => Apricot

https://sites.google.com/site/kvrosc/2025/osc-198-any-one-synth
https://nakst.gitlab.io/apricot/

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Although OSC is currently celebrating its 200th anniversary, this track was created for the 198th challenge – a small tribute to the series that nevertheless captures the groove of the anniversary energy.

With 92 BPM, catchy harmonies, a concise bass hookline, and crisp kicks, FractiQ takes you straight to the dance floor. The melodic fractals weave together into a catchy tune that sticks in your mind.

Perfect for all fans of melodic music, hypnotic chords, and pulsating energy.

NJoy. Any feedback welcome.

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SiL3NC3_SWX - FractiQ
https://soundcloud.com/soulwerx/sil3nc3_swx-fractiq-osc198

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DAW: Bitwig 5.3.8
15 instances of Apricot

FX:
- Bitwig: Arpeggiator, Dynamics, Convolution, EQ+, Delay-1, Vocoder, Humanize, Compressor+
- Valhalla Supermassive
- Wider

Mastering:
- Free Clip 2
- LoudMax
- TDR Kotelnikov
- Peak Limiter (Bitwig)

Analysis:
- MAnalyzer
- YouLean Loudness Meter2


Keep on Looping... ;)

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~ Copyright : SiL3NC3 - 2025 : All Rights Reserved.

SiL3NC3_SWX - FractiQ [OSC198]

Dirtgrain - You Got No Time for Lies

This is a submission for the One Synth Challenge hosted by KVR. I created this in Ableton using only the free software synth Vital

Kevlar Testarossa

Made with Synplant for OSC198 no samples just sounddesign!
DAW Reaper 7.43
Instruments:
40x VST3i: Synplant (Sonic Charge) Paid

Effects:
JS: 1175 Compressor
JS: RCInflator 2 (Oxford Edition)
VST3: BLENDEQ (AnalogObsession)
VST3: Cascade (Phonolyth) Paid
VST3: Hyperspace (JMGSound) Paid
VST3: MAnalyzer (MeldaProduction)
VST3: MCompressor (MeldaProduction)
VST3: MConvolutionEZ (MeldaProduction)
VST3: MEqualizer (MeldaProduction)
VST3: MStereoScope (MeldaProduction)
VST3: MStereoSpread (MeldaProduction) Paid
VST3: POORTEC (AnalogObsession)
VST3: kHs Transient Shaper (Kilohearts)

Johnkhf - Scaling the knife-edge ridge

My Submission for August 2025 OSC. 7 Tracks, powered by FLStudio and Quilcomm's Trout. Maximus for loudness.

Based on various incarnations of the Trautonium - a Synth Design originating in the 1930's. I chose Trout because I've wanted to try my hand as something very old and very strange with the plugin. And oh my - it's strange.

Cover is AI generated this time - Colors and some things fixed/added afterwards. My blender skills aren't THAT good. 

Early synths defined some of the sounds and vibes that powered Science Fiction, so I went with something that evoked a dangerous and strange job in space. Enjoy!



Johnkhf - Scaling the knife-edge ridge

JohnvanderLugt