My 2nd ever attempt at making 16-bit music that sounds like it plays in a SEGA Genesis game. Started in late April 2022 and finished early May. It sounds catchy to my ears and gets stuck in my head often.

Made using Soundation's FM Synth feature.

Let's Get Going - FM Synth Test 2

Deadly Peak 5

Frequency Modulation (FM) is utilized to ensure high quality transmission.

When mobile telephone equipment is used, the push-to-talk button on the handset is pushed down when a person talks…

The signal lamp on the right of the unit will remain lighted when the apparatus is switched on and ready for service. 

When mobile telephone equipment is used, the push-to-talk button on the handset is pushed down when a person talks, and released when he listens.

Allows for more efficient operation at railway terminals.

…and released when he listens.  
…and at railway terminals.
…added telephone service in our principal cities.

Frequency Modulation (FM) added telephone service in our principal cities.

FURNISHES EASY CONTACT BETWEEN LAND AND VESSELS ON OUR WATERWAYS.

When mobile telephone equipment is used, the push-to-talk button on the handset is pushed down when a person talks, and released when he listens.

…adds to the convenience of travel.

The push-to-talk button on the handset is pushed down when a person talks, and released when he listens.

…when he listens
…and released, (FM)
…when he listens.

Assorted Selections

Frequency Modulation

A sequenced instrument from Hideaway Studio's Orbitone Collection played at 240bpm recorded onto a 7-track TEAC MR-30 analog laboratory data cassette recorder at 38cm/s as FM encoded audio and then played back at quarter speed on the deck at 9.5cm/s resulting in a wonderfully distressed sonic sepia effect. 

Originally designed to record sensor signals down to DC in laboratory experiments, using FM encoding to record audio results in a noise and natural compression profile that is really quite different to conventional tape recorders and has the distinct advantage that there is no tape roll and when it comes to experimenting with extreme slo-mo playback there is no bias oscillator to be exposed even playing back at 1.2 cm/s. Trouble is, you only get 10 minutes recording time on a C90 tape using this thing!

Sound Design, Composition & Recording D.A.Wilson, Copyright Hideaway Studio 2024.

1983 TEAC MR-30: Diffuse-1 (FM Encoded Tape [Lo-Fi/Slo-Mo])

Testing four of the six analog FM operators from Nonlinearcircuits. Just a sample... but wild!

F to the M

CONCEPT for "SONIC the HEDGEHOG: REVERIE"
+ HQ DOWNLOAD; https://file.garden/Z60QF61u-DyS1RBr/FFZ.wav

FLOURISHING FOLIAGE -ACT 1-

CONCEPT for "SONIC the HEDGEHOG: REVERIE"
+ HQ DOWNLOAD; https://file.garden/Z60QF61u-DyS1RBr/FFZ2.wav

FLOURISHING FOLIAGE -ACT 2-

CONCEPT for "SONIC the HEDGEHOG: REVERIE"
+ HQ DOWNLOAD; https://file.garden/Z60QF61u-DyS1RBr/FFZB.wav

FLOURISHING FOLIAGE -BOSS-

An arrange of 星幽剣士 or Swordsman/Angel of a Distant Star from Highly Responsive to Prayers, originally by ZUN.
Artwork by ZUN.

Swordsman of a Distant Star [arrange]

A very long and proggy FM composition for Resonant Union's first fully original album, Resonance Modulation!

Buy the album on Bandcamp: https://resonantunion.bandcamp.com/album/resonance-modulation
Or check out the full album premiere on YT here: https://www.youtube.com/watch?v=uT03GwrljJ0

Mastered by R-Man
Album art by HEAVYVIPER
Project organized by Recca

Find me elsewhere: https://linktr.ee/sincx

Ekpyrotic Collision

improvised jam rescued from old hard drive, most likely uses my "convicts" patch for the vz / ipd

convictions (2013, vz-1, ct-770)

in there it's a world where you're judged by what you say and think not by what you look like 
a world where curiosity and Imagination equals power

whirms

5th place in the Chaos Constructions 2024 Chiptune compo.
===============================================
F-f-f-f-frystylo!

No, not the one from "rakamakafon", and not even the Kazakh one, but the one for 12-year-old Latin American girls from New York or Florida in the 80s or 90s.

Initially, I wanted to make a Spacesynth, but as I was writing, I realized that OPN had too few channels for it (one brass chord would eat up all 3 FM channels) and, in the end, having changed the rhythm of the drums, I decided to make a Freestyle.

This is my first experience with OPN. I wanted to do something within very strict restrictions: only three FM channels and three PSG channels, do whatever you want. Based on the experience I gained, I can confidently say that even the most basic two-operator OPL > OPN, kek.

The track cost me several sleepless nights, but was written in just a few days. It could have been better, but as always. ¯\_(ツ)_/¯

Don't Force Me

wilma bessel - whirms (sinister edit)

playing with the metaphor of musical collaborations being analogous to sexual collaborations.
basically a "mr squiggle" type listening test to see if there was a way to compose music around those intimate moans that would otherwise be too explicit and attention-seeking to be interesting, trying to choose delicate sounds, avoiding using any masculine sounds in the mix which often accompany similar samples in industrial / breakcore. 

Idea stemmed from thinking about composing music for languages that are pitch dependent...so originally was thinking of exploring microtonality in order to achieve that if required, but here the very basic consonant sounds harmonized well enough for some reason...perhaps precision is a good thing in science but a bad thing in art? Or do people instinctively moan in tune? (only Adam Neely could answer this with an hour long academic video essay!) 

Also there is the liberation of allowing the rhythm of the moaning to set the track tempo...while also resisting the urge to cut it up and lock it to the grid. It produced unexpected outcomes. 

Programming the VOPM synth was much harder than i expected (the graphic envelope display is so small it is only of homeopathic effect). So some of the patches would sound better if duplicated and panned with slight adjustments but FLstudio was crashing too often and I took that as a sign to come back better prepared next time. (also patches that would be easy with 8 stage envelopes require more thought with only ADDR) It was problematic to use my usual hard limiting settings to "master" the Casio MT-18 drums without them clipping, so i had to attempt using an actual compressor which I then mixed in parallel with the original to restore the transients while making sure the bass was as phat and creamy as possible. 

The samples of the voice in the middle section are a reminder not to dehumanize people...people are multifaceted, playing many different roles in life and can't be merely reduced to their sexual preferences, kinks or fetishes. It is important to have a message or express something...even if that thing is perhaps embarrassing, not merely be making gear demos to shill equipment which just enables the capitalist mindset that everything is about consumption and individual gratification. The mind and the body are...unfortunately...interconnected...they are not always in alignment...but the idea here is to allow those contradictions to co-exist and be public rather than suppress one or the other leading to shame, toxicity, false dichotomies and violent projections.

The obvious critique of this work is that I did not achieve my original intention of completely REPLACING the moan with an instrument. This is because A) My hardware is all broken / offline / in storage so I can't process the vocal with a Casio VA-10, Roland Gi-10 or some such pitch to midi converter. and B) I think there is a plug in that does this in the DAW but I have forgotten which one it is, where it is on my hard drive and how to use it. and C) I have some appointments to get to and other ideas to incubate so I wanted to upload it before the computer dies.  A fully realized version of this track would be playable in any environment, to people of any age as the "adult" elements would be fully obfuscated and sublimated into the music.

Wilma Bessel - Rythmes Harmoniques

VOPM (OPM), MT-18 samples, chipsynth portaFM (OPL), newtone, flstudio

Wilma Bessel - Rythmes Harmoniques (blurry brass mix)

*most* of the instruments are in tune now., but the rhythm no longer lurches...that needs to come back. 

Wilma Bessel - Rythmes Harmoniques (purrversion mix)

Sara A. Watts, aka "SynthieSara," loves to listen to synthwave, especially 80s/70s retrowave, darksynth, cyberpunk, and video game music (mainly from the SEGA Genesis era). She also loves to make her own.

She also dabbles in creating some Drum and Bass, Chillwave, and Lo-Fi.

Sara is obsessed with creating digital music because she has so many ideas she wants to try in video game, retrowave, and lo-fi.

Sara has used these tools to create her original music:
* Soundation (web-based) (2019 - 2023?)
* Cakewalk by Bandlab (offline/software) as well as various 3rd-party plugins (2021 - 2023)
* Waveform Free 12 by Tracktion (offline/software), as well as various 3rd-party plugins (2023 - present)

Find more of SynthieSara's personal music projects at her Soundation profile page.

pfp art by https://soundcloud.com/ribimaka thank youuu <333

I live to create
I strive to create

If you need to reach contact with me . My discord account username is "mimiridae" . The same as my URL

Azami Records
#ShowaDigital #KashioKei #AzamiOngaku
Defiant and diverse melodic/VGM/BGM music.
incl. Sakitto Menda related side-projects. 
Likes late Showa era digital keyboards.

D.A.Wilson is an Electronic Engineer, Sound Designer & Vintage Synth Specialist with a particular interest in combining vintage tube, classic analog and modern digital technologies working as a synth engineer looking after a very considerable amount of vintage studio equipment for Will Gregory (Goldfrapp / Moog Ensemble) and a number of other internationally celebrated electronic musicians and producers.  Having undertaken several major restorations and produced custom electronic designs for a number of major artists including Jean-Michel Jarre, Dani is also known for fully restoring two out of the world's four remaining 1979 Crumar GDS and partially restoring 1938 Novachord 346 (the only known operational Novachord in the UK) to playable order along with developing and producing the new Elfin family of 8-bit polysynths and the popular MIDI Front Panel Animator (FPA), Filter Defeat Module (FDM) and XD-280 Drive Emulator upgrades for the AKAI S612 sampler.

Demos of the S612 Upgrades in Action: 

https://soundcloud.com/hideaway-studio/sets/hideaway-studios-s612-front


Hideaway Studio Kontakt Sound libraries may be purchased directly from: 
https://www.lootaudio.com/category/kontakt-instruments/hideaway-studios
 

..and a nice introduction by Cory Pelizzari to the Hideaway Studio Kontakt Libraries:
https://www.youtube.com/watch?v=k-C7a3ChC9U&feature=emb_title


For more on releases from Hideaway Studio for Kontakt please visit the blog at:  www.hideawaystudio.net

self-designated tracker magus

(not taking new comms for the foreseeable future, sorry!)

New tracks tagged #Frequency Modulation