Amber.
Composition using sounds and presets for UVI Falcon soundset "Belight And Plucks" by Leap Into The Void, featuring physical modeled guitars, plucks, synths, sequence and pad.
Everything heard come from the included presets with no fx used but a small amount of limiter on the output.

Amber

AAS Split Personality for Chromaphone 3 and AAS Player sound pack by Adam Pietruszko
www.applied-acoustics.com/split-personality/

Buy Split Personality

Juxtapose by Thiago Pinheiro

Polarity by Thiago Pinheiro

Jalex - mrakDLKRPLS_sgl

Demo for the Falcon patch "Reso Grains" (granular barrel drum tremolo and string oscillator) from the sound library Falcon Singles - Metal Percussion available on patchpool.net, no extra effects were used in this track, Macro automation in Logic X.

Buy Metal Percussion

Falcon Metal Percussion - Reso Grains

AAS Velvet Chic for Strum GS-2 and AAS Player sound pack by Thiago Pinheiro
www.applied-acoustics.com/velvet-chic/

Buy Velvet chic

Velvet Chic Trailer Soundtrack by Thiago Pinheiro

Buy Velvet Chic

Serenade by Thiago Pinheiro

Lustful by Thiago Pinheiro

Improvising with the patch "Spring Drum Strings" from the sound library Falcon Singles - Metal Percussion available on patchpool.net, no extra FX were used in this track, Macro automation in Logic X.

Falcon Metal Percussion - Spring Drum Strings

over the past day or so i felt like making some good ol' rhythm game japanese artcore, and this is what came out of it. i feel like my past music relied too much on timbre and dissonance; i wanted to make something more melodic and consonant. i also wanted to experiment with making my compositions feel more lively and not so "dry". lastly i wanted to stress-test a couple of piano and violin synth metamodules i made (they're what you're hearing here, no multisamples or libraries were used)

fun fact: this would probably be my second finished attempt at artcore. there was a first attempt years ago, when i first started making music; as you can imagine it sucked. in retrospect it was kind of alright, but it definitely had many flaws. but i think i did better this time :)

i'm not sure what to do with this release-wise, but i feel like this is too good to just sit on

anyways, enjoy!

crystalFORMA

the possible game

This is.a quick, rough, first test of Arturia's Pigments 6. I've never used Pigments before but saw that I had a huge discount available due to a crossgrade from V Collection 4. So for this first test, I just threw together some odd and interesting presets to test out.In the last part of the video, I also show my first couple of attempts at my own sound design with Pigments. My verdict overall, I really love this soft synth! Video version can be seen here - https://www.youtube.com/watch?v=F1t1RNYkMoM

Arturia Pigments 6 // First Test

One of the perks of living in Bozeman, MT, is that I get a great view of the sun rising and illuminating the Bridger mountain range on my way into town every morning. It’s simply breathtaking to watch the sun crest the range, and watch a sliver of light appear over the ridgeline, splitting the view to the east as the mountains seem to rise to the sky. 

Since moving to Bozeman, I’ve also been very involved in the local Bluegrass scene. As a result, the sound of the live synthesizer part is heavily influenced by the sound of string instruments. It’s an eight -voice synth in eight parts, with each part generating fifteen harmonics (for a total of 960 oscillators!) with frequency and amplitude deviation of each harmonic to keep things interesting. The various parts are then tuned similar to an Appalachian (mountain) dulcimer, allowing for I-IV-VII and I-V-VII tunings, with string volume and presence controlled by TouchOSC, while the synth is played with a Haute Pro hitbox controller, set up with “harmonica tuning” (diatonic C scale, with a button to transpose everything to C#). 

Combined with sounds recorded in the mountains (a stream on the Hyalite Lake trail and stones from Black Mountain), this is a short sonic depiction of dawn in the mountains. 

Mountain Rise

Demo for the expansion Crossroads for Filterverse, available on patchpool.net - each instrument (strings/drums) has its dedicated instance of Filterverse inserted on a bus using a preset from Crossroads, some Filterverse Macro automation in Logic. Demo starts dry (only drums).

Pentacostic Triplets

A short improvisation I did using Reason Objekt.

Innocence

Ocean waves and electric guitar improv processed by the Filterverse preset “Ocean String“ from the expansion Crossroads for Filterverse, available on patchpool.net - a second instance of Filterverse using the preset “Poisoned Space“ is processing the signal of the first Filterverse instance. Some Macro automation in FV1 (root note shift/timbre) and some volume automation for the dry signals. Demo starts dry, then the FV signals fade in (bus send opens).

Crossroads - Ocean String

Rooms

Between waking and sleeping, between the real and the unreal, exists the uncanny valley where the constructed starts to resemble the natural in a middle state of being. 

Created using physical modeling synthesis (Max4Live, and the ContinuuMini’s DSP accelerated EaganMatrix) and spatialization in third order Ambisonics, this is a depiction of the transitory state just at the point of un/consciousness. What is real and what is still a dream in this state of in-betweenness? 

Languid and Liminal (Binaural)

Composer, musician, producer, sounddesigner from Germany nowadays mainly working in the genres of orchestral and chamber music, film and theatre music, sound design, live-electronics and production music.

I'm using Soundcloud mainly as a backend for my websites patchpool.net and absynthsounds.com where I offer plenty of patches, samples and audio files for music and sound design production, so you will find thousands of demos here. To check out my music please visit my website and look for the MP3 link and/or have a listen to my production music on Audiosparx or take a sonic tour through my MP3 Store.

(AAS) Applied Acoustics Systems' official SoundCloud page. Our passion is sound synthesis and physical modeling. Makers of Multiphonics, Chromaphone, Ultra Analog, Lounge Lizard, Strum, String Studio and Objeq Delay.

Ben Fuhrman, is a composer, musician, programmer, and coffee aficionado. As a result, he writes music with a focus on technology, including acousmatic, interactive, and improvisatory works. His degrees are from Michigan State University (D.M.A and M.M in composition), and Hope College (B.Mus in violin performance). His teachers include Ricardo Lorenz, Mark Sullivan, Steve Talaga, Rob Lunn, and Mihai Craioveanu. 

He has had works commissioned from a number of performers, including Keith Kirchoff, Drake Dantzler, Violet, Jeffrey Loeffert, Nathan Boggert, the H2 Quartet, the East Lansing High School Orchestra, REACH Studio Art, and the MSU National Superconducting Cyclotron Laboratory and Facility for Rare Isotope Beams, and has been performed throughout the world. He was also the recipient of a billboard dedicated to his music from the Arts Council of Greater Lansing – possibly the first composer in the US to receive one. His solo albums Concrete Oasis and Synthesizer and Computer Works are available online, among others on the Albany Records, Argali Records, Blue Griffin, Elmstreet, and SEAMUS labels.

He maintains an active role as a performer and as assistant professor of music technology at Montana State University, and has previously taught at Oakland University and Mott Community College. For more information, check out www.benfuhrman.com

Leap Into The Void Sound Design.
Eclectic sound sourcery and presets for VST and AU instruments.
Product preset demos.

Eternia Music, 31 Records, Hospital, Alphacut, Counter Intelligence, Respect Records

New tests, sketches and experiments from my film scores and various band projects (under the names of genshi, jido-genshi, Science Patrol, StarDotStar, cell:burn, Seven Summer Eyes, and a few others) as well as an archive of old songs of mine from various decades.

New tracks tagged #Physical Modeling