Painting an expanse of remote wilderness and open space (hopefully one that's not on fire.)

Tech notes: Makes heavy use of E520 FX: Spectral Drones - long drawn notes, Spectral Drone Hires - breathing sounds, and Granular Pitch for percussion. Some drone elements are layered, or paired with Ableton pitch shifted versions with additional DAW FX added. 'Howls' originated from setting a high filter resonance and slowly manipulating the frequency as a Zadar pattern regulates the input to the E520

Where There Are Wolves

Inspired by the crystal waters and loon calls of Echo Lake, near Fayette Maine, as pictured above.

This track appeared on DJ Steve Brown's excellent radio show on WECU, archived here: https://soundcloud.com/dj_steve_brown/dj-steve-brown-sonic-landscapes-wecu-november-2021?fbclid=IwAR3k-80brC6lub5V0QileZnwciaeVZ2OQX7jZz-mLYTGGqukCb1bef0awCY

Technotes: 4MS Ensemble is main sound source, processed with SynthTech E520 Shimmer, with percussion elements from Korg Trinity. 

mastered by Shawn Hatfield @ audibleoddities.com
Music © 2021 - All Rights Reserved

Buy on Bandcamp

Echo Lake

NEWS: Thrilled to announce that 'In A Strange Land' has ben accepted for presentation at the 2023 New York City Electroacoustic Musical Festival taking place this June. Will post details when they become available. 

Offering both excitement and menace, an unfamiliar place. Makes extensive use of Synthesis Technology's E520, the Xaoc Kamieniec & Dr Sketchy's Freak Shift.

Much of my sonic idea of a "new soundscape" has been significantly influenced by our move to a more countrified location in Upstate New York, where we are constantly hearing birds, tree frogs, crickets and other insects, a sound environment made possible by our new closeness to nature.

Mastered by Shawn Hatfield @ AudibleOddities

In A Strange Land

Nearly imperceptible shifts and trends, all the things that happen when you're not paying attention - and then something from that background noise erupts and changes everything...  

illustration: "Van Gogh's Synthesizer" by Melissa O'Brien

How Did We Get Here ?

The drums are the Tiptop 909 series modules along with the Trigger Riot as the controlling element. The synth part is a ER-101 squencing a Z3000 > Z2040 > ZDSP > Halls of Vallhalla | Z5000 phrase.

One take through a dirty old old Mackie 1202 VLZ straight to a Tascam DR-100 MKII. Modular sequence, modular sound sources. 

- Moved to Bandcamp

Gingham

Four transformed elements then a complete track, "After the Flood"

1. 'Resampled Reverb': Crystal - E370 square wave chord, woggling resample parm
2. plain saw wave thru 'Spectral Sweep' - makes a nice background layer
3. kik pattern used in track sent thru 'SeqWah' bandpass, high filter Rez for texture
4. chord sequence from E370 also via 'SeqWah' & then extreme high pass filter

complete track here: https://soundcloud.com/fastus/after-the-flood

4 Transforms & A Track (E520)

As Arizona & Texas groaned under record-breaking heat, the Hudson Valley in NY(where I live) was hit by deadly & wildly destructive, once in a thousand year flooding. 

This a track of both sadness and resolve. We must find a way to collectively combat climate change.

Some tech details on the track: https://soundcloud.com/problivion/4-transforms-a-track

mastered by Shawn Hatfield @ audibleoddities.com
Music © 2024 - All Rights Reserved

Into the Light

After The Flood

The dark: the recent passing of friend Paul Schreiber, owner of Synthesis Technology. Along with fellow rocket scientists Eric Brombaugh and Robert Rich, he engineered the E370 Quad Morphing VCO which I use everyday. He was a true genius, a snarky story-teller, a good hearted guy. I felt honored just to know him, occasionally helping with some demos and testing on various modules.

The light: the new addition to the family, as pictured

The Light & the Dark

Released December 7th 2018

ONEINST002 

A1. Aria (Synthesis Technology - E340 Cloud Generator) 22:06 
B1. The Morning After (Roland SH-01A) 7:44 

In a scenario of overwhelming number of instruments, musicians often do not take the time to deepen and explore the creative possibilities of each gear they possess. One Instrument aims at counter-acting this tendency by challenging and limiting each artist in producing a composition by using only one instrument of their choice. 

One Instrument presents "One Instrument Sessions”, a new format on which each artist shows a more personal narrative of the sound experiments they compose. 

Neel opens the series with a solo record including “Aria”, a 20 minutes long piece made with the E340 Cloud Generator of Synthesis Technology, and “The Morning After”, composed with the Roland SH-01A. 

The E340 Cloud Generator is an oscillator which Neel says has always been a fan of. It has eight sines and sawtooth VCOs with unique modulation capabilities. “Aria” came to life while he was preparing for a live techno set: when he stopped the recording the oscillator kept running producing the sound and tones audible in the composition. 

The Roland SH-101 is Neel’s favorite synth. “The Morning After” is one of the 9 experiments he created while using the boutique version of the machine. 
_________________________________________ 

Composed and produced by Giuseppe Tillieci
Mastered by Giuseppe Tillieci at Enisslab Studio, Rome
Original artwork taken from the painting “B 5085175” by Filippo Scorcucchi
Layout by Marco Ciceri

© 2018 One Instrument

ONEINST002

ONEINST002 - Neel - One Instrument Sessions 02

The E370 firmware 1.3 update provides new detune functionality allowing the user to manually detune each oscillator when in chord mode. It also includes a ROM4 table, "Harmonic" with embedded microtones represented by decimal offsets.

The piece opens (and closes) with a manually detuned (i.e. set by knobs) chord using notes selected from one line of a custom table of open octaves and fifths . A clocked Pressure points generates a pattern of 4 rapidly moving transpositions of this chord(the first is audible around :15) The first half is built around several pitch, timbral & rhythm variations of this pattern interacting with each other and various high & low speed FM manipulations via the cv-x1 input, reassigned as an FM source in the 'Frequencies' page. This later includes rotating the chord table  as each PP transposition occurs , generating new frequencies. One of these patterns is executed in the E370's 'Cloud mode.' Some parts are treated with the E560 Deflector Shield in 'phase' mode.

The second half (2:45) focuses on various manual pitch modulations provided by the Doepfer A-185-2 to the 1v input of the oscillator1 in chord mode, based on the 'Harmonic Table' in Rom4. One of the responding modulations is routed thru a E580 delay to provide a 'far-away' echo feeling.

Generally stuck with simple SINE and TRI waveforms as I knew polyphony and FM modulation would add substantial harmonic complexity.

Endgame (E370)

a record label with guidelines: https://tinyurl.com/yc8k6cc2
run by https://soundcloud.com/grandriver and Teo Mannu
full catalog on our Bandcamp: https://oneinstrument.bandcamp.com

no direct messages, only email

In ancient Roman times an augur or diviner, sought omens from things like the flights of birds to ascertain auspicious days when new work would go well.The pieces listed here represent the results of personal 'fastus' days, my best days.&#13;
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Fastus appears on the Kosmo netlabel compilation "Vapors of Ambient" - check the promo video here: <a href="http://youtu.be/F8fTbY_csYI" rel="nofollow" target="_blank">http://youtu.be/F8fTbY_csYI</a>

These are modular sketches & demos. Full sized/complete pieces on my Fastus page.

Thrilled to announce the new Fastus release - "Into the Light" -DL or physical media! [see link below]

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