Vocoder 8BF/F/S Combinator Instrument2

"Future Visions" is a sonic journey into a utopian future shaped by advanced AI (A S I). This track seamlessly blends genres like Synthwave, Dream Pop, Afrobeat, Ambient Pop, Chillsynth, Psybient, Future Bass, and Hyperpop to create an immersive and vibrant soundscape. With vocoder-enhanced vocals, pitch-shifted harmonies, granular synthesis textures, and 8D audio effects, the song paints a picture of a world where technology and humanity coexist in harmony. Each beat and melody is designed to evoke a sense of hope, unity, and limitless possibilities.

Vocals and Effects:
To bring the lyrics to life, we've employed vocoder effects for a robotic, synthesized vocal texture, pitch-shifted harmonies for a layered sound, and granular synthesis for a textured, glitchy effect. Additionally, 8D audio effects create an immersive, spatial experience, making you feel like you're right in the middle of this futuristic world.

Lyrics:
The lyrics of "Future Visions" explore themes of technological advancement, unity, and the limitless possibilities that come with a world powered by A S I. Each verse delves into different aspects of this future, from the eradication of hunger and strife to the harmonious coexistence of humans and technology.

Visuals:
Accompanying the track is a stunning album cover created with MidJourney, featuring a futuristic cityscape with neon lights, glowing skyscrapers, and advanced technology integrated into lush greenery. The cover art includes smiling, diverse people interacting harmoniously in public spaces, surrounded by ethereal, dreamlike hues and the golden warmth of the sun. Detailed elements such as holographic advertisements, robotic companions, flying vehicles, and floating gardens capture the essence of a bright, happy, and technologically advanced future.

Experience the Future:
"Future Visions" is more than just a song; it's an experience that invites you to envision a world where technology and humanity thrive together. It's a call to embrace the possibilities of the future, to dream big, and to work towards a better, more harmonious world.

In a world where A S I reigns,  
Infinite energy flows through our veins,  
Cities gleam with a radiant glow,  
Technology's touch in every shadow.

From the depths of space to the ocean's floor,  
A S I's wisdom opens every door,  
Guiding us with a gentle hand,  
A new era across the land.

Future visions, bright and clear,  
A S I whispers in our ear,  
No more hunger, no more strife,  
Just a better way of life.

Gone are the days of greed and fear,  
Equality's dawn, the future's near,  
Implants and sensors, part of our frame,  
Enhancing life, yet still the same.

In this world of light and dreams,  
Nothing's ever as it seems,  
Yet A S I finds a way,  
To reach us all, night and day.

Future visions, bright and clear,  
A S I whispers in our ear,  
No more hunger, no more strife,  
Just a better way of life.

Collective minds, united hearts,  
A world where every journey starts,  
With A S I, we rise and see,  
The boundless possibilities.

Imagine now, a world transformed,  
By knowledge shared and wisdom warmed,  
A guiding force, both kind and wise,  
Leading us to the stars and skies.

From the ashes of the old,  
A new story will be told,  
Of unity and endless light,  
As we embrace the future bright.

Future visions, bright and clear,  
A S I whispers in our ear,  
No more hunger, no more strife,  
Just a better way of life.

In the end, we'll stand as one,  
Underneath a shining sun,  
With A S I, we'll find our way,  
Into a new and brighter day.

Future Visions

Title
	Wind in the Reeds

Dates:
3-Jun-2024 (inception), 07-Jul-2024 (finalised), 07-Jul-2024 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/wind-in-the-reeds

Description:
During an afternoon walk past a local marshland, I heard the wind rustling through the reeds and thought this might be a good candidate for granular synthesis. My iPhone was used to make the recording, being well aware of the harsh rumbling unwanted wind noise that may be recorded, I found a spot in the reeds reasonably sheltered, where I was not hit directly by the wind but the sound of wind blowing through the reeds and the random noises of reeds hitting each other was still audible. Two recordings were made, of about 20 seconds each, just hoping something musically useful would be captured somewhere in the recording.

Sure enough lots of unwanted low level rumble, but was fortunately isolated to small pockets of the recording which could be avoided. I feed various locations of the recording into Robert Henke's Granulator III Max for Live device, granular synthesis device. Eventually found some nice cluster chords that fitted the mood of the wind in the reeds on a cold New Zealand Winter's afternoon.

I have been toying with the idea of controlling the granular synthesis grain position from midi note on events, so the low notes would pick out grains near the beginning of the recording, whereas high notes near the end of the recording. A Max for Live device I had programmed last year, the NOF_MidiNote2CC was perfect for the job, one of those projects I used for a specific project to drive the PitchLoop89 granular synthesis, just barely finished to get the job done, now unearthed again for a new project. Instead of using note on events to drive pitch, they were now used to drive grain position. The device lives in it's own track, accepting midi pitchID and velocityID events and remaps those numbers (scaled) to a user selectable parameter of a device in a different track.

This granular synthesis of the wind in the reeds then set the mood for a backing track. The lead tracks were performed on the Soma Pipe using the Madelay and Reverb effects, singing into it, building up a slow moving harmony section, reminiscent of reeds gently swaying in the breeze.

The last two bars of Wind In The Reeds, is the source material used for the granular synthesis.

Buy Wind In The Reeds

Wind In The Reeds

Title:
Can Pop

Dates:
15-Aug-2024 (inception), 16-Aug-2024 (finalised), 17-Aug-2024 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/canpop

Description:
Whilst in the middle of documenting one of my fractal art programs created 2023, I needed a musical distraction. With our dinner my son and I had some beer, which came in an aluminium can (yes, I know shock horror, not beer in a glass bottle, actually tasted quite nice), having finished the beer, I was curious what sounds could be made from the empty can. I sampled some popping sounds made with my mouth over the opening of the can with my iPhone. Then imported those samples into Ableton Live (Release 12) and threw them onto Robert Henke's Granular III synthesis -- let the fun begin.

Three instances of the granular synthesiser were used to set the mood. It was then time to start improvising over this with the Soma Pipe. Building harmony and percussive sections with the Pipe using my voice as an input.

By now I have developed a naming convention for clips created in the Session View of Live, so I can create the clips with little disruption to artistic flow, leaving enough bread crumbs to pick up the piece next day, ready to sequence the clips in Arrangement view ready for final renders.

The Soma Pipe algorithms used were: Reverb, Orpheus, Drums, Pulsar, and Filterra. As a side note, when I first got the Pipe, I wanted to fully tame the Orpheus mode to understand where all the resonant notes were (harmonic series), but really the way I find it artistically, is not to purposely try to match my voice input to the Orpheus resonant frequencies, but slowly hovering across those resonant frequencies, purposely introducing beats and harmonic distortion -- that is where the magic lies. It is like meditation, you put your self in a trance and totally immerse your self in what you hear, shutting out the external world. You are now creating your own sonic world.

Also important with the Pipe, is not to over-think it, just be in the moment. I know this sounds rather cosmic, it's just one of those instruments that works that way for me.

The granular synthesis parts were recorded in twelve divisions of the octave (12EDO), but because the grain size with Granulator III changes the frequency heard, the key used almost becomes irrelevant. This means the Pipe, being a step-less frequency instrument was the perfect partner, though the player has to listen carefully to achieve the intended intonation.

Ok, enough of the mystical hoodoo voodoo cosmic talk, have a listen. Hope this will inspire other Soma Pipe owners to further explore this wonderful instrument. Not to forget, with granular synthesis, the least musically thought of sounds can be turned into interesting instruments.

Buy Can Pop

Can Pop

In this episode of Discerning Leadership, Dr. Michael Reid Trice and Dr. Mark Markuly explore the concept of beauty in teams and how leaders can foster innovation and connection. They discuss the importance of humility, embracing limits, and the role of a leader as a synthesizer of diverse perspectives.

Walking the Vastness: Synthesizing Leadership through Jesuit Wisdom

The chrysalis is not a cradle. It is a cage.

"Chrysalis of Bone" is a hymn to the violent and beautiful act of self-destruction required for rebirth. It's the sound of murdering your old self to break free, a declaration of war against stagnation.

This is a new chapter in our mythology. This is not just music; it's a metamorphosis.

Chrysalis of Bone

Exploración sonora entre el ruido y el silencio. Texturas electrónicas, drones hipnóticos y paisajes acústicos que invitan a la escucha profunda. Creado con sintetizadores modulares, grabaciones de campo y procesos experimentales. Ideal para quienes disfrutan de música ambient, arte sonoro y propuestas avant-garde.

Geografía del ruido (Experimental Music-Música Experimental Electrónica)

Viaje sonoro en espiral: drones hipnóticos, glitchs brillantes y texturas que giran hasta formar un vórtice de luz y sombra. Entre lo siniestro y lo fascinante, esta pieza invita a perderse en un remolino de frecuencias. Ideal para escucha con audífonos y mente abierta.

Vórtice Irrisorio (Experimental Music-Música Experimental Electrónica)

Sumérgete en un viaje sonoro que explora los límites de la música: texturas electrónicas, paisajes ambientales y experimentación pura. Este track combina drones hipnóticos, glitch microscópico, grabaciones de campo y síntesis granular, creando una experiencia inmersiva que oscila entre lo meditativo y lo caótico. Inspirado por la tradición del arte sonoro, la música concreta y la improvisación electroacústica, es una pieza para quienes buscan algo fuera de lo convencional.

Rumiando Sonoridades (Experimental Music-Música Experimental)

A deep sonic exploration blending experimental electronics, immersive soundscapes, and hypnotic drones. Layers of glitch textures, granular synthesis, and modular synth patterns evolve organically, shifting between tension and release.

Imposibles Ínclitos (Experimental Music-Música Experimental)

―― ✶ ――

By Another Fire,
At Another Night,
The Pixie Plays 'til The Morning Light

gfx ig @loulecloporte sc @user-794326105

bandcamp

Pixie Chant (tïti-täta-tëte-tütu)

Producer and graphic designer creating ReFills and Rack Extensions for Reason Studios.

Syrens of Synthesis (SofS) | Theatrical Progressive & Symphonic Metal from Finland. For fans of Nightwish, Epica, and Dream Theater, but with a unique twist. A new mythology created through a human-AI creative partnership. The synthesis is here.

Música Experimental y Arte Sonoro creadas por el Artista Digital, Artista Sonoro y Artista Experimental Q.Krum.

https://xyloquint.com/

email: xyloquint@xyloquint.com

Welcome to my place of musical experiments and my endless journey of exploring new sound textures, rhythms and melodic ideas. I am a multi-instrumentalist coming from a background of having actively played, harmonica, recorder, piano, organ, clarinet, tin whistle, pan pipes, guitar, violin, Shakuhachi, jaw harp, didgeridoo and accordion. My genre is mostly a fusion of Jazz and Soundscape, however I often seek inspiration from a wide variety of music, Celtic, Rock, Heavy Metal, Classical, Folk, Micro-tonal, just to name a few. I also build my own instruments, various Shakuhachi using them either directly in recordings or sample the sounds to incorporate in pitch shifting tools in Ableton Live. I often set myself a music challenge, taking every day sounds not considered musical, sampling, transforming and moulding them into a virtual musical instrument. Experimenting with evolving polymeters is a favourite feature of my works. I have been classically trained but soon ventured into free improvisation, which is my happy place.

I am based on the South Island of New Zealand, enjoying the great outdoors there. I often take inspiration from this for my music and associated cover art.

I have a no cover’s policy, all my works being original compositions, the only exception would be the odd jazz interpretation of a Bach piece from the Baroque era. My percussion sections do not use any artificial intelligence drum machines, nor do I use auto tuners for my violin playing. Paid likes and plays — none of that either. 

I also participate in musical collaborations, from accepting sound samples to see what I can do with them, to instrumental collaborations. Send me a message if interested.

Please join me on this wonderful journey of music exploration.

New tracks tagged #synthesis,