Great mix of non-stop action and haunting atmosphere! Looks like you are about to escape but you have to fight your way through.

Great job: like the beat, the percussion sounds and the aggressive bass. Good luck in the challenge:)

You've done a really nice job with sound design - and I appreciate the clean production and solid mix.  good luck!

Love the atmospheric opening - door slam! Good percussions, chorals and the comb filter effects!

One Synth Challenge #136 - Odin 2 Highlights

Purchase: bit.ly/3wjrs0f
Catalog #: GN65
Apr. 16, 2021
LP+DIGI

Matthew Sage is about seeing the big picture, but focused through the most intimate and personal lens possible. Best exemplified on the gauzy, cartographical opus 'A Singular Continent', as well as his impulsively meditative Geographic North debut 'Catch a Blessing', Sage’s imagination yields fully realized sonic suites to worlds both imaginary and referential to his own. 

Now, the Chicago-based composer, producer, label owner, and publisher returns with 'The Wind of Things', a personal and pastoral oblation to the wild and wind-blown waters and mountains, both from Sage’s own memory and writ large. Absent are the processed sounds and filters that have come to define Sage's work; the album finds Sage stripping away the synthesized sounds that alchemied his past work into aural gold, instead favoring an entirely acoustic and natural 
palette.

Sage called upon a myriad of long-time collaborators, who together form the aptly-titled Spinnaker Ensemble (featuring Patrick Shiroishi, Chaz Pyrmek, Nate Henricks, Chris Jusell, Allison Sheldon, Martin Albertz, David Hirsch, Matt Wenzel, and Ang Wilson) to help realize his vision and further the melodic potential of the living and breathing field recordings that permeate the album. Tapping into an intimate sense of self, these field recordings derive from natural places that are significant to Sage. Lakes, mountains, and rivers he grew up boat-racing on and swimming in; tall fields of grass in rural Nebraska near his family’s birthplaces; wildlife on the pond of his in-laws home in Texas; the harbors and beaches of Lake Michigan that he frequents; all serving as places of occupation for these compositions to live in and blow through.

Opener “Cloud Plexus” is a fog-laden float in a calm lake of unrestrained optimism. The serenity soon glissades into “Harbor Dive”, a shimmering and elegant rift of sloshing harmonies. “Launching Mossing Scow” finds its flourish in the flotsam, tinkering with rusted refrains and oblong melodies. The action quickens with “Zephyr: Ponderosa Pollen,” charting a speedy course with only a shoddy sonic sextant as its guide. “Starboard Reach” offers a moment of playful clarity before “Luffing Adrift” and “Sail-Shaped Light,” a murky pool of darkness and light that ripples into the ether.

“Slipping the Mooring/Pond” opens the B-side in an amorphous din of familiar auditory accoutrements that gather into a single, slow-motion blur. “Dazzling Shallow Bay,” “Portside Mark,” and “Tell Tail Tale” play a dreamlike suite of a waterside piano finding its fins and diving below the waves, discovering its blithe buoyancy, and exploring the depths unencumbered by the weight of the world. The hopeful meditation of “Spinnaker on a Southerly” serves as a calm before the (rain)storm that is “Hiked Way Out,” a welcome reflection on past, present, and future maritime melancholia.

The Wind of Things

Buy LP/DIGI

M. Sage - "Cloud Plexus"

Another visit to the absent detective for Disquiet Junto 

This weeks instructions were to use a recording of typing as the rhythmic basis of a track. For some reason despite not having taken part for sometime this grabbed my imagination.

Most of the track apart from the solo is a supercollider program. Using machine listening to derive the timing from my typing. Despite my original intentions being very different the combination of typing and the patterns somehow got me in a blade runner/noir kind of mood and I leaned right into that. Indulgent but sod it 

If you are wondering what I'm typing it is this nonsense - I didn't want to have too big gaps between lines so I just kept typing. I think we can all agree it is complete bollocks: 

"The door swung open. It hadn’t been locked

I cautiously went in. The place was in disarray, chairs tipped over, rubbish everywhere. One window slightly open.

I surveyed the scene - was the occupant just a very messy person or had the place been turned over. I was never to find out. 

I heard a noise outside and before I had chance to react a woman came bursting through the door. 

“Ah there you are” she started 

She was kind of out of place, well dressed, a nice dress, furs. Classy - not like this dive 

“Look I’ve been phoning all week. I simply must know how you are getting one” 

“I’m not who you think I am” I said 

She stopped and looked at me

“And who do I think you are?” 

“well…” 

“God man - focus. Now look about the case - I need to see some progress. Not you dithering about here in this office. Get out there. Get some work done. I’m paying you enough” 

And with that she left "

disquiet0483  - Absent Words

Pray

Human creativity knows hardly any limits, not even when inventing killing machines.
This track addresses my fascination and my disgust about it.
This track makes use of the sounds that arise when the "GAU-8/A Avenger" are fired
The Avenger is only one weapon among many. When does senseless killing stop? Who will stop this overkill?
Make Love not War!

Data on the "GAU-8 Avenger" from Wikipedia:
"The General Electric GAU-8/A Avenger is a 30 mm hydraulically driven seven-barrel Gatling-style autocannon..." 
"...the Avenger delivers very powerful rounds at a high rate of fire."
"The cartridges measure 11.4 inches (290 mm) in length and weigh 1.53 pounds (0.69 kg) or more"
"The GAU-8/A is extremely accurate and can fire up to 3,900 rounds per minute without complications."

And Special thanks to Laszlo Jamf.

[DE]A[TH]venger

vadimpetrenko: music, guitar, digital touch tools: generator, pianos, keyboards, e-contrabass, bass, e-clarinet, strings, brass, drums, percussion, chinese erhu, chinese lute /pipa/, koto, guzheng, chinese kit, taiko

emilia loseva: visual poetry, cover

MAN BAZAAR LETTER

@ first Thank You Tam Farrans again (Section27 Netlabel) for envolving me in this project for this NICE X compilation !!!! Enjoy
https://section27.bandcamp.com/album/s27-x-i

Datolar - Brow

Seidr

Track made for the 136th iteration of KVR's One Synth Challenge (OSC 136) in June 2020. The only synthesizer used for this song was Odin 2 by The Wave Warden (https://www.thewavewarden.com/). There are 11 instances of the synthesizer in the track.

This is the first time I have tried to build my own sounds from scratch - there is still a lot to learn! Odin 2 seems like a very powerful and easy to use synthesizer, however, so maybe I'll continue to experiment...

Sleipnir's Stride

For KVR-OSC#136 Odin2 by The Wave Warden

Done in Reaper v5.99 with:

Movement 1 - Crossing Bifröst		16 x Odin2
Movement 2 - The twelve Palaces	14 x Odin2
Movement 3 - Memory of the Fallen	 3 x Odin2
Movement 4 - The War Horns		23 x Odin2

Dynamics: ReaComp, TDR NOVA, Transpire, TDR Kotelnikov
Filter: ReaEQ, Thrillseeker XTC, Thrillseeker VBL, GreenEugene 
Reverb: Dragonfly Room and Hall
Satturation: BassProfessorII

Master: ReaEQ, MQ57, ReaComp, TDR Kotelnikov, SPAN

Photonic - Coming Home To Asgard

77 x Odin 2

FX:
ReaEQ, ReaComp, ReaXcomp, Leveling Tool, Gclip, Saturation Knob, W1 Limiter, FreeClip, MIDI Nore Filter, HeadCrusher, Dimension Expander, Wider, CamelCrusher, JS: Transient COntroler,
ReaGate, Dragonfly Hall, Dragonfly Room, Rough Rider 3, ValhallaSupermassive, JS: Ping Pong Pan, JS: Saturation, TDR Nova, Limiter No6, Krush, Tube Saturator Wintage.

Simanus - Premature Implosion (OSC 136)

Track made using Odin 2 synth for all sounds. All sounds made from init. Downloads enabled.

mmGhost - Autonomous Dream Sequence (OSC 136)

Generative music using four instances of the Tricent.
No other effects except LoudMax applied.
Recorded with Reaper 64.

Ripples

I decided, after looking at several of Martin's paintings, that I wanted to focus on that precision repetition, the light/dark alternation, and the subtle gradations of field.

The track is an improvisation inside Live, with one instance of the Buchla Music Easel (providing the upper-register track) and one of ARP 2600 V3 (providing the lower one), with Live's BrainDance and Squishy Beat Repeat effects to put in additional emergent rhythmic effects. I potted down both synths, gradually faded them in, and then slowly tweaked the filter frequency and resonance on the ARP, gradually adding in ore modulation from the ring modulator, then slowly removing it. The Buchla's variations came from tweaking the effects following it, but basically leaving the patch alone to imitate the regular ruled lines.

Simanus - Premature Implosion (OSC 136)

SimaGT

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