4th update: Dolby Mastered

3rd update, solidified the overall composition--added two new more 'concrete' guitar sections, one hook

Metal meets Cellos:

Werner Voss (German: Werner Voß; 13 April 1897 – 23 September 1917) was a World War I German flying ace credited with 48 aerial victories. A dyer's son from Krefeld, he was a patriotic young man while still in school. He began his military career in November 1914 as a 17‑year‑old Hussar. After turning to aviation, he proved to be a natural pilot. After flight school and six months in a bomber unit, he joined a newly formed fighter squadron, Jagdstaffel 2 on 21 November 1916. There he befriended Manfred von Richthofen.

By 6 April 1917, Voss had scored 24 victories and awarded Germany's highest award, the Pour le Mérite. A month's leave removed Voss from the battlefield during Bloody April; in his absence, Richthofen scored 13 victories. Nevertheless, Richthofen regarded Voss as his only possible rival as top scoring ace of the war.

Soon after Voss returned from leave, he was at odds with his squadron commander. He was detailed from his squadron to evaluate new fighter aircraft and became enthusiastic about the Fokker Triplane. After transferring through three temporary squadron commands in two months, Voss was given command of Jagdstaffel 10 on 30 July 1917 at Richthofen's request. By now, his victory total was 34.

His last stand came on 23 September 1917, just hours after his 48th victory. Flying a silver-blue Fokker Dr.1, he singly fought James McCudden, Keith Muspratt, Harold A. Hamersley, Arthur Rhys Davids, Robert L. Chidlaw-Roberts, Geoffrey Hilton Bowman, Reginald Hoidge, and Richard Maybery. After he fell in solo opposition to those eight British aces after a dazzling display of aerobatics and gunnery that put bullets in his every opponent, he was described by his preeminent foe, Victoria Cross winner James McCudden, as "the bravest German airman". The pilot who actually killed Voss, Arthur Rhys-Davids, wished he had brought him down alive. The dogfight remains a subject of debate and controversy among aviation historians and interested parties.

Dawn Patrol: Verner Voss

These was about a 3 hour work last night start to finish all was built around the first bassline (including the 2nd bassline) glitch was done by automated over time GrossBeat and DBlue Glitch. 
Line up:
2x Modo Bass2, running Funk, Breakbeat standard beat patterns
1 x Modo Drum (Jazz Kit) 
Sawer (keys)
Massive x2(Pads) 
1 x Slayer 2 (Jazz guitar 1) 
1 x Flex Synth running Muted Strat (Jazz Guitar 2)
4xAmplitude 5 (Env filter, etc)
ton of Tracks "Inserts" in fruity--the composition follows my Mix to Mixdown in One config (no post except vol reduction)

Over New Frontiers

Over New Frontiers (A Pattern of Darkness mix)

MTC I have wanted to do one of my Favorite Symphonies for quite some time, but knew I wanted it to be near perfect. I have learned a lot about this type of production as I have built this "Electronica Majoris" series of "Classics". This is my take on this amazing piece that really shows the incrediable diversity in Beethoven styles. About 50/50 "traditional" to pure electronic voices, however this is all completely electronically generated and arranged. Once again for the Conti Bass and Cello line I  have used electric bass ala "Chris Squire" styles and rigged (RIP Mr Squire, you are very missed). The mix is a bit aggressive but I feel it is how this piece should be rendered...  

The 2nd movement of this piece was feature in the TV series "Mr Robot"...

Electronicus Majoris: Beethoven Symphony No. 7 Movements 1 And 2

TC I have wanted to do one of my Favorite Symphonies for quite some time, but knew I wanted it to be near perfect. I have learned a lot about this type of production as I have built this "Electronica Majoris" series of "Classics". This is my take on this amazing piece that really shows the incrediable diversity in Beethoven styles. About 50/50 "traditional" to pure electronic voices, however this is all completely electronically generated and arranged. Once again for the Conti Bass and Cello line I have used electric bass ala "Chris Squire" styles and rigged (RIP Mr Squire, you are very missed). The mix is a bit aggressive but I feel it is how this piece should be rendered...

The 2nd movement of this piece was feature in the TV series "Mr Robot"...

Electronicus Majoris: Beethoven Symphony No. 7 Movements 3 And 4

As I was revisting this piece due to missing the 4th movement the first time around and wanting to use a lot of the mixing ideas that had been the result of my workinig with Beethoven's 7th symphony, I decided to bring more emotion to this 3rd movement of his 5th Symphony threw tempo/bpm changes (this version ranges from 90 bpm to 135 bpm, and to mirror the flute and piccalo lines with a highly Filtered tb303. So instead of making this a "patch" to the already released 3rd movement... I decided this deserved to be a separate release. So here is the final ( save a few small edits I still wannt to do) version of Beethoven''s 3rd Movement in his amazing 5th Symphony... oh the "XD" refers to the extended Dynamics of this version tansients are fully intact.

Electronicus Majoris: Beethoven 5th Symphony- Movement III & IV XD

As I was revisting this piece due to issues with 4th movement the first time around and wanting to use a lot of the mixing ideas that had been the result of my workinig with Beethoven's 7th symphony, I decided to bring more emotion to piece over all and especially to the  3rd movement of his 5th Symphony mostly through tempo/bpm changes (this version ranges from 90 bpm to 135 bpm, and to mirror the flute and piccalo lines with a highly Filtered tb303. So instead of making this a "patch" to the already released 3rd movement... I decided this deserved to be a separate release. So here is the final ( save a few small edits I still wannt to do) version of Beethoven''s 3rd Movement of this amazing 5th Symphony... oh the "XD" refers to the extended Dynamics of this version tansients are fully intact.

Electronicus Majoris: Beethoven 5th Symphony- Movement I & II - XD

MTC

Soon added lyrics (with lite to medium vocoding )
---------------------------------------------------------
Dream,
Dream,
Dream...

Dream of Yesterday
Dream of Today

Always remember who you were
Always remember who you are

But most of all 

Dream 
Dream 
Dream of Tomorrow

Be
BE
BE...

Be who you can be 
Be who you are 
Be what you were

Be who you want to be
Be who you are 
Be who you were,

Never be afraid to look back
Never be afraid to look now
Never be afraid to look forward

Be Yesterday
Be Today
Be Tomorrow

Be the Dream of Yesterday
Be the Dream of Today
Be the Dream of Tomorrow

But always
always
always...

Dream

Dream and Be

Just Dream

The idea behind this song is to capture that moment at the very last twight as the remaining light seems to melt away... except those very last lumens move forward into the dark night, seeking the dawn and provide those deizens of night, like us...the smallest glimmer of much needed light at our times of need.... you know.. a moonless night and you suddenly have and urgent need for just the smallest hint of light, you dropped your keys and yet somehow despite the deep moonless night a somehow brief glimspe of light reveals them....those lost lumens seeing dawn maybe ... The cover of the song art, very much reflects in color of what i hope the listener will feel...

The Light of Day Into Night

Symphony No. 1 "Underworld" 1st Movement

I have always had a general rule about Wintermut3, "I make music I want to hear" A Part of that has been to overcome barriers and "traditions"  of what Electronic music has been and continues to be--the upshot being, Wintermut3 will move in directions (Funk, Metal, Rock, etc ) that are of interest, despite being a pure electronic artist. Note this does not exclude me from making more "common" types of Electronic music. I will never stop making--as long as I breathe--Trance, Jungle, Breakbeat, Techno, etc. In Fact for about 15 years I have been exploring the idea that we may be not just at an Post Electronica but may in fact be nearing a musical Epoch (for lack of a better word) what I am saying is we might be heading for a music metamorphis on the order of when Baroque became Classical Bach, Handel, Vivaldi, Telemann (most prolific composer in history, over 3000 compositions (Late Baroque-->Early Classical)  Mozart,  Haydn, Beethoven, Schubert. These types of musical epochs are a hundred to over two hundred years in length. The period that is being bridged for us is the hundred or even nearly two hundred period in which Blues and Jazz was born and then over a hundred years influenced nearly all forms of music that we know which all music was. Electronica was born around the mid to late 1920s as that was the time several electronic instruments (Theremin ). For the most part Electronic music has been amazingly resistent to Blues and Jazz, but there are definately times that resistence has lessened. I feel all the various forms of music that where born out of Blues and Jazz or heavily influenced by it are fusing back into Electronica. I am not the only artist who strives for a hybid of "real" and electronic. Only time will tell...  

to that end, from Blade Runner: 

Dr. Eldon Tyrell:  "More Human than Human"
which I extend to Wintermut3:
"More Real than Real"  (on creation of "virtual" music)

Overall I am inspired even driven by this quote:

“Once you free your mind about a concept of harmony and music being correct, you can do whatever you want. So, nobody told me what to do, and there was no preconception of what to do…"  :Giorgio Moroder

In addition to living by the above quote:
Welcome to my nearly 20 year journey:  my music project Wintermut3 originally created in late 1998, with a first public release in early 1999 on mp3.com and other Music sites...

Originally inspired by the works of William Gibson, Wintermut3 is about bringing the listener into the sights and visions of the music. 
The music is highly story and concept driven and is made to immerse the listener in mood and feeling. 
The overall goal is to take the listener to a place they have never been before.
Highly infused with the music of Progressive Rock (Yes, Rush, Genesis, etc.) and early electronic (Tomita, Vangelis, Tangerine Dream, etc) all blended in with more "contemporary" electronic sounds (Massive attack, Enigma, Orbital, the Orb, BT, etc) into something I call: "Concept Electronica". None of the sounds you hear in Wintermut3 are "loops" or "samples" especially the more organic sounds (electric guitars, horns, etc), I lovingly lay every note and run them through various software (DAWs, VST, VSTi, etc) and or model the Instrument that renders them. I have spent many many years to get Wintermut3 to sound as "real" and organic as I can... I take great pride in this ;)
Regardless, what results is music that follows the original premise of my musical "project" Wintermut3--music that is a logical progression of what is known and loved up to the point of the project's inception over 16 years ago--In short, it is music "Built for the Future", not now...but it is always fine to like, love it now...

Dawn Patrol: Verner Voss

Wintermut3

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