Ethereal Chimes Meditation

The first set of Patches I have been working on using ANA 2 consist of trance like Drones. So I decided to try an experiment today using a particular Drone Sound I created, along with Meditative Binaural Beats to compliment the Drone itself. The Binaural Beat technique I used was invented by Robert Monroe, founder of the Monroe Institute. I have used Hemi-Sync® technology for many years now, with great success. Here’s a quick explanation of Hemi-Sync®:

“Hemi-Sync is short for Hemispheric Synchronization, also known as brainwave synchronization. The technique synchronizes both hemispheres of one’s brain, thereby creating a ‘frequency-following response’ designed to evoke certain effects. Hemi-Sync has been used for many purposes, including relaxation and sleep induction, learning and memory aids, helping those with physical and mental difficulties, and reaching altered states of consciousness through the use of sound.” 

Hemi-Sync® is used through the combination of Binaural Beats. A binaural beat is an auditory illusion perceived when two different pure-tone sine waves, both with frequencies lower than 1500 Hz, with less than a 40 Hz difference between them, are presented to a listener dichotically (one through each ear). For example, if a 530 Hz pure tone is presented to a subject’s right ear, while a 520 Hz pure tone is presented to the subject’s left ear, the listener will perceive the auditory illusion of a third tone, in addition to the two pure-tones presented to each ear.

The third sound is called a binaural beat, and in the above example  a perceived pitch correlating to a frequency of 10 Hz, that being the difference between the 530 Hz and 520 Hz pure tones presented to each ear. Binaural beat perception originates in the inferior colliculus of the midbrain and the superior olivary complex of the brainstem, where auditory signals from each ear are integrated and precipitate electrical impulses along neural pathways through the reticular formation up the midbrain to the thalamus, auditory cortex, and other cortical regions.

I have created a few Drones using ANA 2, but one in particular stood out to use with this experiment …Ethereal Chimes. This sound uses 6  Oscillators as follows:

  • OSC 1: Sawsine (3D Wavetable – AmbieticA)
  • OSC 2: Vocoder 1 (3D Wavetable – AmbieticA)
  • OSC 3: Sine 1 Peak (Single Cycle Wave – AmbieticA)
  • OSC 4: Ping Pong Toy (Wavesample – Luftrum)
  • OSC 5: Music Box (Wavesample – Luftrum)
  • OSC 6: Hyped Choir C3 (Wavesample – Sonic Academy)

All Oscillators combined and modulated optimally to create a meditative drone-like effect. Behind this sound track are the embedded binaural beats. It’s the “wavering” sound you hear within the track itself.  Here are some tips for optimal listening results:

  • Use Headphones (good quality), or at the minimum, stereo speakers positioned as a perfect left and right pair, separated but in front of you. Any studio musicians reading this understand that completely. (Tweet, Mid and Woof cabinets recommended).
  • Sit or lie comfortably and close your eyes with no distractions, and have your volume adjusted at a comfortable level.
  • Make no effort to control breathing; simply breathe naturally.
  • Let go, and try not to concentrate on any one particular sound within the track. Let it take you on a journey within.
  • WARNING: Do NOT listen to brainwave synchronization audio tracks while driving or operating machinery.
  • This is a ThetaAlpha Track. “Mind awake, body asleep”

Track time roughly 10 minutes. ANA 2 Ethereal Chimes Meditation

      Ethereal_Chimes_Drone-with-Binaural_Beats_Meditation-In_D

Meditation_MilkyWay

ANA 2 Ambient Project

After just 2 days, with a lot of research and practical application, I have successfully  hand-crafted  the very first 3D and Single Cycle Wavetables and Waveforms for ANA 2. They sound nothing like what is currently available, as I am leaning more on the “Ambient” side of patch creation. Many more to create, but as of this writing I have twenty one 3D Morphable Wavetables, and twenty five Single Cycle Waveforms, tested and ready for Oscillation …all unique and sounding great!

WAV-Tables-OSC

I’ve also had the opportunity to speak with Soren of Luftrum Sound Design, and have complete permission to include his awesome Field Recordings within ANA 2 to create the Pads and Atmospheres, giving Luftrum full credit, and with a wonderful endeavor involved. Anyone who purchases this upcoming Ambient ANA 2 sound-bank that will include new Ambient Patches, 3D Wavetables, Single Cycle Waveforms, Rare Samples from my ancient synth collection gone by, and Luftrums Field Recordings, and a possible new GUI (one step at a time right?), will also contribute to the “Save the Children” fund as well.  Because it’s the right thing to do :)

Freefieldrec-600x600

Although this is a beginning “work in progress” at this point, please don’t hesitate to wait for this new Ambient ANA 2 Sound-bank to be completed to donate to the children, and grab some great field recordings from Luftrum in the process. Click Here to Donate!

So far the new Ambient patches are sounding great! More to come as this project gains momentum, and as always, I will share Sound Demo’s as time goes by …I sincerely hope everyone has a great New Year! :)

Cathedral Cove
Using Luftrums Field Recordings “Rosnaes Shore” & “Dripping”, along with Sonic Academy’s sample “Wave”, & my “Vocoder I & Sine Phaser I 3D Wavetables, along with Sonic Academy’s Triangle Analog” Waveform, with many Modulated Routing Techniques, we have a pretty awesome Ambient Drone here. Yes, this Drone uses 6 Oscillators :)

Luftrum + ANA2 = Bliss

Using samples from Luftrum with permission,  in pure field recorded oscillation mode,  combined with ANA 2 using pure triangulation wave oscillation and variable  pulse width modulation   …we now have a Padded Drone Sound 😀 I have yet to use FX. Many Modulated roads to travel .                                                                                                                                                                    …Before the Rain 

      Before-the-Rain

Before-the-Rain

before the rain

Update: 1/6/2018: The Drone, Before the Rain , has been exponentially improved beyond the sound example above, and sounds much much better :) …Learning curve combining 6 Oscillator Wave-table & Sample capability achieved …Be prepared for some Ambient Madness 😀

Ambient ANA 2

Yesterday, I had to make a choice between two virtual Synthesizers, both recently released, and both on sale for a limited time …The U-He Repro, or Sonic Academy’s ANA 2.  As many of you already know, U-He makes some tremendously realistic superb emulations of classic Synthesizers using virtual circuit technology. DIVA being their breakthrough with this technology. Sonic Academy on the other hand does not, and uses their innovation to create DSP in house. I tested the Demo’s of both, and although U-He’s Repro 1 & 5 are both absolutely amazing, they were both exactly what they intended to be …Emulations of classic instruments. A few new features, but in the end Prophets. OK, A lot of people are thinking, “well yeah a Prophet is awesome, why not grab the software since you don’t have the hardware” …I agree, Prophets ARE awesome!

There are quit a few reasons I chose Sonic Academy’s ANA 2 over Repro. Before I explain, I must say that I am more of a “Futurist”, and less of a “Nostalgic” traveler. It’s already been done, ages gone past, and we consistently attempt to rewind toward a sound we are comfortable with. So it seems. I ventured within Dave Rossum’s Z-Plane Filter Technology and Function Generators while the masses continued toward 2-Pole variables, to no regret. Not that the latter are worse, or the former better, just that “it hadn’t been done before”, thus sat on the horizon of an un-explored journey into sound-design.

From my research, it has been dubbed that ANA 2 is more of a “SynthPop, Acid, Dance” machine. To the likes of such nobles as Serum and Dune. I wondered, with so much functionality, (functionality beyond Repro), could I make the very first “Ambient” soundbank, and break the stereotype? One of the biggest reasons I chose ANA 2 over Repro was functionality …We’re talking about 3 importable Wave Oscillators and 3 importable Sample Oscillators  with more parameters and Modulation Routing’s than I have experienced in quite awhile.

The choice was clear “Future” or “Past”. How about both. I have sampled the many Electronic Instruments I have had the honor of playing over the years just waiting to be used. Including the rare Ensoniq Mirage  Sound Process Operating System to name a few. What if I were to “import” my rare samples into ANA 2 as sound sources, using ANA’s parameters, and the wave tables with a total of 6 Oscillator Ambience. One could create an Ambient Pad and Drone synchronizing within one single sound indeed (before modulation). After just a few hours, ANA 2’s architecture became natural, although I have barely scratched the surface for sure, I was able to use the rare samples I have, and ANA 2’s wave platform in an attempt to create this theoretical ambient soundbank experiment. Far from perfect, and much learning and mastering to accomplish I give you my first 3 ambient sounds using Sonic Academy’s ANA 2:

Using the Ultraproteus Sample “Rainforest” and 3 Waves:                     “Digital Rainforest”  …Update 1/6/2018: Digital Rainforest has been exponentially improved, sounds even better than this sound example, and has been renamed  “Life on Kepler-186f”.

      Digital-Rainforest

Digital Rainforest


Using an Ensoniq Mirage Sound Process Sample and 3 Waves:     “ANA Sweeper” …Update 1/6/2018: ANA Sweeper has been exponentially improved, sounds even better than this sound example, and has been renamed “Interstellar Dust”.

      ANA-Sweeper

ana-sweeper


Using the Casio-CT Cathedral Sample and 3 Waves:                             “Glimmer Pad” …Update 1/6/2018: Glimmer Pad has been exponentially improved, sounds even better than this sound example, and retains the name “Glimmer Pad”.

      Glimmer-Pad

glimmer


Much Much more to come, as I master this process …With Much better results in the future, as this was just the first few hours with this beautiful beast :)

Ev Luth Kirche

My lady Connie asked me one day “how exactly do you do what you do”. She patiently sat down in the studio, as I walked her through what was involved to begin designing a sound. She took care of the selection of a sound source and then I proceeded to teach her how to adjust the parameters involved for frequency modulation. She looked at me after I walked her through adjusting a few parameters and she said, “there’s a lot to this”, I smiled and said, “Thank you for allowing me to show you one part of a larger structure”. Connie had one request …”Design a sound to go with the Church” (a photo she had taken, and won prizes for).

It was a challenge,  but after much Band-Pass Filter, Effect and Equalizer manipulation, I think I have it. The Birds that land around its structure, the Bell that Tolls, and the Angelic Atmospheric Pad surrounding its presence all there, of course “Ambiently” 😉 . For the one that I Love <3 …Ev Luth Kirche

      Ev-Luth-Kirche

Ev-Luth-Kirche.

Dyson Sphere’s

What if we, as a civilization, could collect all of the sun’s energy? If so, we would use some form of Dyson sphere! Physicist and astronomer Freeman J. Dyson first explored this idea as a thought experiment in 1960, as a “Search for Artificial Stellar Sources of Infrared Radiation” in Science as a way for an advanced civilization to utilize all of the energy radiated by their sun. It is an artificial sphere the size of an planetary orbit. The sphere would consist of a shell of solar collectors or habitats around the star, so that all (or at least a significant amount) energy will hit a receiving surface where it can be used. This would create a huge living space and gather enormous amounts of energy.

This sound pays tribute to Freeman Dyson, and his idea that this hypothetical mega-structure could be possible, given the technology and unity that would be needed to accomplish such a feat of stellar proportions. Using Lunaris with 4 Oscillators. 3 of the Oscillators were used to create a Science Fictionally Synchronized Dance of Rhythm, Light, and Sparkling Energy whipping about using all 3 “Mod/Seq” sections for each Oscillator, all 3 of the rhythms being synchronized, yet unique. The final Oscillator gives us the pad, which completes the sound itself. And as always, the Modulation wheel is definitely used to change the structure of the sound.                                                    …Inside the Dyson Sphere:

      Life_Inside_the_Dyson_Sphere

Life Inside the Dyson Sphere

High Pass-Low Pass Dust

Well, I have heard that High Pass Filters are useless during my sound design travels… Low Pass combined with High pass however are not…  Equalized and Filtered with Envelopes in place. Let’s just “Pass” some “Cosmic Dust” through the “Filters” of perception :) . Interstellar Dust Storm FX:

      Interstellar_Dust_Storm
The faint light extending up from the horizon just below centre of this photo is known as zodiacal light, caused by sunlight scattering from cosmic dust in the plane of our Earth’s orbit. A second band of light can be seen at the horizon on the lower left. This red light is airglow, produced by the Earth’s atmosphere. Airglow is caused by processes taking place in the upper atmosphere, including cosmic rays, recombining photoionized atoms, and various chemical reactions between oxygen, nitrogen, hydroxyl, sodium, and lithium atoms. The third and final band is the Milky Way, our home galaxy, high in the sky. This band consists of billions of stars of all kinds. Many of them are hidden to the human eye behind large layers of interstellar dust, giving the Milky Way its characteristically mottled look. At the centre of the image stands ESO Photo ambassador Babak Tafreshi, watching the light spectacle unfold around him. His fellow photo ambassador Yuri Beletsky captured this image during the ESO UHD Expedition in 2014, as Babak travelled through the Chilean desert to visit the sites of ESO’s telescopes.
The faint light extending up from the horizon just below centre of this photo is known as zodiacal light, caused by sunlight scattering from cosmic dust in the plane of our Earth’s orbit. A second band of light can be seen at the horizon on the lower left. This red light is airglow, produced by the Earth’s atmosphere. Airglow is caused by processes taking place in the upper atmosphere, including cosmic rays, recombining photoionized atoms, and various chemical reactions between oxygen, nitrogen, hydroxyl, sodium, and lithium atoms. The third and final band is the Milky Way, our home galaxy, high in the sky. This band consists of billions of stars of all kinds. Many of them are hidden to the human eye behind large layers of interstellar dust, giving the Milky Way its characteristically mottled look. At the centre of the image stands ESO Photo ambassador Babak Tafreshi, watching the light spectacle unfold around him. His fellow photo ambassador Yuri Beletsky captured this image during the ESO UHD Expedition in 2014, as Babak travelled through the Chilean desert to visit the sites of ESO’s telescopes.

Ambient Sound Design & Soundtrack Composition