Heliocentricity: an Additive Journey

This is “Take 3” on my learning curve journey to understand just how to “Mix” sounds within a composition using the harmonic frequencies of Additive Synthesis, by no means an easy feat. The harmonic structures that make up the sounds themselves are made up of 6 separate additive oscillators containing 12 “hand-shaped” additive wave-forms I created spanning multiple frequency shifting modulation routes.

Yes, even the majority of so called “Subtractive Filter Sweep” sounds are NOT traditionally subtractive at all, their Frequency Modulation shifts that ascend, peak, then descend thereafter combined with emulated resonance through spectral analysis. Only 2 sounds within this soundtrack aren’t Additive; the Arpeggio and Vocals. The Arp was created using Sam Spacey’s EPICA, and the awesome vocal was the Free “Clara’s Vocal Library Version 1.03” (Version 2.0 is now available for $40.00 and available here: http://stefanomaccarelli.com/factory/ ).

So far it sounds like I’m getting one step closer to Mixing Additive Frequencies as an audible medium without blowing my speakers up …Might sound crappy on a “Low-End” system though, and by no means completely mastered as I trudge along the path of Adding Additive to a mix ūüėČ

Definition: Additive Synthesis (AKA Fourier Analysis): A method of synthesizing complex tones by adding together an appropriate number of simple sine waves at harmonically related frequencies. The timbre of musical instruments can be considered in the light of Fourier theory to consist of multiple harmonic or inharmonic partials or overtones. Each partial is a sine wave of different frequency and amplitude that swells and decays over time. Additive synthesis most directly generates sound by adding the output of multiple sine wave generators. Alternative implementations may use pre-computed wavetables or the inverse Fast Fourier transform.

River in the Sky

This experimental cinematic soundtrack was created with a Pad I designed using Phutura as the initial track. It’s a free Virtual Studio Instrument inspired by the Roland Alpha Juno. The Indian Bass Bansuri was played by Prithoo.

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Phutura’s main panel

A Farewell to my Bass

As I ¬†say goodbye to my beloved Bass, I reminisce about it’s wonderful sound…

Song: Tender Hearts Р Album: AriAliA

  • Bass: Ibanez Sound Gear 1 Octave P/J 3-Band EQ
  • Synth: E-Mu Ultraproteus with the MELproductions sound set

Sound in Astrophysics

Being inspired by Astrophysics, I pondered on the possibility of incorporating genuine NASA recordings into sample based instruments, as I have never had the honor of encountering such. The biggest problem I have had thus far is the difficulty in bringing these space recordings into a Chromatic tuning playable within the instrumental limitations themselves.

Well, I would say I am getting closer! Here is a quick sample Soundtrack comprised of Synthesizers an Orchestral Instrument, and recordings NASA has made available for everyone from within our Galaxy. Here’s the track list rundown:

  • The Orion Nebula (NASA Rec. Pad #1)
  • Central Black Hole of our Galaxy (NASA Rec. Pad #2)
  • Moog Voyager (Arppegiation)
  • Timpani (Orchestral Percussion)

orion_4K

Sound Design: Prodyon Closes – Shortnoise Free!

I have been so busy with real life these last few months, that I had just learned our¬†very talented Kontakt Sound Design Company Prodyon, has shut it’s doors due to a new worldwide merchant¬†law which took effect at the beginning of 2015. Prodyon’s Announcement:

prodyonlogo


Dear visitors,

as some of you may already know, there is a new official VAT regulation coming from the European Union.¬†In short it means: “Pay your VAT (Taxes) in the country your customer ordered your product from!”.¬†And this is no joke – unfortunately. This new regulation is valid from on the 1st of January 2015.

http://techcrunch.com/2014/11/25/eus-new-vatmoss-rules-could-create-a-vatmess-for-startups/

What does this mean for Prodyon?¬†Prodyon is a one-man company founded and operated by me, a small businessman. ¬†I simply can¬īt be bothered to register in 26 (!) countries for VAT, nor am i a qualified “data processor” like bigger multinational companies.¬†I don’t have the manpower, time and technical possibilities to validate customer¬īs location and all other required things upon checkout.¬†Besides this the effort is simply too giant for me, and i wouldn¬īt have time for anything else then.

Until all these issues have been sorted (hopefully) i have to shut down Prodyon AGAIN in terms of selling products. ¬†The site will be left online and i will continue to give support, answer e-mails and so on.¬†But you won¬īt be able to buy anything from me starting on the 1st of January 2015.


This is very sad news! I want to sincerely thank¬†Dennis Lenz, the CEO and creator of Prodyon, for providing quality Kontakt¬†content , and hope that he has the chance to open Prodyon once again in the foreseeable future. I have also just learned that one of Prodyon’s Masterpiece Sample Library is absolutely free!

Shortnoise – 6GB of Stunning Electronic Sounds

shortnoise_k4_splashnew

Shortnoise is a unique and inspiring electronic sample library with a huge 6GB of content and over 300 Kontakt instruments to choose from. Jam packed full of Electronic Grooves, Arpeggiated Sequences, Manipulated Synths, Cinematic FX, Unique and Expressive Performance Patches, this beauty has a whole world of surprises waiting to be unleashed! Perfect for electronic music, film scores and experimental sound design.

If you‚Äôve ever found yourself in need of big, inspiring and easily editable electronic sounds, then Shortnoise is for you! From screaming leads, to fat basses, lush arps to sweeping pads, there is a huge amount of sounds to choose from. Anyone who writes electronic music in any style, will find this an incredibly useful sample library that will provide hours of inspiration. All sounds are 100% royalty free (can be used for sound design, music etc.) and even better…NORMALLY $199 – NOW FREE!

Click here to add Shortnoise to your Kontakt Sample Library before this offer ends, and don’t forget to offer a donation for this wonderful gift here.

Sagittarium – 6EQUJ5

Not only is it an honor to share my latest Soundtrack, I must also say that the sounds used within this soundtrack are beyond what I have ever designed, from an unlikely source. I created a Rhythm last night. It was reminiscent of two tracks I had created so many years ago, both available on the Oracles in Motion album: Y-Nexial Triangulum, and Zeta Reticuli. Both soundtracks were thematically otherworldly alien/extraterrestrial based, and used original sounds I had designed with various Synthesizers.

A lot has changed since that time. My sound design skills, combined with modern technology has made it possible to bring actual extraterrestrial sounds into my extraterrestrial thematically based soundtracks! What you are hearing throughout this soundtrack is the actual translated 6EQUJ5 signal.

wow

6EQUJ5, also known as “the Wow!” signal, was a strong narrow-band radio signal detected by Jerry R. Ehman on August 15, 1977, while he was working on a SETI project at the Big Ear radio telescope. The signal bore the expected hallmarks of non-terrestrial and non-Solar System origin. It lasted for the full 72-second window that Big Ear was able to observe it, but has not been detected again.

Tau Sagittarii is the closest visible star in the night sky near the origin of the 1977 Wow signal, the only radio signal that has been received that may be a sign of extraterrestrial intelligence in our history thus far. I used the actual translated 6EQUJ5 signal as a playable dynamically resonant instrument using Subtractive Synthesis, and advanced Sampling Techniques throughout
this sound track …Enjoy!

Natural Inspiration

I wanted to share a beautiful Fall Sunset with you tonight. Inspirational moments that propel me to translate such events into¬†Ambient ¬†Waves of Sound. I live for such moments, and am grateful to experience¬†and share these beautiful Visions and Sounds of Earth…

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Throwback Thursday #1

One thing I’ve been avoiding is the latest “Throw Back Thursday” trend. But after sifting through some old photographs, I can’t help myself at this point. These were moments during my Musical Evolution that have defined my Sound Engineering skills¬†…Never to be forgotten (Click pic to enlarge):

Michael_Lyon_The_Studio_1990 copy

One of my early Recording Studio’s Circa 1990. Found and combined 2 pictures ¬†…Ensoniq Mirage, Yamaha DX-100, Casio CZ-100, CT-670 and HT-700 instruments, all tied together with a MIDI Xpander to Commodore 64 running the Syntech Studio 1 MIDI Sequencer, and a Yamaha MT-120 Portastudio. In this picture, I was editing Sampled Waveforms during the creation of an Ensoniq Mirage Sample Library using the Sonus Sonic Editor.¬†

ultra

Speaking of which,¬†I pulled the E-MU Ultraproteus out of the closet yesterday to try out the new plethora of sounds I just acquired …All 6 official E-MU ROM cards! After going through all 1524 new sounds, I was seriously disappointed. The original programmers didn’t use the Z-Plane Filters and Function Generators to their fullest. This made me realize I need to keep the Ultraproteus out, and continue to sample, adding new sounds to the Ultrapro Sample Library for everyone.

X-tra_Multi_Combo

The Ultrapro is a sample library based from the the E-MU ULTRAPROTEUS sampled exclusively by Myself, and currently on Version 2.3 featuring 11 Multi Presets, 7 Single Presets, and 6 X-tra Muti Combos. Future incremental updates are currently planned, and will include addition Samples and Presets. Although not uploaded at this time, you will find the UltraPro available shortly within the “Sound Design” section of this website.

AstronomicA

AstronomicA s

Although still a Work In Progress, I thought it was due time to share a sample of this new Sound Set…

AstronomicA – An Electronic Demonstration of my all new Sound Set for Zero-G’s Epica virtual synthesizer powered by Kontakt, currently a work in progress. All new Resonant Filter types, Routed through Cascading Modulated Group Inserts, using Sam Spacey’s Sample base as the main Oscillated Sound Source. Zero external FX used. All FX Internally Enhanced exclusively for this Sound Set.

Sounds used in this Demo:

  • What Dreams May Come (Atmos Pad)
  • Star Traveller (ARP Pad)
  • Ethereal Morphing Crystal Tine (Bright Lead)
  • Harmoniousphere (Atmos Pad)
  • Polyopus Solarina (String Pad)
  • Near Death Experience (Drone Pad)

Whats Epica you say? Click here to learn more!

Sounds that Make Music

Sound-Design-Featured

As an advanced designer of sound, and a passion to actually ¬†travel within the sonic landscapes I’ve created, I realize it’s not ¬†unlike the graphic artist, who’s beautiful paintings one could envision a lifetime living within the¬†boundaries of a seemingly¬†infinite moment in¬†time …Such is the power of imaginative creativity we, as beings, are given.

During the creation of my latest¬†sound design, a sonic achievement I have so boldly named “Near Death Experience”, a¬†Drone Pad programmed exclusively using Sam Spacey’s latest release, Epica,¬†a¬†great epiphany emerged:

“I make¬†sounds that make¬†music, instead of making music using sounds.”

As silly as this may sound, (pardon the pun), it summarizes the life of a sound designer. Although most, if not all sound designers are definitely musicians by nature, I would fathom to guarantee that the vast majority of composing sound designers are inspired by the creation of sound itself, not unlike how the painter mixes a pallet of beautiful colors to compose a work of art for those to partake of upon a canvas of light, reflective within the imaginations of the viewer.

As I design each aspect of the¬†sonic palette, I can’t help but notice a¬†cosmic rhythm within the sound itself. Each oscillator, or “sound source”, if you will, connect as a complete image, to give one the visualization of an imaginative realm of individualistic¬†internal stimuli responding with an emotional outcome, created by this sonic vibration we have termed “Music”.

Harmonic tones, repeating drones, filterscapes controlled by low frequency oscillations, from ones creation, to another’s inception of internal emotional translation, I can honestly say from experience, is the universal language of perception …indeed, the Magic of Sound creates Light without Sight.¬†It is an honor to hone this ability. It is an honor above all to share this with you, as I construct my latest Ambient endeavor.

So far, I have “mindcrafted” 6 new ultimate Epica presets, that have taken¬†hours¬†day’s to program to perfection:

  • Harmoniousphere (Atmos Pad)
  • Near Death Experience (Drone Pad)
  • Polyopus Solarina (String Pad)
  • Skyworld (Atmos Pad)
  • Star Traveller (ARP Pad)
  • What Dreams May Come (Atmos Pad)

The small sample above have no less than 4 – 6 Oscillators per voice, which in this case I have dubbed “Elements” instead of Oscillators. Each Element is an Oscillator in it’s most complex form. Containing a massive amount of virtual circuitry …Multiple filter chains, morphs, FX, advanced modulation routing’s, and timed sample precise triggers to name a few. Pushing Epica to the limits as an advanced ambient synthesizer in it’s own right.¬†Stay tuned for continued¬†development, and an audio preview in the near future, as I create an ambient composition using this sound set only.

Foot Note: I have also updated the¬†“Sound Design” section of this site, to include many sound designs I’ve created, previously only available through Metascape Media, to become available upon the achievement of downloadable storage space.

Ambient Sound Design & Soundtrack Composition