#adsr blog

[ciaranswritingportfolio]

How to Make a Sine Drop in Music Production [Blog Tutorial]

What's a Sine Drop? The ‘sine drop’ is a classic sound, typically used in synth based music, or as sound design in sci-fi games, or films. It’s a great effect when used subtly, adding flavour and movement to the music, commonly creating a dropping feeling, as if you’re falling into something, or even for horror, as when used in a specific manner, the effect can replicate a sense of dread.

If you don’t know what a sine wave is, it’s basically a fundamental pitch, with no distortions or harmonic layers. Unlike when you press one key on a piano, where many different pitches in the harmonic series will sound to create the tone that you hear, a sine wave is a smooth sound with just the fundamental frequency. It is also represented as a smooth line, in a regular wave fashion. The reason we use a sine wave for this technique is because of its smooth nature. It is easy to blend into your music, while still having the same effect. Regardless of that, you can add plugins to stylise, and add nuances to the sound if that is the desired effect!

Examples

My absolute favourite use of this effect is in Joe Hisaishi’s score for Princess Mononoke. This was my main inspiration for writing this article, and adding it to a hybrid orchestral production of my own. In the track ‘ The Legend of Ashitaka ‘ It adds SO much drama and tension to the music that when it drops, the release is just ethereal bliss. Breaking through is a lush string melody that soars, giving me chills every single time. If you want to check it out, it is the first track on the official soundtrack release, and difficult to find on YouTube. EDIT: It’s the first track on this upload of the OST! https://www.youtube.com/watch?v=PpoXo5bA8YI&t=4s How to Create the DROP (Step by Step)

You can make a similar basic sound using any Sine on a soft-synth. In this case, I’m using Logic Pro’s stock synth ES2. A good starting point is to use the preset Sine Bass, but I like to start from scratch, as this is where interesting things/happy accidents can happen! ->  Make a 100% sine wave by choosing Sine on oscillator 1 and switching off oscillators 2 + 3. Move the triangular oscillator blend to only sound oscillator 1. It also doesn’t hurt to turn up the sine level dial on the right hand side of ES2. 

->  Ensure that the synth is playing a mono-voice mode (Legato is even better). Sliding the glide up to ~around~ 1800ms.

-> Head down to the ADSR settings, and increase the attack so the notes start smoothly, and don’t suddenly cut in. Also pull back the sustain by about half.

-> Add some distortion in ES2 or with a plugin to beef up the sound. You want the distortion to be bright, if you can, but it’s down to personal taste. Some chorus works really nicely to smooth out the distortion too!

-> Now we’re going to assign LPF FM [Low Pass Filter Frequency Modulation] to the MIDI-Modulation control for some automation later on. Turn the blend fader in the big round filter section in the middle of ES2 all the way to the right (and increase the cutoff on the right while you’re there..). This is because we need to use the FM dial for the modulation. Then, go to the dark blue router panel and on the first set, click the box, and on the dropdown choose LPF FM. The middle box should be set to off, and choose ModWhl for the lower. Then slide the little green arrow to the side all the way down. This step allows us to control the filter setting with your modulation wheel, or just the modulation channel in Logic (CC1), which you can draw automation with!  

-> Then for some extra movement, you can add a really slight pitch vibrato to the synth sound we created. A similar method to the previous step with some differences. Choose Pitch 1 for the first box, then the middle “via” box, choose LFO2, and the last box choose LFO1. Then make a tiny space between the two arrows that appear to the right, so the depth isn’t too noticeable. Also, you might want to adjust the LFO2 rate below, to about 1/8. 

-> Then to execute the sine drop, choose a note in the high/mid range, and let that gliiiiiiide down to a note in the low range. A cool effect can be made when you swell the modulation once it hits the low note. Also, I add a light echo and reverb to create space. -> To add impact and a ‘destination reached’ feeling, you can add a low impact, or boom noise. I used some of the impact sounds from this great free library https://www.boomlibrary.com/sound-effects/free-sounds-cinematic-series/  Summary

These steps are just a guide and I wholeheartedly hope you manage to get something useful out of them! It’s a good position to branch out and try your own things with this particular sound, whether you’re adding this to for drama to an orchestral track, or doing some badass sci-fi sound design. Happy creating!

[pcbmust]

Creating Unique Tones: Analog Modulation Techniques for Keyboards

Introduction

In the realm of music, keyboards have long been cherished for their ability to produce a diverse range of tones, from lush pads to soaring leads and everything in between. Behind the magic of these unique sounds lies the art of analog modulation, a technique that breathes life into the music. Analog modulation offers a wealth of creative possibilities, allowing musicians to shape and evolve their tones in real-time. In this blog, we will delve into the world of analog modulation techniques for keyboards, exploring the art and science of creating unique tones. We will uncover the benefits of analog modulation, understand the various modulation techniques available, and celebrate the endless potential of these expressive and versatile methods.

Benefits of Analog Modulation Techniques for Keyboards

1. Expressive and Dynamic Performances: Analog modulation techniques infuse performances with expressiveness and dynamism. By modulating various parameters such as pitch, amplitude, and timbre in real-time, musicians can add nuance and emotion to their playing. This expressiveness empowers artists to create captivating performances that resonate with listeners on a deep emotional level.

2. Versatility in Sound Design: Analog modulation opens up a world of versatility in sound design. Musicians can use modulation techniques to create a wide range of textures, from subtle and gentle movements to wild and unpredictable sonic landscapes. This versatility allows for experimentation and the exploration of new sonic territories.

3. Organic and Harmonically Rich Tones: Analog modulation imparts an organic and natural quality to the tones produced by keyboards. The continuous and smooth changes in parameters give rise to harmonically rich and evolving sounds, reminiscent of acoustic instruments. This organic quality adds warmth and depth to the music, captivating the ears and hearts of the audience.

4. Real-Time Control and Interaction: Analog modulation offers real-time control and interaction between different parameters. Musicians can manipulate the modulation sources, such as LFOs (Low-Frequency Oscillators), envelopes, and other voltage-controlled circuits, during performance. This real-time control allows for spontaneity and adaptability, making each rendition a unique musical experience.

Other Factors in Analog Modulation Techniques for Keyboards

1. Low-Frequency Oscillators (LFOs): LFOs are a fundamental modulation source in analog keyboards. They generate periodic waveforms at low frequencies, typically below the audible range. Musicians use LFOs to modulate various parameters, creating cyclic and rhythmic variations in the sound. Common LFO waveforms include sine, triangle, square, and sawtooth.

2. Envelope Generators: Envelope generators shape the evolution of sound over time. They produce voltage signals that control parameters like amplitude, filter cutoff, and pitch. ADSR (Attack, Decay, Sustain, Release) envelope generators are particularly popular, as they allow for precise control over the envelope’s shape.

3. Ring Modulation: Ring modulation is a technique where two audio signals are multiplied together, producing sum and difference frequencies. This process generates new harmonic content, resulting in metallic and bell-like tones. Ring modulation is often used to create unusual and otherworldly sounds in electronic music.

4. Frequency Modulation (FM): Frequency modulation involves modulating the frequency of one oscillator (the carrier) with the output of another oscillator (the modulator). FM synthesis produces complex and evolving timbres, allowing musicians to achieve bell-like, metallic, or even chaotic sounds.

5. Amplitude Modulation (AM): Amplitude modulation is the process of varying the amplitude of an audio signal using the output of another signal. AM synthesis can produce effects like tremolo or add harmonics to the original sound, enriching the overall timbre.

6. Sample and Hold: Sample and hold circuits sample an incoming voltage at a regular rate and hold that value until the next sample is taken. This technique creates random or stepped modulation effects, often used to generate random variations in sound.

Conclusion

Analog modulation techniques for keyboards open up a world of sonic exploration and creative expression. The benefits of expressive and dynamic performances, versatility in sound design, organic and harmonically rich tones, and real-time control and interaction empower musicians to create unique and captivating musical experiences.

As we delve into the art and science of analog modulation, we celebrate the magic of music and the boundless potential of analog keyboards. Each modulation technique unlocks a new dimension of sound, where melodies come to life with emotion and expression.

In this world of analog modulation, musicians are artists, painting vibrant soundscapes with their hands, hearts, and voltage-controlled circuits. Each performance becomes a journey of exploration and discovery, where the interaction between musician and instrument gives rise to musical poetry.

As technology advances, analog modulation techniques remain a cherished cornerstone of sound synthesis, adding depth, character, and soul to the music. The allure of analog keyboards and their expressive potential continue to captivate musicians and listeners alike, transcending time and trends.

So, let us celebrate the art of analog modulation and embrace the endless possibilities it offers. With each modulation sweep and LFO cycle, we unlock a universe of unique tones, where creativity and technology merge in harmonious symphony. As musicians, designers, and enthusiasts, we continue to explore the depths of analog modulation, uncovering new secrets and crafting melodies that resonate with the human spirit.

In the realm of analog modulation, the heart and soul of music shine brightly, bridging the past and the future in a harmonious dance of sound and expression. As we journey through the world of analog keyboard synthesis, we celebrate the magic of voltage-controlled heaven and the enduring power of music. In this timeless pursuit of sonic wonder, the melody of creation echoes through eternity.

About the Author: Avi Gupta, Founder of PCB Must Innovations, is a dynamic force in the world of electronics design. With a wealth of industry experience, Avi thrives on solving intricate problems and delivering dependable solutions. A tech enthusiast, Avi stays ahead of trends while cherishing precious moments with family. Avi could be reached at care@pcbmust.com

Electronics, Electronics Design

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French producer IERRP with a groovy house jam called “Bereft”. Tastefully minimal percussion drives headbobbin’ chords and pads on an enjoyable 5 minute trip through the Bordeaux countryside.  Follow Soundcloud Spotify 

[magmmorg]

What does exhale by output work with

#What does exhale by output work with how to

#What does exhale by output work with mod

#What does exhale by output work with series

Newspaper, book, and other print publishing are adapting to website technology, or are reshaped into blogging, web feeds and online news aggregators. Most traditional communication media, including telephony, radio, television, paper mail and newspapers are reshaped, redefined, or even bypassed by the Internet, giving birth to new services such as email, Internet telephony, Internet television, online music, digital newspapers, and video streaming websites. Although the Internet was widely used by academia in the 1980s, commercialization incorporated its services and technologies into virtually every aspect of modern life. The linking of commercial networks and enterprises by the early 1990s marked the beginning of the transition to the modern Internet, and generated a sustained exponential growth as generations of institutional, personal, and mobile computers were connected to the network. The funding of the National Science Foundation Network as a new backbone in the 1980s, as well as private funding for other commercial extensions, led to worldwide participation in the development of new networking technologies, and the merger of many networks. The primary precursor network, the ARPANET, initially served as a backbone for interconnection of regional academic and military networks in the 1970s. The origins of the Internet date back to the development of packet switching and research commissioned by the United States Department of Defense in the 1960s to enable time-sharing of computers. The Internet carries a vast range of information resources and services, such as the inter-linked hypertext documents and applications of the World Wide Web (WWW), electronic mail, telephony, and file sharing. It is a network of networks that consists of private, public, academic, business, and government networks of local to global scope, linked by a broad array of electronic, wireless, and optical networking technologies. The last two videos cover Insert Effects, Macro Sliders, Presets, and all Automation options that you have available.The Internet (or internet) is the global system of interconnected computer networks that uses the Internet protocol suite (TCP/IP) to communicate between networks and devices.

#What does exhale by output work with mod

Then its on to the Rhythm Panel, where you’ll see how Waveform Shapes and or Step Sequencer Patterns are used to modulate parameters in the six Mod Effects available in the FX Engine.Īfter that, Eli explores the Flux control, which applies a secondary step-sequencer dedicated to generating fluctuations in the main modulation values, as well as a video on Mod effects. Next, Eli demonstrates Slices mode, in which you can match your sounds to the key of your music.

#What does exhale by output work with how to

You’ll learn which controls are shared, which are unique, and how to set and edit all 13 individual loops per loop bank! The next 2 videos explore Loops mode, both Bank Settings and Note Settings. Once you’re familiar with the signal flow, Eli then covers Notes mode and its 3 different source types including One-Shots, Pads, and Tape Loops. Then it's onto the Presets, which can contain one or two sound sources with independent Volume, Pan, Tune, Eq, ADSR, & Playback Direction Controls. Starting with an installation guide, Eli gets right into EXHALE’s signal flow, explaining how sounds are triggered in Notes, Loops, and Slice modes.

#What does exhale by output work with series

In this video tutorial series studio expert Eli Krantzberg reveals all of its secrets as well as how to use it to breathe life into your productions. There's nothing out there quite like Output EXHALE, a virtual instrument with a unique vocal engine that's both powerful and modern.

[wovvtech]

WovVRA – ADSR Software for Shopping Malls

Primer

Shopping malls are the new face of retail which is becoming more & more digitized with as many data capture opportunities that lead to better sales insights. ADSR software is the torch bearer of this digitization which offers knowledge-rich information from a shopping mall’s sales data. With so many on-premise and the cloud solutions promising you to take you over the “lack of information” ditch created by the legacy systems, the challenge is to find the right software that can capture the right data, process the data at the right speed, and angle-out the right insights to help take apropos business decisions. In this blog I will take you through WovVRA – the free ADSR software & the best ADSR software in India that is out to make a difference in the retail industry & in airports being an ADSR software for airport.

How WovVRA helps malls in ADSR?

Plugin multiple revenue leakages – Increase revenue, get better ROI through top ADSR software.

Upload DSR & compare with ADSR – Accurate & complete information.

Over-the-air updates – Updated & productive system.

Auto reconciliation reports – Complete insights.

DIY reports & pivots – Keeps you updated.

End-to-end transparency – Less scope of error.

Exception reports – Settle all transactions.

Completely cloud based – No entry barrier, no onsite infrastructure required.

Auto email notification – Keeps you informed.

WovVRA BenefitsControl

See revenue going north with better, fairer concession agreements managed by top ADSR software for malls.

Built-in reporting for better decision making & built-in auditing for compliance.

Plug-in revenue leakages by ensuring correct sales reporting.

Get control over minimum guarantees, variable revenue and rents.

Automation

Automate the entire revenue sharing process from billing through revenue share process to contract management.

A ROI reckoner that leads to business productivity and efficiency gains.

Understandings

Get the nerves of transactional data to elevate sales & revenue.

Footfall analysis, loyalty systems, & location data.

See yourself winning the retail game.

ADSR software for malls

Built-in reporting for better decision making & built-in auditing for compliance.

Plug-in revenue leakages by ensuring correct sales reporting.

Get control over minimum guarantees, variable revenue and rents.

Conclusion

WovVRA, automated daily sales reporting software for malls, is a catalyst that helps in process improvement, streamlining sales & information maturity. We want to see you turning things around and that’s why we offer this sales reckoner in the FREE-FOREVER model so that you get a lasting taste of it without interruption. Make it your technology partner today. Similarly, we offer WovVIA – the best audit & inspection software through which you can create easy checklists with 200+ survey questionnaire templates to ensure compliance.

[avenuelify957]

Versilian Upright Piano Vst Download

Upright Piano by Versilian Studios Free Sample Player, Piano.

VS Upright 1 - Freeware Upright Piano VSTi Plugin Released By.

12+ Best Free Piano VST Plugins (2021) - Bass Drop Factory.

PLUGINS 4 FREE - Free Audio Plug-ins Archives: Versilian Studios.

Versilian Studios Timpani KONTAKT-BYS | Free eBooks Download.

The absolute Best Free Piano VST Plugins (Updated 2022.

Free Piano VST Plugins: 20 of the Best In 2021! - Acoustic.

Piano / Strings | FREE VST PLUGINS.

Versilian Studios.

Download Free Upright piano plugin: VS Upright 1 by Versilian.

Products.

SampleScience - Room Piano | FREE VST PLUGINS.

The 12 Best Free Piano VSTs for Authentic Piano... - LANDR Blog.

The 10 Best VST Piano Plugins for FL... - The Best Vst Plugins.

Upright Piano by Versilian Studios Free Sample Player, Piano.

Versilian Studios is a virtual instrument development company based in Connecticut, focused on creating affordable, quality virtual instruments for students and professionals alike. 3 Best Free Piano VST Plugins 3.1 Salamander Piano By Bigcat Instruments 3.2 KeyZone Classic - Windows & Mac 3.3 The Grand DSK Piano - Windows & Mac 3.4 Versilian Upright - Windows & Mac 3.5 Piano One - Windows & Mac 3.6 Dead Duck Audio Dpiano - Windows & Mac 3.7 Ivy Audio Piano In 162 -Windows & Mac 3.8 City Piano - Windows & Mac. Free VST downloads: plugins by Versilian Studios. Audio software for Windows and Mac OS X.... Upright piano. Win32 Win64 OSX VST AU Developed by. Versilian Studios.

VS Upright 1 - Freeware Upright Piano VSTi Plugin Released By.

Full Version or Demo Download Links for VS Upright No. 1 Download VS Upright No. 1 for Windows from Download VS Upright No. 1 for macOS from Downloads, Banks, Patches, Presets, etc. Upload & Share There are 0 uploads so far! Comments & Discussion for Versilian Studios VS Upright No. 1 Discussion: Active.

12+ Best Free Piano VST Plugins (2021) - Bass Drop Factory.

DEMO VIDEO (courtesy of VST4FREE) PRODUCT INFO Designed as a light-weight sketching piano, the VS Upright No. 1 is a clean sampling of an upright piano, the standard of homes, small clubs and studios around the world. With a broad dynamic range and a bright, clear tone, the upright can still display a soft side when needed. Download free Club VST,VSTi,AU,RTAS music software plugins & Instruments... Versilian Studios - Upright Piano.... the VS Upright No. 1 is a clean sampling of an.

PLUGINS 4 FREE - Free Audio Plug-ins Archives: Versilian Studios.

Apr 10, 2014 · VS Upright 1 is available for free download via Versilian Studios (35.8 MB download size, RAR archive, 32-bit & 64-bit VSTi/AUi plugin format for Windows & Mac). The instrument is described as a lightweight piano plugin for sketching, however I really think it’s much more than just a sketch instrument. 30. Versilian Upright Piano Versilian Upright Piano VST. Versilian Upright Piano is a lightweight sketching piano offering a broad dynamic range of bright and clear-tone piano sounds. VS Upright No. 1 is one of the most popular piano plugins online. Download: Plugin | OS: Windows / Mac / SFZ.

Versilian Studios Timpani KONTAKT-BYS | Free eBooks Download.

More Info/Download: Keyzone Classic. 4.Versilian Upright Piano. Versilian Upright Piano is sampled from a Yamaha Upright Piano with a pair of wide and close microphone. The tone is very clean, precise and has a great sound quality. It has a full decay of up to 30 seconds which is really cool. The UI isn’t very modern but don’t let that fool. Nov 29, 2019 · Keyzone Classic by Bitsonic. Some freeware plug-ins are more robust than others, and Keyzone Classic is one of the more advanced free piano VST plugin on the market. It offers presets that emulate various acoustic pianos like Steinway, Yamaha, Rhodes, and more. The control set allows you to set each stage of the ADSR curve, as well as adding in. Click here for a FREE download. 2. Versilian Upright No. 1 Versilian is a virtual instrument development company who develop a wide range of orchestral, acoustic virtual instrument plugins. This free piano VST plugin was sampled from a Yamaha upright piano at Berklee College of Music.

The absolute Best Free Piano VST Plugins (Updated 2022.

Piano One - Piano Vst Plugin. Price: Free. Piano One, the free hybrid modeling Yamaha Concert Grand. The Sound of Piano One comes from the Yamaha C7 concert grand, a true workhorse in the professional piano world, appearing on famous concert stages, in international competitions and in prestigious music events throughout the world. Versilian Upright No. 1 ★★★★☆ Versilian is a virtual instrument development company who develop a wide range of orchestral, acoustic virtual instrument plugins. This free piano VST plugin was sampled from a Yamaha upright piano at Berklee College of Music. Given it was recorded in a “lonely basement dorm room” the sound is clean, precise and very good quality. The VS Upright No.

Free Piano VST Plugins: 20 of the Best In 2021! - Acoustic.

FREEWARE VERSILIAN STUDIOS - CHAMBER ORCHESTRA 2 VSCO 2 is a unique orchestral library full of versatile, eclectic instruments. More Info & Credits PROFESSIONAL EDITION GO EDITION STANDARD EDITION $229 $249 $99 ARTIST SERIES Developed with musicians around the globe, the artist series shares unique visions and innovative techniques.

Piano / Strings | FREE VST PLUGINS.

VS Upright No. 1 by Versilian Studios is a Virtual Instrument Audio Plugin for macOS and Windows. It functions as a VST Plugin and an Audio Units Plugin. Product Version 1.00 System Requirements Product Version 1.00 System Requirements Tags: Piano Upright Piano Versilian Studios VS Upright No 1 Instrument Formats Copy Protection None.

Versilian Studios.

Jan 27, 2022 · Versilian Upright no.1. This software has come from Versilian Studios and is offered as a sketching piano. It works well for quick jams, notations, and recordings. The software is created to be playable and is similar to an upright piano which is getting harder to find. With this software, you get everything that you would get with an upright. Best Free Piano VST Plugins.... I believe that Versilian Upright is a great choice for a free option and it should definitely be on your radar of plugins to try. It's a simple download and there's a great chance you enjoy it.... Jazz Baby is a sampled upright piano that gives you a vibe of a jazz piano bar. It sounds especially good when.

Download Free Upright piano plugin: VS Upright 1 by Versilian.

Download Versilian Studios Chamber Orchestra (Orchestral)Windows/VST (32/64) - Mac/AudioUnit. “The Versilian Studios Chamber Orchestra is our attempt to help others who decide to teach themselves how to compose gain responsive, realistic tools. Featuring a small selection of standard orchestral and wind ensemble instruments sampled at the.

Products.

The Versilian Upright Piano isn't made to sound like a concert grand. It's a clean, bright upright, sampled in tritones, that is, every third key. Versilian calls it a "sketching" piano, but don't sell this plugin short. It's a great sound that may provide your piano part with the bite it needs to cut through a mix. Versilian Upright No. 1 is billed as a lightweight sketching plugin, but definitely sells itself short. It’s an excellent representation of a classic upright piano. This upright piano VST was sampled using wide and close mics. Like Keyzone Classic, Versilian Upright offers ADSR controls as well as built in reverb and panning.

SampleScience - Room Piano | FREE VST PLUGINS.

I picked an easy set of parameters, just 20 minutes worth of material, and this test is what became VS Upright No. 1 Download We dont host any software files here. The download button will take you to the Versilian Studios website where you can download the software direct. Download Upright Piano From Versilian Studios Website !.

The 12 Best Free Piano VSTs for Authentic Piano... - LANDR Blog.

With a broad dynamic range and a bright, clear tone, the upright can still display a soft side when needed. 3 velocity layers, 2x RR, sampled in tritones to reduce size. Full decays of up to 30 seconds recorded. Recorded stereo from up close and personal for most realism. Downloads Win 32 VST (83 Mb) V 1.0 Win 64 VST (85.5 Mb) V 1.0 Mac OSX AU. Feb 06, 2020 · Piano from Keyzone 1. Steinway Grand Piano. Basic Electric Piano. Yamaha Grand Piano. Rhodes Piano. (adinserter block=”5″) While it includes 5 presets, the Steinway and the Rhodes piano from it are best. Honestly, it sounds in an excellent way, you will actually find this one to sound pretty decent.

The 10 Best VST Piano Plugins for FL... - The Best Vst Plugins.

Download Versilian Studios Chamber Orchestra 2 Community Edition (VSCO 2 CE) Orchestral “ VSCO 2 Community Edition (CE) is an open-source, open-ended subset of the main VSCO 2 library designed for young composers, hobbyist sample library developers, and students around the world to create better sounding music for free and learn more about. Download Free eBook:Versilian Studios Timpani KONTAKT-BYS - Free epub, mobi, pdf ebooks download, ebook torrents download. Free Music Software by Versilian Studios. Versilian Studios LLC. is a small company devoted to creating unique, well-constructed, and affordable sample libraries for composers. Our product line is centred around orchestral instruments, but we sometimes branch out and include ethnic, rare, and just plain weird instruments.

[thetapelessworld]

FAW Update Circle to 2.2, Add NKS Support, Update Website and Release Soundpacks for Circle

FAW Update Circle to 2.2, Add NKS Support, Update Website and Release Soundpacks for Circle

FAW have Updated Circle to Version 2.2 Adding NKS Support. They Have also Updated there Website https://futureaudioworkshop.com/. And Released Patch Packs https://futureaudioworkshop.com/product-category/downloads/preset-packs/.

FAW Circle 2 Synthesis Made Easy

Everything in one window

                         Fast and streamlined workflow while sound designing

                         Forget messy submenus, multiple windows, and hidden controls

                         Create unique sounds with minimal effort

Modulation made simple

                         Free yourself from the clunky modulation matrix

                         Simply drag and drop color-coded circles

                         Quickly create dynamic sounds full of motion

                     VPS: a new kind of synthesis

                         Create harmonically rich tones that morph over time

                         Great for evolving leads, gritty basses, ethereal pads and contorted sounds

                         Only available in Circle²

                      Ready to perform with NKS

                         Works with Maschine & Komplete Kontrol

                         Meticulously mapped for every patch

                         Need a refill? All our patch packs are mapped too!

                     Tech Specs

Check out our full list of features, including all modules, NKS Support and more.

 Sound Sources            

  Sound Sources                            

                               4 x Analog oscillator

                               4 x Wavetable oscillator

                               4 x VPS oscillator

                               1 x Noise Source

                               1 x Feedback

                              Modifiers                            

                               1 x Mixer

                               2 x Mouth Filter

                               2 x Fuzz Distortion

                               2 x Overdrive

                               2 x Parametric EQ

                               2 x Crusher

                               1 x Analog Modeled Filter

                               1 x Dual Analog Modeled Filter

                               1 x VCA

                              Modulators                            

                               5 x Wavetable LFO

                               5 x ADSR Envelope

                               5 x Step Sequencer

                              Effects                            

                               3 x Analog Phaser

                               3 x Reverb

                               3 x Double Echo

                               3 x Ping Pong Echo

                               3 x Chorus

                               3 x Panner

                               3 x Analog Modeled Bucket Delay

                               3 x Analog Modeled Tube Distortion

                                                                                                                                                             -          Special Features                                                                                                            

                               Native Instruments NKS Support for Machine and Komplete Kontrol, with individually mapped presets for easy control of the most musically interesting parameters

                               Midi Note arpeggiator with swing and DAW timing sync

                               Randomize preset

                               32 Voice polyphony

                               Visual Midi learn with advanced range adjustment

                               110 wavetable oscillator shapes included with the ability to import your own wavetables using an app

                               Ships with 300+ presets with more banks available in our store

                               Drag and drop modulation system

                               OSC control on Mac OS

                               True analog modeled oscillators, filters and effects

                               16 wavetable LFO shapes

                               16 step sequencer, with note output functionality

                                                                                                                                                             -          System Requirements                                                                                                            

                               Available as VST, AU, and AAX

                               Compatible with Mac OS 10.9 and higher

                               Compatible with Windows 8 and higher

                               Tested in Pro Tools 11, 12 and 2018; Ableton Live 9 and 10; Logic Pro X; FL Studio 20; Propellerhead Reason 9 and 10; Studio One; Native Instruments Machine and Komplete Kontrol

                               We recommend running Circle² on a modern Intel multicore PC or Mac along with a professional sound card

                             circle² $129.00

Rent-to-own Circle² on Splice: $7.99/month for 16 Months

Learn More

https://futureaudioworkshop.com/product-category/downloads/preset-packs/

City Sounds: Atlanta $10.00

City Sounds: Las Vegas $10.00 

City Sounds: Miami $10.00

City Sounds: Los Angeles $10.00 

Overview

Get your Future Bass fix with these harmonically rich and expertly crafted patches inspired by the sounds of Los Angeles. Details

Boomboxes on bicycles, DJ’s spinning vinyl in backyard parties, thousands of cars stuck in traffic on the freeway pumping their favorite stations, 24 hour parties in abandoned warehouses…these are the sounds of Los Angeles.

Future Bass is an international, rapidly evolving genre that feels at home in this diverse, constantly changing city. These patches represent pushing boundaries and facing the future loudly, so feel free to adopt and transform them for any genre or project you see fit.

These patches can be useful for Acid House, Vaporwave, Trip hop, Breakcore, Digital hardcore, Hip-Hop, Neurohop, Trap, Pop bangers, Diva House, and more…

All of our patch packs are expertly designed by professional sound designers across the globe and NKS ready for Maschine and Komplete Kontrol. Each patch pack in the City Sounds series is our interpretation of a genre and an invitation to explore and transform.

Also Be sure to Check  Out There Blog

https://futureaudioworkshop.com/blog/

[k-young-audio]

Coding ADSR in Max MSP

As an audio programmer, a tool that often comes up in my practice is Max MSP. Max MSP is a visual based programming language designed for use specifically with audio applications. Max isn’t a text based language to be used in an IDE like C++, instead Max is it’s own application, and audio signal processing algorithms can be created, and then within exported into a applications as a standalone app, or can be exported into ableton. “Although MaxMSP is a little esoteric compared with mainstream music products, it is deeply entrenched in the digital media scene. This is mainly because of its flexibility: as an open–ended audio and media toolkit, artists, programmers and studio engineers have used it to construct all sorts of software systems, from audio plug–ins to art installations, and a fair proportion of laptop gigs worldwide will be at least partially Max–powered” (Rothwell, 2008)

Max is an interesting tool for new audio programmers because scripting and syntax errors aren’t an issue in de-bugging. Objects are pulled out of the Max library for us to use. As a programming language however, Max does have some drawbacks. “Sometimes, a task benefits from the particular strengths of 'real' languages: they can express algorithms succinctly (allowing direct iterative or recursive approaches), support complex data structures, can manipulate text, and are generally modular, allowing tasks to be broken up into separate parts in ways that a graphical paradigm doesn't easily support.” (Rothwell, Cycling '74 Max 8, 2019)

Making an ADSR envelope.

I want to use Max to create a simple ADSR plugin to be used in audio in Ableton. To do this I am researching into ADSR from a coding viewpoint. Looking at ADSR from a coding viewpoint seems relatively straightforward. Using my own experience in audio programming I know that ADSR is an amplitude envelope, and should contain 4 variables which are Attack, Decay, Sustain, and Release. So the program created should contain these four values.

Doing further research into deconstructing the workings in ADSR, I have found the following important keypoints for designing and building an ADSR.

·       “The generator gets out of the ATTACK, DECAY and RELEASEstage by itself: After a given time has passed, it calls enterStageto go to the next stage.

·       It stays in the OFF and SUSTAIN stages indefinitely, until enterStage is called from outside.

·       Therefore, ATTACK, DECAY and RELEASE are time values, but SUSTAIN is a level value.

·       It can enter the RELEASE stage coming from the ATTACK, DECAY or SUSTAIN stage.

·       When entering RELEASE, it should decay from the current leveldown to zero.” (Finke, 2015)

Researching this lead me to P5.JS. An online platform with an open source library for audio objects coded in JavaScript. Within P5.JS, there was this example code for an ADSR envelope.

https://p5js.org/reference/#/p5.Envelope

As stated above, Max is a visual language, so the work of writing the text is already done in the Max library, meaning that there is no risk of typing syntax error. Cycling 74 have provided documentation of the inner workings of the ADSR object, and the parameters included.

(Cycling74)

Exploring ASRD, particularly from a coding standpoint has been useful in my professional practice as an audio programmer. When programming, it is important to understand the fundamentals behind the theory of what you’re trying to code to turn it into a practical and executable program.

Below I have linked a video I have made, putting my research into ADSR in coding into practice. I will follow this us with an updated video where I create another version of the code in Max.

References

Finke, M. (2015). Audio Plugins 011 Envelopes. Retrieved from Martin Finke: http://www.martin-finke.de/blog/articles/audio-plugins-011-envelopes/

Rothwell, N. (2008, 8). Cycling 74 Max 5. Retrieved 2020, from Sound on Sound: https://www.soundonsound.com/reviews/cycling-74-max-5

[arthurbooth-blog]

Final Scene of Ricochet - Kontakt 5 Session.

18/04/2019

This blog post discusses two separate videos which each contain different versions of music accompanying the final scene of Ricochet. As a result this blog post is split into two parts. The music discussed in Part 1 can be found in the video attached to this blog entry. The music discussed in Part 2 can be found in the video posted after this entry.

Part 1

After watching Ricochet with new improvements and adjustments to the soundtrack, the project seemed to be coming together well, but the final scene stood out as the music in the conclusion required changes. In a 1-2-1 tutorial my course leader recommended trying to use the soundtrack to create dramatic qualities which emphasised the storyline, which helped with the decision to replace the final scene music with something more dynamic, making use of cinematic techniques to create an ending with additional impact. I booked a production studio in the dBs centre with the aim of creating the new approach in Native Instruments Kontakt 5.

My initial idea was to create a leitmotif for each character by assigning each actor with their own instruments and rhythm. The instrument part would switch, depending on which player was on screen taking their shot. The following quote supports this concept, “in filmic contexts the introduction of musical leitmotifs is highly conventionalized. Usually this introduction involves the simultaneous presentation of the character and his or her leitmotif” (London quoted in Green, 2010, p.86). Within Kontakt 5, I used ‘Albion ONE’ to create a brass section leitmotif for Pool Player 1, and ‘Session Horns’ with differing saxophone parts for Pool Player 2. The idea was that contrast between the instrument parts would add to the competitive atmosphere in the short film and build drama by highlighting the distinction between each player and the fact they are on opposite sides, both trying to win. Screenshots of the Kontakt 5 patches for both leitmotifs are below, displaying settings used and articulation applications:

Kontakt 5 - Albion ONE - Pool Player 1 Leitmotif

Kontakt 5 - Session Horns - Pool Player 2 Leitmotif

The use of different instrument articulations helped to make the music sound more natural and less like a digital creation. In this humanisation process, sounds like brass parts and horns can be developed to feel more realistic, as if the instrument is played by a human and not electronically synthesised. The ADSR tutorial states, there are methods of “using articulations in Kontakt to maybe bring a little more realism or some new creative choices to some of your parts” (Articulations in Kontakt, 2016). The first screenshot above shows three instances of  Brass Legato instruments that apply different articulation settings. These articulations were modified every time it was Pool Player 1’s turn. I was able to create combinations of samples with different articulations, as described in the Albion One User Manual, “Albion ONE features our infamous “legato articulations”, which combine adjoining samples to give ultimate musicality” (Albion ONE Manual). These articulation settings can be seen in the bottom left of each patch in the screenshot, represented as musical notes. In the bottom left of the second screenshot above you can see a Latin articulation was applied. By following the same technique and changing the phrase each time the leitmotif came in, I could keep the consistency of instruments but make parts evolve to retain listeners’ interest.

Next, I created a drum loop consisting of a kick drum, hi-hat cymbal, and a woodblock to accompany the leitmotifs. By changing the relevant parameters for microphone placement, reverb, tuning, attack, hold, decay, and setting the mix of the kit to be acoustic rather than electronic - matching the humanisation qualities discussed above - I crafted a minimalistic drum beat to support the melodic elements. I arranged the drum beat so that while Pool Player 1 was on screen or engaged in his turn, only the hi-hat cymbals were present. When the visual content switched to Pool Player 2 the full drum part was present, adding to the leitmotif for each character while keeping a consistent beat. A screenshot depicting the Kontakt 5 drum patch is below:

Kontakt 5 - Drum Patch - Leitmotif Accompaniment

I also applied carefully placed octave doubling in an attempt to bring emphasis to dramatic on-screen moments such as players scoring, “historically, octave doubling is one of the ubiquitous archetypes of orchestral music, its function not only to amplify or clarify the relationship between various elements, but also used as a dramatic tutti effect” (The Idiomatic Orchestra). This technique involved placing notes which play simultaneously in three separate octaves to increase the impact of on-screen action. Finally, I altered the new parts’ dynamics with volume automation. With a more dynamic score, techniques like octave doubling were more powerful because of the increased dynamic range.

At the next production showcase for the module I presented the updated version of Ricochet with the newly developed final scene music (discussed above) to the class and the feedback was mostly positive, but there was some concern from my course leader and fellow students that the ending was not appropriate, and the atmosphere I had created was too different from the rest of the soundtrack, resulting in an inconsistent film score. I was advised to change this ending and pursue an extended version of the Hip-hop music section that occurs in the middle of Ricochet (1:27).

Part 2

On consideration, this seemed good advice as I too was unsure of the new part I had created in Kontakt 5 and after showing the project to other students and asking them some questions, I found that the concept of the leitmotif did not come across clearly enough. Leitmotifs are most powerful when used in long feature films rather than short films, and with the short duration of the film there was not enough time to build up a strong enough leitmotif that the audience would automatically associate a certain character with a specific sound or instrument part. As a result, I changed direction by building a more developed version of the Hip-hop element.

When developing the Hip-hop soundtrack, I added a variety of new elements. The most important of these included the creation of a new sub-bass and synthesiser part using Native Instruments Massive, and implementing the Shepard Tone - a psychoacoustic technique thoroughly explained in the presentation video attached to my proposal for this project (starting at 0:19 in the video following this post). Another important addition was the technique of chopping and reversing an atmospheric pad sample before finding and slightly boosting a resonant frequency with an increase of gain on a bell filter in Izotope Ozone 7 Equaliser that made the pad stand out and sit on top of the mix (heard at 0:00 in the video following this post). I then used Ableton Live’s ‘Redux’ stock plug-in, a bitcrushing effect, to add some character to the sound before processing it with ‘Ping Pong Delay’ followed by two versions of ‘Auto Filter’ which contained frequency automation moving across the frequency spectrum at differing times. This helped give the sound a morphing effect and add some interesting characteristics (occurring at 0:11 in the video following this post). By using sidechain compression on this track and other elements I was able to make the sound duck in volume whenever the kick or snare drum occurred, which both created greater movement in the track and made the kick and snare drum cut through the mix more prominently. The screenshot below documents this process:

Ableton Live - Auto Filter Automation

The newly developed Hip-hop piece seemed more appropriate for the visual material than the Kontakt 5 soundtrack discussed above in Part 1. Next, I received a final video edit from Dominika Zieba who as requested had swapped around the last two shots, resulting in a better conclusion for Ricochet. This, coupled with the new soundtrack ending seemed to have good potential, but before I put the pieces together I needed to add a title screen and credits. The version Dominika had sent started with a screen that read “Media Offline” and displayed a warning message. I used iMovie to swap this with a title screen and create transitions between the title screen, film, and credits.

Then into Logic Pro X, I replaced the video with the final version, and swapped the old Kontakt 5 final scene soundtrack with the new Hip-hop one. As there was content added at the start and end of the video, the soundtrack needed synchronising again. I then began to process all sound effects and pool location sound recordings by sending everything to ‘Bus 2’ which held compression, and ‘Bus 3’ which held reverb, in varying amounts using similar parameters to those used in Aperol Spritz (blog entry from 03/04/2019). However, this time I made use of a different reverb plugin, as I felt the “Chambers” space in the Reflektor reverb in Guitar Rig 5 was more appropriate for replicating the dimensions of the room. I sent the tracks to the reverb bus in differing amounts depending on the camera proximity and its position in relation to the sound on screen. A screenshot of the Guitar Rig 5 Reflektor Reverb patch is below, followed by a screenshot documenting the bus track technique:  

Guitar Rig 5 Reflektor Reverb

Sending tracks in differing amounts to auxiliary tracks holding compression and reverb

Pitch shifting was not needed much in Ricochet, in comparison to Aperol Spritz where sound effects needed to be more and powerful and have more weight, as I wanted to retain the original qualities of the location sound recordings and maintain soundtrack believability

Finally, I created another version of the Ricochet’s title screen introduction music and changed it into a piece that could be used in the end credits. This process worked well, a significant technique used being impact sounds to signify the ending. As well as reversed impact sound effects, “UK broadcasters in recent years have developed a softer style, then drawn on dance and other forms of popular music and finally employed sound effects in the production of channel idents” (Brownrigg, Meech, 2002, p.345). The effect in this case was to add a slightly mysterious or menacing end to the piece, which seems to work quite well.

References

Articulations in Kontakt (2016) YouTube video, added by ADSR Music Production Tutorials [Online]. Available at: https://youtu.be/DP-kJikp1_M (Accessed 28 March 2019).

ALBION ONE Tenth Anniversary Edition User Manual (n.d.) 10th ed. [eBook]. Spitfire Audio, p.3. Available at: http://spitfire-www-assets.s3.amazonaws.com/manuals/AlbionONE_UserManual.pdf (Accessed 28 March 2019).

Brownrigg, M. and Meech, P. (2002) From fanfare to funfair: the changing sound world of UK television idents, Popular Music, vol. 21, (03), p.345 [Online]. Available at: https://www.jstor.org/stable/853723?seq=1#page_scan_tab_contents (Accessed 10 April 2019).

Green, J. (2010) Understanding the Score: Film Music Communicating to and Influencing the Audience, The Journal of Aesthetic Education, vol. 44, (4), pp.81-94 [Online]. Available at: https://www.jstor.org/stable/10.5406/jaesteduc.44.4.0081?seq=1#page_scan_tab_contents (Accessed 27 March 2019).

The Idiomatic Orchestra (n.d.) Octaves - The Idiomatic Orchestra [Online]. Available at: http://theidiomaticorchestra.net/octaves/ (Accessed 3 April 2019).

Bibliography

Film Scoring: What The Pros Know | Getting Started (2019) YouTube video, added by Rick Beato [Online]. Available at: https://www.youtube.com/watch?v=7J8KrZjs6uk (Accessed 3 April 2019).

Hewitt, M. (2008) Music Theory for Computer Musicians 1st ed. [eBook]. Cengage Learning. Available at: https://www.academia.edu/33772841/Music_Theory_for_Computer_Musicians (Accessed 3 April 2019).

How to Imitate a Whole Lot of Hollywood Film Music In Four Easy Steps (2015) YouTube video, added by Scott Murphy [Online]. Available at: https://www.youtube.com/watch?v=YSKAt3pmYBs (Accessed 3 April 2019).

MusicRadar (n.d.) The quick guide to creating a soundtrack [Online]. Available at: https://www.musicradar.com/tuition/tech/the-quick-guide-to-creating-a-soundtrack-156113 (Accessed 3 April 2019).

[scratch-machia]

ソフトシンセ作成の参考資料

あとで過去書いたものとまとめたい。

基本的には以下の要素に該当するものを作るときの資料をまとめてます。VSTとかは作ってねえ。

デモシーンでの使用を想定したシンセ

EXEのサイズはすごく小さいのを想定

まったくもって対象範囲が狭いな！ｗ

1/26追記 他のシンセも作ってみたいので、もうちょっと範囲広げる。 ただデモシーンで使えるようなシンセも視野に入れる。

ソフトシンセの作成テンプレート（と思ってる） http://kioku.sys-k.net/tips/lec4.html 音が出たときは感動した！マジで。 ただここもちと古い情報で、今のVisualStudioが結構いろんなコードを追加してきやがってるのもあって、自分用に情報まとめたシンセのテンプレート作りたくなった、というのが開発動機のひとつ。 あとでこっちでもテンプレートをアップしたいな。

そもそも小さいサイズのExeどうやって作るの http://wordpress.notargs.com/blog/blog/2015/02/28/%E3%83%A1%E3%82%AC%E3%83%87%E3%83%A2visualstudio2013%E3%81%A74kb%E3%81%AEexe%E3%82%92%E4%BD%9C%E3%82%8B/ VS使わないのもあって、この記事は大変参考になりました。 たまに謎の原因でコンパイル失敗するのでここを参考にしてダーッとプロジェクトファイル作ってます。

エンベロープとかも入ってます http://gyabo.sakura.ne.jp/progsnd.html 比較的作曲すんのに必要そうな要素が入ってるので、ここのページ見るとすぐ曲を作れると思うんですが。 ステレオ対応してるし。

フィルターについて http://www.musicdsp.org/files/Audio-EQ-Cookbook.txt 有名なところね。 http://www.g200kg.com/jp/docs/makingvst/04.html 上のテキストの和訳されてるとこ。 http://aikelab.net/filter/ Web上でフィルターの実装みれるとこ。 アルゴリズム重視で作るのであればここ参考にして改造すればすぐ実装できる。 ただ、実行サイズ小さくする場合アルゴリズムの改造（簡略化等）が必要なので気をつけること。 情報元：http://d.hatena.ne.jp/aike/20110118

__security__cookieのチェック回避 http://d.hatena.ne.jp/yellow_73/20070905 本当だったら埋め込んでおくほうがいいんだけど、軽いサイズだと見事エラー吐くから外すんだよ・・・ 解決策の元リンク： http://blogs.msdn.com/nikolad/archive/2005/01/27/unresolved-external-security-cookie-with-platform-sdk-compiler.aspx

アセンブラの資料 http://softwaretechnique.jp/OS_Development/Tips/X87.html FPU使うと一部の算術関数は簡略化できるので、使ったほうがいい。

サウンドプログラミング入門 音響合成の基本とC言語による実装 http://floor13.sakura.ne.jp/book06/book06.html 書籍。まだ入手可能。 シンセサイザ実装するためのとっかかりとしてはアリかと。

C言語ではじめる音のプログラミング http://floor13.sakura.ne.jp/book03/book03.html 上記書籍と同じ作者の本。 もうちょっと理論よりな印象。とは言うものの実装例も存在するので、参考資料に見るのはアリ。 ちなみにもう8刷まで出てるみたい。（まだAmazonで購入可能

サウンドエフェクトのプログラミング Cによる音の加工と音源合成 http://shop.ohmsha.co.jp/shopdetail/000000001934/ 書籍。 自分みたいに理工学でもなく音響も学んでないようなヤツにピッタリな本。 実装部分に関する記述が比較的詳しく書かれてる印象。 （実際今作成中のシンセのエフェクト実装するのに参考にしてます）

4klang http://4klang.untergrund.net/ まぁこのシンセすげえ完成度高いからこれ使う人多くてソフトシンセ作る理由はなくなるかもだけど。 ただうちの環境だとGUIが不完全にしか表示されなくて実質使えねえんだよ・・・orz 1/26追記：別のDAWつかったらGUI完全に表示できた。 シーケンス打ち込みと音色作り込みは別DAWでやったほうがいいかな。

V2 synthesizer https://github.com/farbrausch/fr_public/tree/master/v2 いまさら気づいたけどこれもモジュラーシンセだったんね・・・ これもFPU使ってるみたい。

tunefish synthesizer https://www.tunefish-synth.com/ Brain Controlの人が開発してるシンセサイザー。ソースも見れる。 どちらかというと64kで使うことを想定してるみたいで、比較的可読性の高いソースコードになってる印象。（フルアセンブラとかではないという意味）

Sonant http://www.pouet.net/prod.php?which=53615 トラッカータイプのシンセ。ってか既にGUIレベルのツールあるじゃんこれ。 データの詰め込み方とかデータの作り方を参考にするのがいいかもしれない。

ピストンコラージュ http://pxtone.org/developer/ これにはびっくりしたけど、ピスコラの再生部分のソースが公開されてる。 これを見て現状の知識でもなんとかシンセ作れそうだと思ったのが開発のきっかけのひとつ。 コールバック関数絡みは泥沼だから避けたいのだがどうすべきか・・・（無理か

musicdspのソースコード置いてあるところ http://www.musicdsp.org/showmany.php 確かこれ管理してるのu-heの中の人な気がした。

ZynAddSubFX http://zynaddsubfx.sourceforge.net/ コア部分のソースコードが公開されてるのでありがたく読む。 VSTが販売されてるけど、これ買ってもいいな。

Software Synthesis:Making Music With a Computer http://basicsynth.com/ 結構有名どころでは。 ちょっと基本的な部分から作る際は参考にするといいかも。

PySynth https://mdoege.github.io/PySynth/ Pythonで作ってるシンセですって。 自分はPythonも書いたりするので参考になるやも。

ADSRエンベロープ実装の参考 http://hackmeopen.com/2011/12/synth-diy-software-for-generating-adsr-envelopes/ こういうのがあるとありがたい。 自分もそこそこノウハウがたまってきてるのでどっかにまとめようかしら。

JUCE https://www.juce.com/ かなーり有名なライブラリ。 一度使ってみたときはその厳格さにウッてなったのは事実だけど、逆に専用ツールだけで作れるので、環境に左右されるような作りにしてないのは凄いなって思う。

Biquadフィルタのソース http://www.earlevel.com/main/2012/11/26/biquad-c-source-code/ こういうの参考になる。

GLSL作曲入門 http://qiita.com/notargs/items/be2fa153e62e3554a773 ソースコードなし（断片的にあり） 数年前からデモシーンでGPU使って波形書き込むアプローチが出てきた（Shadertoyにも実装されてるよね）ことへの対応、かな。 デモシーンで曲作るときのアプローチとしては、文字列処理で済ませられるのでアリと思ってる。 普通のシンセに組み込むのは、CPUからのオフロードで役立つかもしれない。が、GPU処理がCPUに依存しないような作りなので、正直そこの兼ね合い どうすんべ、というのがパッと思いつかない。 ただ、GPU処理試す目的でシンセ作りたい、というのもある。

synister http://the-synister.github.io/ ソースコードあり。 ちとザラついた音だけど、基本的な機能は揃ってる。 実装にはJUCEつかってるので、JUCEの使用例として見るのもいいかも。

Spiral Synth2 http://www.pawfal.org/SpiralSynth/ ソースコードあり。 アナログシンセのプロジェクト。もうサポートしてないみたい。 同じサイトのモジュラーシンセも参考になるやも。 なんか面白そうなプロジェクトに取り掛かってるみたいでちょっと興味ある

OXE FM Synth http://www.oxesoft.com/ ソースコードあり。 なんかFM8っぽいスキンが出てるぞｗｗｗ

YOSHIMI Synthesizer http://yoshimi.sourceforge.net/ ソースコードあり。 ZynAddSubFX からのフォークなのか。

リンク集 http://d.hatena.ne.jp/miurror/20071109/1194556941

The Synthesis ToolKit in C++ (STK) https://ccrma.stanford.edu/software/stk/ ソースコードあり（クラスにまとまってる） 結構な有名どころ。BLITのソースコードみたけど、かなりスッキリ書かれてるのね。

SiON https://github.com/keim/SiON ActionScript3のソースコードあり。 これもすっげー有名どころ。 改めてソース読んでみると発見あるかもな、と。

C++でVST作り https://www39.atwiki.jp/vst_prog/pages/43.html ソースコードあり。 改めてVSTのソースコード見てみると発見があるやも。特に再生まわり。 （今回の自分の実装だと一度WAVに吐き出して再生させてるので、リアルタイム書き込み周りとか気になるのです）

Helm Free http://tytel.org/helm/ これもJUCEつかってるシンセだね。

DirectSound によるドラム マシンの作成 https://msdn.microsoft.com/ja-jp/library/ms973091.aspx サンプルプログラムあり。 ストリーム周りの資料。

ARDOUR https://ardour.org/ ソースコードあり。 そういえばMacBook買った時これも色々調べてたんだった（忘れてた

TiMidity++ http://timidity.sourceforge.net/index.html.ja ソースコードが公開されてる。 実はあまりつかったことがなかったの・・・（MIDIデータが楽譜扱いだってこと知らずにDTMやってた時期もあったんよorz

Dexed https://github.com/asb2m10/dexed ソースコードあり。 結構ごついFMシンセ。DX7の代替を目指しているみたいね。 ってか結構前から知ってたけどデモ用のシンセ作る時FM音源は想定してなかったので除外してた。 いまは色々実装したいので対象にした、というわけ。

mda piano等 http://sourceforge.net/projects/mda-vst/ ソースコードあり。 意外と知られてないけど、mdaの名前がついたVSTは軒並みオープンソース化されてるんよ。 （その後FLStudioでそれ流用されて別のシンセができあがったりな！ｗ）

[vDSP][信号処理]オーディオ・音声分析への道4 矩形波 ノコギリ波 http://qiita.com/programanx1/items/212453f55e01b44e303f オシレータ処理を参考にしました。 （実装はかなり計算を単純化してます）

[adsrvancouver]

In case you missed it.. the invigorating new album from Cologne producer- Motip White.   

[ludomusoetme]

Through the Corridors of Time

Blog for Introduction to digital music final.

Hello again and welcome to my process diary for creating yet another composition for digital music.

For this task I decided to take a section of music from a popular game and create a piece of music that expands upon the original. My artistic vision was to create an electro-acoustic fantasia on a theme that would carry across the feelings and impressions that a player would experience when they play through the scene or level in the game itself. I wanted the music to transcend the simple musical material provided and instead convey environmental, contextual, emotional and narrative connotations.

I wanted to ensure the theme I selected came from a source that used basic midi tracks in its design. This would allow interesting flexibility in  instrumental choices as well as provide a rich dichotomy between the source material and my own work. I also wanted to ensure that whilst my piece remains faithful to the core concepts of the theme, it would not just be an arrangement of the original with new instruments. I wanted to synthesise new parts, combine themes and motifs from other areas of a game that related to each other, and overall create something experiential that builds upon the original and is not a derivative of it.

I was originally tossing up between some of the older Zelda games, but decided to forgo that series as I was far too familiar with the music of that series and was originally inspired to this concept by the artist “Theophany” who creates exceptional recreations and adaptations of the music from “Majora’s Mask”. I saw Theophany’s work as a guidepost for the general kind of piece I was aiming for, one that can take very basic themes and expand upon them in interesting ways.

Eventually I settled upon the game “Chrono Trigger” (1995). “Chrono Trigger” is a game that involves many different characters traversing portals through time to try and prevent the end of the world through an apocalypse. This force was known as Lavos, and is referred to in the game before it is revealed as “The Black Wind”. The game features many unique characters that have interwoven stories and themes that are perfect for me to play with and draw inspiration from. The game fit my criteria of beautiful sound design and great use of themes that resurface throughout in a traditional leitmotif style, yet also worked with extremely simple midi sounds to create the audio palette. My favourite song from the game is a piece of music called “Corridors of Time”, which is the music for the level in the game called “12.000 B.C.”.

In this level, the players’ party of characters have escaped from certain death through a portal in time into the frozen past. Upon arrival the characters find themselves on a barren stretch of land with no one in sight and only icy tundra to greet them. After travelling for a short time however, the party stumbles upon a temple that teleports the group to a set of floating islands in the sky that are lush and highly advanced through the use of magi-tech. This is where the music begins and is the setting of Corridors of time, a location and song that has always amazed me with its depiction of a fantastical world and a very memorable soundtrack.

Corridors of time features heavy use of an ostinato that repeats throughout the entire track. The musical material is quite simple and can be broken down into just a few fragments: 1. Piano Ostinato, 2. Sitar melody. 3. Bass, 4. Percussion, 5 choral “Aahs”. These instruments all fit together in a very simple AB structure that is repeated Ad Nauseam for the entire duration of the level. Thankfully the ostinato is catchy and the melody compelling enough that I can (and have) listened to versions of this song for honestly hundreds of hours over my life. 

The difficult part when working with this material was how to seperate it from its original. Ostinato’s by their nature do NOT like to be interfered with, and the frankly minuscule amount of musical information makes it particular hard to work in variations. There isn’t even a variation of a theme in this piece, just a simple theme stated as the A section, and then a choral chordal-movement B section before repeating. 

In order to capture the contextual and environmental aspects of the level, I decided I needed to begin in the frozen lands below and ascend to the islands above. As such I begin with a sample of a blizzard being played. I used extensive panning in this section to make the wind feel like it is howling around the player as they trudge through the snow. Before the we hear any hint of the Corridors theme, I wanted to pay homage to the main theme of the game itself, what I will call the “Chrono Theme”.

To evoke the sensation of traveling through these frozen mountains I recorded myself playing the Chrono Theme on the trumpet and mixed it using space designer with a very large room size and a lengthy tail. I also made sure that the sound was wetter than it was dry so it felt like it was coming from a long way away and echoing across the mountains.

So far we have provided environmental information (blizzard), context regarding the source material (Chrono theme), and are ready to introduce the listener to the contextual information regarding what we should be experiencing. For this I added footsteps trudging through snow. To simulate the experience of walking into the temple I made use of automation on the reverb for both the blizzard and the footsteps. I cross-faded the dry sound of the blizzard into the wet sound of a cave-style space, along with dramatically reducing the dry sound so it reduces in intensity. Concurrently I had the footsteps move from a relatively short reverb space outside (347 ms) to a longer (2.96s), wetter and larger cave-style reverb space that I used with the blizzard as well. This gives the feeling of leaving the blizzard behind as you head indoors.

This then leads into the teleportation sound to take us above to the floating islands and the introduction of the Corridors theme.

Initially I just used a combination of Alchemy’s “Laser Canon” in a few different configurations to try and simulate the purely high pitched sound effect used in the original game. After feedback however I combined this with some “Aftershock Rumble” to get the ascending rise but also a low rumble to make it feel intense. I also used a reversed cymbal crash to build toward the crest so we can feel a sense of resolution as the music begins.

The introduction to the Corridors theme begins with a descending strum on a vintage organ and, the primary solo instrument, a Chinese Ruan Moon Guitar. I wanted to create a spacey and ethereal feel and used a stereo delay so that the fragment echoes throughout the space. This descending strum is almost a repeating touchpoint for the piece as it heralds shifts between sections. For the ostinato I initially wanted to retain the simplicity of the original, however trying to create a standalone piece of music is very different to a backing track for a game and requires interest, flexibility and tension and release. As such, I set up multiple iterations to provide variation throughout the piece. In order to provide a pulsing interest the ostinato is always paired between two versions of the same instrument. These different lines are constantly shifting their panning in alternating directions so they cross over each other. To ensure that there was still a clearly distinct main instrument, one is significantly louder than the other. Further to this, the softer track is a single semi-quaver behind the main part of the ostinato which evokes an echoing sense of stereo delay. The initial introduction of the ostinato is the “main version” of it, and makes use of LABS “Soft Piano”. I particularly liked the sample as it was gentle and with some reverb has this spacious tone that I felt fit the mood I was aiming for. It also has the barest hints of the actual keys being pressed which gives a rhythmic counterpoint to the melodic information. Initially I went pretty hard on the ostinato by combining a few instruments together so it was packed full of interesting sounds! However this gave the piece very little room to grow and as such I stripped it down to just the piano by itself and saved some of the other instruments for later iterations.

In order to give the Ruan guitar more gravitas when it comes in with the melody line, I wanted an instrument with a similar yet more gentle tone to introduce a variant on the Corridors main theme. I decided a Celtic Harp carried the same plucked string vibe but was subtler than the Ruan. The song is written in F#m and this variation gave me the ability to set up the overall vibe of the piece and hint at some of the melodic contours that are to come.

The percussion joins at this point and makes use of a high Timbale, as well as a Conga line. I also wanted to have an homage to the original choral “aahs” before I replaced them with something else, so we have a single introduction of the choral section at the beginning just as a callback for those familiar with the original song.

I use an upright jazz bass for the bass line and played with its ADSR so that it had a punchy attack and crisp release. Replacing the Choral sections are LABS string ensembles. I found the original choral movements to be taking up too much of the layer cake orchestration with their density, so I chopped up the line into short, sharp string stabs, juxtaposed with longer descending movements.

This brings us to our first statement of the Corridors theme, what I’ll call A1. I use the texture of A1 as a base point for building density in the piece and try to vary it around that touchpoint. This featured essentially all of the information of the original song but in a different format. We have the melody line on the Ruan Guitar, Piano Ostinato, moving bass, percussion and then short string stabs taking over for the choral “Aahs”.

The first iteration of the B section reduces the material to a sparser variation. The bass holds long notes as opposed to its plodding lines before. The percussion becomes just a Tamborine, and the ostinato is fragmented into an extended variation as well as moved to a muted plucked guitar-harmonic instrument.

In order to soften some of the shaper sounds like the tambourine, I applied a plate filter to mellow out some of the harsher frequencies, which also left room for the choral section to fit into a higher pitched dulcimer sound. None of the original instruments are carried across from A1 to B1, yet the overall tone feels similar due to instrumental choices. It feels like a relaxing rather than a massive change.

The A2 variant returns with our roving bass line and percussive elements yet reduces the high Timbale so that it feels sparser. I wanted this section to have a similar textural density to A1 yet feel like it is building towards something. To this end I changed the ostinato to a plucked guitar version that is far more sprightly than the piano. The Ruan guitar I also elevated by adding variations to the main theme as well as playing with its articulation so we had some tremolo notes.

It is at this point we are introduced to the saxophone. It is difficult to find a “good” sax sample out there, but I was able to create something workable by using logic’s studio horns with some decent reverb through space designer and an almost invisible echo that gives it some added lift. You can barely hear it when the echo is on, yet it adds some much needed richness to the sound. 

The saxophone needed to be introduced now so it can become a focus in the upcoming bridge section without feeling like it came out of nowhere. In order to do this I slowly introduce it with fragments of the Chrono theme. The original Chrono theme is in G#m, so thankfully it is just a simple transposition to get it to mesh with the Corridors theme. The sax builds at the end of A2 towards our bridge section.

For the bridge section I wanted to really break away from the literal sense of this track and instead bring in narrative and emotional connections. The bridge section makes heavy use of themes scattered throughout the game and weave together in a dialogue between characters.

To understanding the bridge, we really need to take a step back and understanding some context for the game… So strap in for exposition time! In the middle of this level, the party encounters a small child named “Janus” who tells them that “The Black Wind howls… one among you will shortly perish”. This is both a premonition and a callback to a previous encounter earlier in the game, for little does the player know that the small boy Janus they meet is in fact the younger version of Magus, a foe whom they have spent much time struggling against. For the first half of the game, the nemesis of the party is this “Magus” character. The journey to fight and best him takes up a solid 50% of the game and he is foreshadowed as the BBEG (Big Bad Evil Guy) for much of the establishing segment of the game. When the player finally enters combat with him, before the fight starts he states “Again, the bitter Black Wind begins to howl”. 

Magus’ main theme is the theme stated at the beginning of my bridge section. The original Magus Theme proved tricky to adapt and fit into my piece. The song is written in 3/4 with segments in E Phrygian that do not translate well with the F#m tonality. Thankfully the chorus section is in Am and after some extensive rewriting I managed to make it fit with a 4/4 backing time and not sound out of place. This introduction of Magus’ theme functions as a representation of meeting Janus halfway through the level, whilst also foreshadowing the reveal that he is in fact Magus’ younger self.

The second iteration of the bridge features “Frog’s Theme”, which is stated by the trumpet. Frog is Magus’ arch nemesis who joins the party to try and bring Magus’ to justice for his crimes. Frog’s brother was slain by Magus, who proceeded to turn him into an anthropomorphic frog just to provide even more cause for vengeance against Magus. Frog’s theme is written in G#m and 6/8 time signature. With a quick transposition and some rewrites I managed to get it also situated to work in the 4/4 timeframe. The fact that both Frog’s and Magus’ themes both now sound with a triplet feel to them makes them feel related in a way.

Getting two melody lines to sound out without feeling like they were clashing took quite a lot of work. The initial statement of Magus’ theme on the sax was mixed in the centre and placed low to give other instruments room to move. When I added in Frog’s theme I placed it on the trumpet and transposed it quite high. The two different themes thankfully occupy different pitches in the scale for their opening phrases. Magus’ chorus theme begins on the dominant and moves around the tonic without actually settling there until the end of its movement. It also has a large degree of melodic motion. Frog’s theme on the other hand has an AB structure. The B section is also focused around the dominant and features large melodic movements, but thankfully the A section begins on the tonic and remains close to it. By combining the chorus of Magus’ theme with the A section of Frog’s theme the two parts occupy different melodic positions in the scale and therefore do not clash or interrupt each others themes. To further seperate the individual themes I ensured I mixed them so their frequencies were separated, as well as panned Frog’s theme in the trumpet to the right and Magus’ theme on the sax to the left. This becomes a metaphorical duel between Magus and Frog as they battle for supremacy. 

As the third iteration of the bridge begins, we have 4 doubled recorded trumpets that reinforce Magus’s theme on the left side, whilst a variant of the Chrono theme is stated in the centre, played on the harp. The harp also occupies the middle ground in regards to register (C#4) between the trumpet (F#4) and the sax (C#3). The trumpet sample I used is sufficiently sharper than the real trumpets and through some panning the real trumpets just act as a doubling to the sax playing Magus’ theme. I needed to ensure that adding a third melodic fragment wouldn’t muddy the already complex interwoven lines of Magus and Frog’s battles. I resolved this eventually through contrasting instrumental choice and using short and sharp plucked tones of the harp to cut straight through the bell tones of the horns so that it is still clearly audible despite the duelling themes in the background. This is symbolic of the main character, Chrono, who's eventual death forces Frog and Magus to work together as allies.

Finally we take our metaphorical battle and return it to the scene from which it came by introducing a variant of the Corridors theme on the Ruan Guitar with heavy use of tremolo so that its textural form would cut through the mix again without displacing the other sounds.

This required quite a bit of work as the tremolo on the Ruan only goes for 1 beat and nothing I could do would extend it further. What I eventually did was create a second Ruan line that would hocket between the original to extend tremolo notes for the longer duration I wanted. It took some time to make them mesh smoothly and not sound like 2 distinct instruments

This bridge section is the climax of the piece and took a lot of work to make it fit without clashing or sounding muddy, but I think each of the parts sings out its own phrases and when you understand the context between each of the melodic lines and how they joust it becomes not just interesting musically, but an emotional section that plays with the understanding of the greater narrative and the motifs utilised within.

After the battle that was just resolved we need pathway back to lower tension. For this B2 section we introduce our ostinato back with a bit of a pep in its step. The piano is joined with the plucked guitar quietly above it to add some lift to the quieter section. The trumpet accompanies the chordal line being played in strings and plucked on the harp.

Following this descent through the Corridors B section, I juxtapose a variant of the Chrono Theme on top of the ostinato backing of the Corridors theme. This variant morphs into a statement of the Corridors theme and functions as a recapitulation to the opening motif connecting back to the Corridors theme.

I wanted the end of the piece to mirror how the actual level finishes. The players find themselves stymied by a mysterious hooded prophet (Magus in disguise, who has travelled back in time), and are banished from the time zone. The next time they return, the main character is slain when encountering the evil power of Lavos (the Black Wind) for the first time. As such I wanted to include a combination quote from adult Magus/child Janus that heralds what is to come. 

As this happens I start to reduce the density of the orchestration, there is no epic battle the first time you leave 12,000 B.C., simply an anticlimactic dismissal. The ostinato begins to reduce and the repeating form is discarded. As we close to the final iteration the ostinato fragments even more, like it is running out of power. The final iteration of the Corridors theme features the Ruan guitar and harp playing together as they play a quieter version of the main theme that stutters out in the end. The very end of the song features the time portal sample from the original game signalling the player being forced to leave the time zone.

I feel like the artistic vision I set out to achieve is encapsulated in this piece. It guides the listener through an environmental setting that ties many disparate themes and ideas together and tells a story not just of the notes themselves, but of what each theme represents and how it connects within the greater scheme of the game and the motivic representations.

[jessicakmatt]

Rare Gear: Diving Into Deckard’s Dream With Magda

Rare Gear: Diving Into Deckard’s Dream With Magda: via LANDR Blog

Hardware synths produce an incredibly powerful sound that’s hard to ignore.

Who doesn’t love twisting a knob and hearing it change the sound with an analog electric signal, in real-time?

If there’s one synth that should be on your radar, it’s the Deckard’s Dream from Black Corporation.

Deckard’s Dream is inspired by the iconic Yamaha CS-80 synth that was used in tons of classic tracks and even the Blade Runner soundtrack.

It’s about as close to the original CS-80 as you can get without shelling out for a vintage synth.

We were lucky enough to get a demo of the synth from Berlin-based electronic producer Magda.

As you can see in Magda’s video it’s a powerful way to create fascinating sounds

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Here’s what we discovered about the Deckard’s Dream.

A portable CS-80?

The Yamaha CS-80 is a legendary synth for good reason. It’s a favorite of pioneering synthesists like Vangelis and Jean-Michel Jarre.

The synth is known for introducing some incredible sound design features that are still unique to this day.

Its ribbon pitch controller allowed musicians to create unprecedented glissando effects and haunting vibrato.

It was also the first synthesizer to include fully polyphonic aftertouch. This feature lets you control synth parameters like filter cutoff or VCA level by varying the pressure you apply to the keys as you hold them down.

Even with those unique abilities, the CS-80 is mostly prized for its incredible analog sound. It was by far the most powerful synth of its time when it debuted in 1977.



But all that power came at a huge cost. The CS-80 retailed for $6,900 USD in 1977—that’s nearly $30,000 in today’s money!

Vintage units are only climbing in price due to their age and rarity.

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On top of all that, the original CS-80 was physically enormous at 220 lbs and was notoriously difficult to keep in tune.

Synth fans have been searching for a way to get the legendary tone of the CS-80 without paying the price of a new car and devoting an entire room to accommodate it.

That’s where Deckard’s Dream comes in. DDRM gives you the authentic sound and expressiveness of the CS-80 with all the conveniences of a modern synth.

Let’s check it out.

Working with eight-voices

Deckard’s Dream is an eight-voice analog synth, meaning that it can play up to eight notes at once.

But these eight voices go through two separate signal paths with identical oscillators, filters, and amp envelopes that can be layered against each other.

The oscillators on each signal path come with square and sawtooth waveforms and impressive pulse width modulation that essentially works like an LFO on the waveform.

The filter section of each signal path comes with high pass and low pass filters with corresponding resonances. It also includes settings for ADR on the filter.

In the VCA section, you’ll find controls for ADSR of the overall signal, and the level of ADSR.

At the end of the synth signal, you’ll find the touch response which controls velocity sensitivity and polyphonic aftertouch.

The touch sensitivity controls allow for increased experimentation and are key for creating psychedelic Blade Runner-esque modulation.

“It has eight voices and two layers so you can really get deep with filters and modulations. It has a very beautiful sound about it–very analog.” – Magda

Layers of opportunity

Keep in mind that every part of the synth signal, from the oscillators to touch sensitivity is doubled.

That means you can create two completely different sounds, and then send the eight voices through both signal paths and blend between them.

This is the coolest part about creating sounds with the Deckard’s Dream.

The layering function allows you to mix between two completely different signal paths, essentially blending two separate synths into one sound.

 The Deckard’s Dream’s mixing capabilities create near-infinite possibilities to create unique sounds.

High performing

Where the Deckard’s Dream really starts to shine is in its performance section.

This is where you’ll find the mixer that layers between both signal paths, but you’ll also find global LFO, pitch, scale, touch response, and portamento parameters.

The performance section is the part of the system that controls the sound of the entire synth and as its name suggests it will drive how exactly you use the synth in a performance.

Working between the LFO and the scale settings, which are measured in “feet”, you can create some mind-blowingly strange and interesting sounds.

When played by an expert, you can hear just how interesting and weird the Deckard’s Dream can get.

For example, there’s a handful of interesting Deckard’s Dream samples in Magda’s sample pack.

Or check out how John Tejada regularly uses it in his tracks.

“It’s become one of my favorite pieces to use in a live show because it has so many different possibilities.” – Magda

Is the Deckard’s Dream for You?

Powerful analog synths like these sound amazing, but they come at a cost. In this case, the newest model of the Deckard’s Dream retails for $3,749 USD.

Even if that’s considerably less than what a vintage CS-80 goes for, it’s still a hefty price tag!

Your cheapest option, if you really want the sound of the Deckard’s Dream, is to go through Magda’s sample pack and use the cool Deckard’s Dream samples she recorded in your track.

Otherwise, a synth VST emulation of the vintage Yamaha CS-80 can approximate the original sound of the CS-80.

Hardware synths are cool

There’s something special about the feeling of twisting a knob and hearing it manipulate a synth’s sound in real-time.

You don’t need to look at computer screens or DAW timelines, just a set of knobs, maybe some piano keys and time dedicated to experimentation.

Recreating the iconic synths of the 70s and 80s is a big trend in the synth world right now, so many manufacturers are making them right now.

From Korg’s new ARP 2600, Behringer’s Odyssey or Roland’s boutique series there’s plenty of classic synths making their way back onto the shelves of music stores near you.

Just remember, if you’re on a budget for your home studio, you always can find a sample pack or VST that replicates those classic sounds!

  The post Rare Gear: Diving Into Deckard’s Dream With Magda appeared first on LANDR Blog.

from LANDR Blog https://blog.landr.com/rare-gear-deckards-dream/ via https://www.youtube.com/user/corporatethief/playlists from Steve Hart https://stevehartcom.tumblr.com/post/622914269912186880

[benlanedbs-blog]

Blog Post 7.

In this session as a group we decided there was still some emptiness to our pieces that required a musical factor to fill up. In order to address this issue, we thought of the idea of using drone tones, which we first used the Roland System 8 for. These drone tones can be heard throughout the beginning and certain middle sections of the two pieces. I felt that incorporating these drone tones from the System 8 added a nice amount of texture, thickness, and a good sprinkle of musical detail and dynamic into the two pieces. The Roland System 8, a virtual analogue 49 key synthesiser, is a midi syncable device offering three separate oscillators with variable waveform types, consisting of two main oscillators and third sub oscillator. The System 8 also incorporates a filter capability into its arsenal with multiple variation types, with control for velocity, cutoff, resonance, envelope depth, key follow, and hpf cutoff, along with control for basic ADSR on the filter. I also delved into the wide range of effects, mainly focusing on the distortion, phaser, and fuzz options. There are also other possible effects that can be used such as overdrive, metal, fuzz, with the option to modulate the tone and depth of all these effects. There is also a whole section on the System 8 dedicated to Delay and Chorus, with a wide range of tweakable factors, along with another section purely for Reverb. Another feature of the System 8 I find very useful and helpful is its inclusion of a step sequencer with a range of 64 steps, which is very beneficial for me in running a musical idea on loop and experimenting with different sounds, and quickly programming in certain rhythmic and tonal sequences. 

[howtomakebeatsblog]

via Twitter https://twitter.com/htmbeatsbloghq

Sampling with FL Studio 20 #9.2 – ADSR Examples With Sampler https://t.co/QFOZ2IezYU #trap #beatmaker #hiphopbeats #youngproducer #imageline #flstudio #fruityloops #imakebeats #beats #producing #flstudio #independentartist

— How To Make Beats Blog (@htmbeatsbloghq) June 14, 2019