#supersaw

[slimetony]

downsampling some supersaws from a JP8080 with the Isla S2400

[kermakatti]

I haven't been able to focus on making music properly and have only made short little loops lately, so I consider this progress. Some kind of EDM, trance-like, supersaws, tempo is more happy hardcore though

[bugtoast]

since y'all liked this post, here's this (also some more info about the last post under the "read more thingy":

Since y'all wanted to know, here's the instruments I used for each character, and the program I used:

Program i used is jummbus, Green uses "Clarinet", Red uses "Xylophone", Yellow uses "Sawtooth Lead" Blue uses "Supersaw String" Purple uses "Viola" King uses "French Horn" TSC uses "PWM Overdrive" TCO uses "Jazz Guitar" TDL uses "Overdrive Guitar" and Vic uses "Acoustic Bass"

Some extra notes, are that I imagine TCO tends to talk in C4, while TDL talks in C3

Headcanons might evolve over time, and i'll definitely keep all this info stuff in the "keep reading" section from now on when posting stick audios lol. ^^

[technicallycrookeddreamer]

Infection AU Rhythm Heaven Human Rap Men Red Red Rapper x Paddler Rhythm Rally Cosmo Paddler Cosmic x DJ Yellow DJ School Gay Love Story Hollywood Random Homestuck Oзвучка Aнимация Countryhuman Eddworld Horror TW Blood Knife Yandere meme #Infection AU #Rhythm Heaven #Human #Rap Men #Red #Red Rapper #Paddler #Rhythm Rally #Cosmo #Paddler #Cosmic #DJ Yellow #DJ School #Horror #Yandere #Knife #meme #TW Blood @countryhuman @capriminoweirdo @homestuckfluffcanons @sillybeansss @waruland @rhythmheavenmemes @rhythmheaven3dswhen @rhythmheavenimagines-blog @homestuckresources @eddsworld

[iowadream]

Cover of bars 8-41 of Steve Reich's "New York Counterpoint." Prerecorded clarinets 1-6 are shifted down 2 octaves and are played by an acid bass max patch of mine. Prerecorded clarinets 7-10 are played by a 7th order supersaw max patch I developed. The live clarinet is shifted down 2 octaves and played by a microbrute patched to imitate an acid bass.

I got like 80-90% of the way through finishing making this track before I got kinda bored of it. This was really meant as a recording workflow/synthesis exercise, and while I'm unsure if I'm ever going to return to this again, I figured I might as well post it here. As per usual, let me know if you want access to any stems from this and I'll email them to you.

[hexedbug]

THE UNMATCHED POWER OF THE SUPERSAW

[synths-and-sensibility]

So, I was thinking about jumping back onto my DCO project, and I can definitely get polyphonic output from the current design. My concept is already heavily based on the Winterbloom Castor & Pollux, and two voices is definitely possible. Problem is I was doodling today and started thinking about the Instruō Saïch... and I think I could actually get some pretty interesting supersaw going without too many serious modifications

Of course, I haven't actually built *one* oscillator, let alone 4, but I do have the DAC that I was waiting for, so I should probably get on that

[charseraph]

🔊

Love the bumpy rhythm to this. The 2:27 raw supersaw is nice, especially paired with that small punchy kick.

[proto-actual]

Formerly system-operator. :)

Here's an about page.

Blog at reindeer flotilla dot net.

I also run argon dot city.

Sideblog Index

Tron stuff:

@finite-breakpoints: Development blog for "Finite States" (ongoing fic universe). WIPs, shortfics, AUs, and incorrect quotes.

@signal-to-noise-network: in-universe transmission archive/blog for "SIGNAL // NOISE" (Tron: Uprising prequel series).

@acquiring-signal: ask blog for Signal (my Tron OC).

Other stuff:

@gnosis-via-supersaw: chaos magick, Norse heathenry, and eclectic technopaganism :-) (not super active but I am TRYING.)

@indos-novaria: "Lore of Aetherra" campaign scrapbook (plus Falling Up lore, and excited yelling about The Chilling Alpine Adventure).

Cat Pictures

#cy the cat // #beck the cat (my cats)

#the algorithm :) (my cats together)

#cat proximity (cats, in general)

#cat proximity by proxy (things that are not technically cats)

[thesinglesjukebox]

SHO MADJOZI - "CHALE"

With David, we revisit an old favorite...

[8.33]

Will Adams: Immensely fun, from the ensemble cast of sound effects -- mad scientist lightning zaps! big fat FM bass! gym class whistles -- to the call-and-response hook. Like any good party, it makes you lose track of time, and you don't even notice you've been grooving to the same song for six minutes. [8]

Crystal Leww: Where Tyla felt like a showcase for amapiano's potential to showcase something sexy, "Chale" is Sho Madjozi's showcase for the genre to show energy. This feels faster than amapiano really is -- I'm really struck by the fight atmosphere created during the chant of "You wasn't there when we was shooting in the gyyyyyyyym!" So much more charming coming from Sho than Fucking Drake. [6]

Frank Kogan: Sho Madjozi and the rest of the music are lifting each other (as opposed to back on "John Cena," when she and the beats were more in combat). The lyrics seem ambivalent about fame -- an ambivalence that was all over her last video, "Toro" -- but in this vid she's totally at ease with the fans, inviting them and their selfies into the dance. The sound of gqom/amapiano is a suspense-film buildup, rising tension yet a groove you can relax in forever, "Chalé" doing it about as well as it can be done. [9]

Nortey Dowuona: TBOY Daflame opens the song with an ominous synth riff, then punctuates it with bouncy log drums Sho rides expertly. When they take over the mix and even slide off key, Sho slips out, and as a soccer whistle enters the mix, tinny and shrill, it takes the center. The drums drop out except for the hihats, and Sho pops back up, her chorus bigger and prouder, a sharp aphorism from the Friggin Canadian suddenly alive and a gleeful taunt. "Chale" blurs until it becomes a brick, hard, solid, frozen in the mind. [10]

Tim de Reuse: Under the horror-show drone of a single hazy supersaw, she flexes, relaxes, paces, and chants, but only just enough, lest she appear to try too hard; her own voice is a sparse, percussive element, the rest of the space filled with a meaty, developing beat. An excellent strategy to self-celebration: make the party do the work. There's no other way you could get away with a track like this being six minutes. I could listen to a loop of that shuffling, syncopated bass-breakdown for sixteen. [8]

Micha Cavaseno: Nearly every Sho Madjozi single feels like the synths have to be close to as playful as her own rhymes while also seeming like they're lurking in an unwelcome manner. It's kind of astonishing as to how many songs a person can make that sound close to tricksy without the artist coming off as anything more than bright and sunshiney. Somehow you don't even think Tboy Daflame's freakout breakdown of subs and whines is anything more than fun & games in spite of its industrial calamity. Can't begin to describe how confounded that makes me, and how fun it is to be so taken aback. Maybe that's the point! [7]

Joshua Minsoo Kim: Something I didn't know I needed: an amapiano track that functions as a contemporary American jock jam. [9]

Brad Shoup: I know it's provincial, but I keep trying to figure how the WNBA can put this into a commercial while ignoring the original Kobe joke. I love how Sho's blithe and kinetic, and how you can hear Tboy Daflame mashing the pads. [7]

Ian Mathers: There are a lot of different little sonic flourishes I love here, but the mad scientist electricity sound might be my favourite. Then there's the bits where it keeps sounding like a Squarepusher song is about to break out, and how good both the title refrain and the "shooting in the gym" bits are every time they come back. I was genuinely shocked to finally notice it's over six minutes long -- the whole thing practically flies by. You pull a salt and pepper diner on me with this one, and I wouldn't notice for a good long time. [9]

Katherine St Asaph: Infectious joy in a generous portion. [9]

Alfred Soto: The walls of this single keep expanding with each second, and the combination of ruminative, brassy, and mysterious that I love in good Neneh Cherry and Rosalía doesn't quit. When it yields to beeps and chirps, it reaches peak sublimity. No, I wasn't there when she was shooting in the gyyyyyyym. [8]

David Moore: 2023 was the year I managed to drag myself out of a nasty little pit I'd been growing uncomfortably accustomed to, and subsequently I started listening to and writing about music again. My lodestar was Sho Madjozi, an artist I had brief but serendipitous encounters with in the past through the Jukebox and then Tom Ewing's People's Pop Polls. On "Chale," she augmented the deluge of amapiano that I was starting to understand at a technical level with an infectious pop call-and-response chorus, inviting the whole world to the party with a personalized golden ticket. And there was Sho Madjozi herself in the center, incandescent, always on the verge of bursting out in laughter, and you could feel yourself breaking, too, like you're sharing an inside joke. I carried the "shooting in the gym" line like a talisman guarding me against the hundred leaden Drake songs I would encounter later, hiding like sneaky little fungus trolls in my playlists. The song came out and February, and I never stopped listening to it all year, beaming, hardly believing my luck: I was finally open to something wonderful, and this was the gift I received. [10]

[Read, comment and vote on The Singles Jukebox ]

[thoughtportal]

Axel F

https://en.wikipedia.org/wiki/Axel_F

"Axel F" is an electronic instrumental by German musician Harold Faltermeyer. It served as the theme for the 1984 film Beverly Hills Cop, starring Eddie Murphy, and became an international number one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK and West Germany.

Background

The title comes from the main character's name in the film, Axel Foley (played by Eddie Murphy). It is composed in the key of F minor.

Faltermeyer recorded the song using five instruments: a  Roland Jupiter-8 provided the distinctive "supersaw" lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming.

According to Faltermeyer, the initial reaction to his premiere presentation of the cues to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm.[4]

In addition to the Beverly Hills Cop soundtrack, the song also appears on Faltermeyer's 1988 album Harold F. as a bonus track. Reportedly, Faltermeyer was against including it, but MCA insisted as it was his most recognizable track.[citation needed]

[beingharsh]

voice training so i sound like a supersaw wave

[zobalex]

Supersaw - Reggie Comstock, a research scientist creates a mutant creature that's half man-half termite from human DNA and super growth hormones. - https://utterlygoodbooks.blogspot.com/2024/12/supersaw.html

[urban-media]

An e-book about superhero action, adventure and comedy. It's a book written in the form of a play. A FLYING INCREDIBLE HULK STORY!

Available on Kobo.com: https://www.kobo.com/us/en/ebook/supersaw-1

#Books #BookWorm #GreatReads #IndieThursday #MustRead #WhatToRead #blogs #fiction #shortstories #YA #literaryfiction #comicbooks #action #adventure

[musicarenagh]

"Digital Voyage, Vol. 1": ReSeT Ryan Tram's Heartbeat in the Hum of a Late-Night Dream Plugging into “Digital Voyage, Vol. 1” feels like slipping into a late-night dream that somehow matches your heartbeat to the hum of your computer’s cooling fan—comforting, mechanical, yet undeniably human. ReSeT Ryan Tram turns his years of reflection into a landscape of shards and circuits, but then blurs the line between metal and skin. Imagine calling a friend on speakerphone, only to realize halfway through the conversation you’re talking to their hologram instead. You're both there... but not. https://open.spotify.com/album/2ZjkOGjArXCgTM6HH5lfm3?si=ylB--IqRSV2RQoe-tBUSDg Blue and Red are not just pixelated avatars wandering in some digital arena. They are feelings—the ache of distance and the exhilaration of uncharted spaces. There’s a tug-of-war pulsing within every synth line, a push and pull between isolation and expansion. Amidst the eruptions of supersaws and atmospheric swells, you can almost feel the clash between the two forces. Maybe it’s the shifting friendship dynamics Ryan experienced from Toronto to Spain. Maybe it’s something far bigger, something cosmic and imprecise. The future bass elements pave a familiar road, sure. But there are subtle detours—moments when you think the beat will drop traditionally, but instead, it lingers, almost like it’s waiting for you to catch your breath. And then, you're in it. A digital freefall. It’s not scary though, more like sticking your hand out a car window on the freeway. You could be hurt, but in that instant, you don’t care. [caption id="attachment_57958" align="alignnone" width="1365"] "Digital Voyage, Vol. 1": ReSeT Ryan Tram's Heartbeat in the Hum of a Late-Night Dream[/caption] And really, isn’t that the digital experience? Laura Canela's pop-touched lyrical touches barely flutter against the tidal hooks—just enough for you to catch words between blips, but mercifully abstract. In a world where everything—especially identity—gets uploaded, the small, intentional vagueness reminds you that feeling doesn't need full definition. After this journey, one has to wonder: Are we designing the virtual world, or is it designing us? Follow ReSeT Ryan Tram on Website, Facebook, Bandcamp, YouTube, Instagram and TikTok.