One Synth Challenge #116: Triple Cheese (mmGhost Wins!)

[Taron]

Ehehe, thanks, schiing!
I've noticed a peculiar thing regarding audio settings. Occasionally I render a song at 96khz rather than 48, in which I work. With most synths this is totally fine, but the nature of TC might throw a little wrench into the system then, really changing the timbre of sounds then. If you work in 96khz, it's all good, because you know what you're doing to your sounds, but if you don't, simply watch out!
It will add a good deal of high frequency, thinning out some sounds and emphasizing higher frequencies considerably! It's like you get to hear parts of a sound that normally where nuances at best. Can be GREAT, but also an suck a bit. I chose to completely stay in 48khz all the way, including the final render. It keeps the "umpf" I really so enjoy.
Also, I've uploaded an update on soundcloud...

[EscapeControl]

Ehehe, thanks, schiing!
I've noticed a peculiar thing regarding audio settings. Occasionally I render a song at 96khz rather than 48, in which I work. With most synths this is totally fine, but the nature of TC might throw a little wrench into the system then, really changing the timbre of sounds then. If you work in 96khz, it's all good, because you know what you're doing to your sounds, but if you don't, simply watch out!
It will add a good deal of high frequency, thinning out some sounds and emphasizing higher frequencies considerably! It's like you get to hear parts of a sound that normally where nuances at best. Can be GREAT, but also an suck a bit. I chose to completely stay in 48khz all the way, including the final render. It keeps the "umpf" I really so enjoy.
Also, I've uploaded an update on soundcloud...

Can confirm, my guitar-esque patch turns into a bunch of saw-waves. at 192khz it's even worse (or better, depending on what you want).

[fairplay]

I am back on OSC after a long year, with my entry

https://soundcloud.com/fairplay/fairpla ... rty-picnic

6 x TripleCheese
5 x ReaEQ
2 x ReaDelay
1 x ReaComp
2 x OrilRiver
1 x Airwindows Distance2

Master: CharBooster, TDR Nova, ReaComp, LoudMax

[Taron]

This SOOOOOO wants some throat singing! ....very cool, fairplay!

[Eauson]

My effort for this OsC
https://soundcloud.com/eauson/eauson-uh ... se-kvr-osc

Details on soundcloud

[fairplay]

This SOOOOOO wants some throat singing! ....very cool, fairplay!

Thanks!
I wonder if throat singing is even possible with TripleCheese, but it should be the real challenge.

[Taron]

Ugh, haha, I doubt that vehemently. ...but I do imagine that, who ever can do it, will do it, when they listen to your song!

[RuediRena]

I wonder if throat singing is even possible with TripleCheese, but it should be the real challenge.

Maybe like so as a first quick approximation?
Download patch: RuediThroat1

[doctorbob]

Just a quick note. I have reworked my flute sounds and made them a bit more "dynamic". My DR went from 12 to 10, but still OK. Also backed away from doubling them - too much cross colouration in the sounds (prob phase differences etc) which made the flute sound less pure to my ears. So, just 6 cheesy synths.

Enjoy

Rob.

[schiing]

I think I'll leave it there - here's my entry for the October OSC. Partly inspired by doctorbob's memories of the Cathedral Tour of.... well, which band, d'you think?? Hence the rather liberal amount of reverb and decay, you see

https://soundcloud.com/terjefjelde/spir ... s-syllabus

DAW: Studio One Professional 4.1.0
Triple Cheese: 31 instances, all from scratch

Master chain:
Sleepy-Time Stereo Channel -> TDRVosSlickEQ -> Crosstalk -> DD Reverb -> ProEQ (x2) ->Limiter6

Other effects:
ProEQ: 8x
BitterSweet: 1x
DD Compressor: 1x
Stone Voices Ambient Reverb: 4x
Sanford Reverb (no mod.): 1x
DD-Delay: 1x
Cocoa Delay: 1x

Loudness, etc.
EBU R-128 -11.1/ Range (6.0)
Global RMS (AES) (-10.0)
BPM: 102
Recorded: Oct 11-18, 2018
Mixdown: Oct 18, 2018

[Taron]

There's such gorgeous stuff in there, Schiing, but most of it is generally just "Krach", like a bunch of mayhem noise that- at the latest- half way into "the file" gets in the way of the evolving music in the background. I mean, I can imagine what you're going for, but I think you subdue a lot of glorious stuff a wee bit too much. It's enormous space, I give you that, and that is great, but as it wants to get out of the chaos by 1:45 and slips into the highly promising section 1:55+, there just to much dirt left, I find. If you were to flip the ratio there already, by taking the industrial noise madness down into the volume background, it would be really beautiful...(I think, I mean, I find, you know all that jazz, what do I know, but it's how I feel, you know, and I feel you are a musical genius and quite an expert, too! It's like you fight yourself to make all that noise and swing for the fences more than you have to to make your point). That being said... DANG, you rock!

[schiing]

Gosh, Taron, gosebumps - that is such an exact comment! You hit the nail on the head in regards to what I'm trying to do:

Triple Cheese has such an inherently beautiful sound to it, and I was consciously trying to get myself in as much trouble as I could, trying to explore its extremes and make it as ugly as possible (in an attractive sort of way!) - create a lot of "dirt in the machine" in the first part - and, as you quite rightly point out, I actually increase the background chaos towards the 2.40 mark.

I then quite like the way the "pastoral" ending exposes just how much trouble the machine has gotten itself into (also worth noting: this is a "modular" machine chugging away in a cathedral! )

But I do seem to find an ever increasing tolerance for noise and chaos - not to mention contrasts - as I get older, and I like the combination of using some extremely broad efx brushes to maul over some other stuff that has the finest detail. It's certainly a more personal endeavour than some of my other OSC entries - so this is probably not for all tastes! Which is perfectly fine!

[schiing]

Also, Taron, as much as I love to be called a musical genius – sadly, modesty and reality prevents me from accepting this huge honour. You just lifted my spirits by miles, though!

[Taron]

I'm with you on the increasing desire to explore new roads, accept greater "risks" and all. Sometimes we have to plunge ourselves into strangeness to pick up the pieces we eventually need to fully find ourselves in our creations. It's a most wonderful privilege that we can do this while we're all together here, you know.
For the most prolific time of my musical upbringing/development I had no "real" musicians around me. When I eventually found an online community (reasonstation.net at the time (early 2000s)), I only really connected with one excellent, powerful musician and the things I've learned from him were invaluable. But what I've learned since I joined the OSC and the growth we all experience together is yet on another level. Thus, comments on my experiments gave me great many boosts. That's why it's a special thrill for me, if I can give you a commend myself, right or wrong is not what matters there as much as the fact that it's a true sensation and an honest reaction. I can hear what you're getting at and I understand your explanation, but you might want to increase the contrast by dipping the noise from 1:45 into 2:00 and then raising it again for the last bit of extra intensity before the lyrically beautiful pastoral section at the end... (so sweet!). It's just that at 1:55 the melodic instruments beg to be heard at least for a moment, giving you a chance to show control.
I find that there are a few key things really important to provide a great listening experience, regardless of taste:
1. orientation
2. confidence
Neither represent a quality of order or convention. They are about the composers level of control and clarity of intention. This could be complete chaos, if it is intention, or actually a total lack of intention, if a reason was given. So...no matter what, you lead the audience around, but if you provide no orientation or dampen expectation, interest gets lost... they get bored or even annoyed. Fatigue plays a big role, too. Chaos leads quickly to fatigue, like distractions and such. Repetition, if it has clarity, lasts a lot longer, surprisingly, but chaos...it's simply exhausting. If you then have a hint of beauty behind it, chaos becomes something even worse: distraction. It's interesting to think about these things and even more so to experiment with them. Hmmm... it's not the first time I wonder about how cool it would be to do some workshop jams together. Pick certain problems and make experiments. Could be so cool.

Ah, it's getting late here. Always makes me write too much, when I get tired. Weird...bit paradoxical.
Anyway, you're awesome and modesty is a mark of true beauty to me. Kids get groomed to lose it all these days. We're a dying breed, hahahahaha....

[doctorbob]

<<<<<OT alert>>>>
Talking about chaos and music … I once worked with Peter Fluck (Spitting Image etc) and Tony Myatt (Now Prof. at Surrey Uni)). They got in touch after each talking about chaos in music and chaos in art on Radio 4 programmes. Peter was making a kinetic sculpture based on a chaotic mechanism and wondered if it could be linked to music. I wrote a video tracking system to capture the movement of the sculpture (in real time) and passed the data to a music composition program (written in Tabula Vigilans). So, the sculpture moved and made music. Based on chaos it never made the same music twice. Was exhibited in the Tate Modern (St. Ives) for 3 months to great acclaim and also won the prize for best visual art exhibit at the Edinburgh Fringe. All this in 1997!!!

dB