BRUNO ENDER LEE – “Astral Odyssey” – composed, arranged & performed by Bruno Ender Lee, April 22. 2012
Pre-recorded live tracks: ARP Odyssey & Doepfer MAQ-sequencer / MiniMoog Voyager OS (bass)
Filmed live tracks: MiniMoog Voyager OS (leads) / Moog Etherwave Theremin / ARP Odyssey (fx-sequence)
2012 Velvet Voyage Productions
VELVET VOYAGE – “Live in Goldau 2011″ – performed by Bruno Ender Lee, November 18. 2011 as supporting act to Bruno Stanek’s space-lecture.
Our ever so persistent friend AfroDJMac explores the world of space music. Keep wondering if he will fail to deliver any week soon, LOL
The 34th Free Weekly Ableton Live Rack from AfroDJMac is a warm textured and evolving pad sound created from a heavily processed vocal sample. The perfect soundtrack to an a day in an intergalactic forest in deep space. Space out with this fun synth
Download @ http://bit.ly/freesynth34
For anyone looking for a space aged, intergalactic sound straight out of an alien planet, this week’s free Ableton Live rack is for you. Here is a sound that is alive with movement and textures. Created from a heavily processed vocal sample, the Space Forest Synth offers some exciting sound sculpting possibilities. The synth is then racked up with some effects to add to the spacey feel, as well as a built in arpeggiator, allowing you to morph it to taste.
Lately, I’ve been having a lot of fun resampling chords from all kinds of instruments from guitars to synths. In the following video, after taking you through the Ableton rack, I show you my technique for creating all new sounds by resampling instruments. From there, it’s quick and easy to create all new sounds and progressions from your preexisting material. It’s a total blast! Below is an instrumental track I created last night using that exact technique (drums from my Operator Drums Rack and resampled arpeggiated chords and baseline created with the new Kasio M4L Instrument) Enjoy
AstroCantus converts the celestial map into an infinite musical soundtrack that you define: from a delicate nocturne to a vast space symphony, all at a touch on your mobile device.
A 1960s Space-Age/Lounge style song with Yamaha YPT-400, Moog Memorymoog, Synthesizers.com modular and Fender Stratocaster.
Here’s the message from outer space!
Time is rolling on and we’ve been über busy with preparations! Finally we’re ready to give you some more news!
electriXmas is delighted to announce that Swedens legendary space cadets S.P.O.C.K. have landed just in time to join the party! We’ve been informed in the latest sub-space transmission that during their long voyage into the unknown they’ve been secretly working on new material! They’re looking forward to make this years electriXmas extra-special with a world-exclusive performance of a couple of new tracks!
So, the lineup now looks like this:
TYSKE LUDDER (de)
NECRO FACILITY (se)
Get the sounds here: http://xenossoundworks.com/virus.html
Astral Voyage contains 100 high quality ambient style patches by sound designer Effrain Beccera, which are perfect for space music and new age compositions, as well as excellent material for film and videogame soundtracks.
This is one of a series of podcasts exploring the ways sound and sound effects can be used to help bring stories to life.
Meet Ben Burtt, Sound Designer for films like Star Wars, Raiders of the Lost Ark and WALL-E. Learn how he comes up with sounds that complement the amazing things seen on the silver screen – from laser blasts to whirring, buzzing lightsabers. Find out the story behind some of his signature effects and how he first got interested in sound design.
“Several months ago I volunteered my skills to create a large, interactive control panel for an upcoming space-themed exhibit for the Kearney Area Children’s Museum. The project is multi-faceted and took quite a bit of time and energy to create, but in the end it came together very well!
Using the Auduino synth sketch for Arduino as a starting point, I created a synthesizer that uses two rotary potentiometers, two linear potentiometers and one infrared rangefinder to generate fun, interactive music. The sketch works best when multiple inputs are being used at once (i.e., moving your hand while moving a slider), but will generate some sort of tone regardless. The circuit board on the back is a simple class A amplifier and parallel 3.5mm audio jack to allow for more control over the volume of the synth. Now let’s just hope those kids don’t destroy the thing the first chance they get!”
The Auduino is a sound synthesiser based on the Arduino platform. It works on all Arduinos running at 16MHz – everything from the original Arduino serial to the Arduino Mega. It uses granular synthesis techniques to generate a distinctive filter-sweep sound that had much more character than boring square waves. Sound is generated by playing the same noise (‘grain’) repeatedly at very high speed. This merges into a tone that is an audible hybrid of the repetition rate and the original grain. It sounds quite similar to an oscillator with two resonating bandpass filters, although the different architecture means there are lots of additional interesting noises at parameter extremes. The grain consists of two triangular waves of adjustable frequency, and adjustable decay rate. This is based on FOF synthesis model, but using triangle waves instead of sine and using a rectangular window. The repetition rate is set by another control.
Highway scene from Tarkovsky’s Solaris (1972)
Here’s a nice and inspiring article focusing on the vintage sci-fi music scene:
Eduard Artemiev first met Andrei Tarkovsky at a house party thrown by the painter, Mikhail Romadin, in the spring of 1970. The conversation somehow turned to the subject of electronic music and, to Artemiev’s surprise, the director soon invited himself to the electronic music studio in Moscow where the composer worked, keen to see the working methods behind the ANS synthesizer that was housed there.
Artemiev had been one of the first composers to work with the ANS, after its inventor, Yevgeny Murzin, posted a note up at the Moscow Conservatoire where Artemiev was a student, looking for composers interested in electronic music. This machine, the first Russian synthesizer, operated using a unique system of drawn sound synthesis. The composer would paint on a sheet of glass which was scanned by the synthesizer, becoming a kind of graphic score, allowing the composer to work like a painter, tinting and shading, forming textures and tone colours directly. Due to the similarities such a method conjured up with the colouristic music of Murzin’s idol, the Russian composer Alexander Nikolayevich Scriabin, the device was named after his initials.
Tarkovsky was evidently impressed with what he saw at Artemiev’s studio for he soon asked him to compose all the music for a new science fiction film he was working on with Romadin, Solaris, having recently fallen out with regular musical collaborator, Vyacheslav Ovchinnikov. Tarkovsky gave Artemiev a completely free hand on Solaris, insisting on just one stipulation: that the film must include JS Bach’s Choral Prelude in F-minor, ‘Ich ruf zu Dir, Herr Jesus Christ’.
Though the soundtrack to Solaris uses both orchestral and electronic textures (from the ANS), Artemiev has said in interviews that in terms of its treatment, the orchestra “functioned like one giant synthesizer.” From the composer’s notes written before he started work on the film, we can see that he delineated five general areas: landscapes; personal sound perceptions; various transformations and distortions of the Bach theme; recollections of the Earth; and the sounds of the living ocean, Solaris, itself. Of this final category, Artemiev remarked, “It is, obviously, composed of the sounds of terrestrial life as if processed by the Ocean. . . The characters of the film hear (or are trying to hear) sounds either similar to terrestrial ones, or sounds which are kind of little cells or islands remaining from the Earth which they manage to identity out of the mass of strange and yet incomprehensible noises.”
As Tatiana Yegorova notes in her study of Artemiev’s “musical universe” (1), there is something strangely homely about the space station upon which much of the film is set, and Tarkovsky and art director Mikhail Romadin at one point considered basing the design for the interiors on that of an ordinary Moscow apartment. Artemiev’s score thus becomes one of the sole sources of the sense of the alien and exotic in the film. Characteristically, though, some of the most alarming music is reserved for a scene set on earth, as Henri Berton (played by Vladislav Dvorzhetsky) drives through a tagliatelli of motorway underpasses and flyovers (shot in Osaka and Tokyo). Here, the ‘natural’ sounds of the road and passing cars are swollen with feedback echoes and combined with coruscating electronic textures to create a maelstrom of sound, as if we were experiencing the Earth through the eyes – or rather ears – of the Solaris ocean itself. This scene exemplifies perfectly the Russian formalist Viktor Shklovsky’s notion of ‘otstranenie‘ – the experience of one’s own everyday lifeworld as observed by an alien being.
Read the full article by Rober Barry here >>