Artist

Contact

Title

Glen Bledsoe

glenbledsoe@mac.com

"Musica de Mole"
"BeatKnick"

Notes: During this past summer I worked on an opera (still unfinished) and discarded a lively piano piece which didn't fit the mood. It, however, seemed perfect for the opening of MetaSynthia 3. I exported the presets from Xx into MetaSynth, applied one of the Terry Riley scales from The Harp of New Albion, and began layering in all sorts of sounds. Mole (mo-lay) sauce is a spicey Mexican sauce made with chocolate. I am quite fond of Enchilda de Mole. It seemed the perfect analogy to the music.

"BeatKnick" is the opposite of the aforementioned piece in terms of thickness. There's a clarity and humor to the rhythms and sounds which I found appealing.

Both compositions were created with MetaSynth and mixed in MetaTrack.

Mike Steelman

STIKEWANG@aol.com

"BOMBS UNLIMITED"

Song - Bombs Unlimited (Dead Beatles Mix)

Notes - We have been slowly incorporating more Metasynth elements into our songs. On this piece I took specific loops from our original sessions, and created about 18 new loops and one instrument. One of may favorite techniques is to analyze and quantize rhythm tracks and create new beats. I love using the Rhythm box instrument that's included on the Metasynth CD. I also used the rhythmic filters one the mandolin part. I created an instrument from a drone sound on one of the samples and used the resonator effect to tune it, you can here the results in the intro of the piece. I also analyzed the bass line and created a harpsichord version of it. My partner Andrew, then mixed the original tracks with the Metasynth ones using Pro Tools. You can hear more MASSIVE PARTICLE tracks at electronicScene.com.

I have 2 other Metasynth based projects, P9fm which is entirely Metasynth and MetaTrack.

Legion of Spunky is a project that I have with a young Dutch artist Ludo Maas.

I would be happy to answer any questions about the Metasynth techniques I used on these other projects.

DJ POB & AVJ Vader

jasper_vader@yahoo.com

"Slicey"

Notes: a couple of zen jokes...

zen pizza joint 1
What was the monk's aim when he walked into the Zen Pizza Joint? The clue is in what he said: "Make me one with everything."

zen pizza joint 2
When the monk got his pizza, the proprietor pocketed his $20 bill. "Don't I get change?" the monk asked. Came the reply: "Change must come from within."

Andy_R (Andrew Robinson)

andrew@bml.co.uk

"non-realtime"

"Non-realtime" is the track title, chosen because I used it to show that music could be made without any kind of real-time process involved. It's all "played" rendered, effected and assembled with non-live procesess.

99.5% of the track is built entirely from scratch in MetaSynth. I didn't import any samples as starting blocks, and instead used the noise and fm sources and processed from there. However, as I was assembling the song from rendered files in Logic Fun, I clicked the wrong folder, and 2 samples from another project dropped into the track by mistake, and I decided they worked so well I left them in.

Matt Lyon

matt@postsomnia.com

"stinbem"

Notes: While there are quite a few interesting things you can do with painting pictures from scratch or the FM synth or whatever, most of what I've been doing in Metasynth lately (after playing with it for three years) involves resynthesis of sounds using a sine wave. Most of what I do to something in the image synth is altering the scale or using displacement maps, and I feel that this sort of thing is where Metasynth really shines.

Practically all the samples I used in "stinbem" (both hits and sustained sounds) were resynthesized from another source. These include a piano/harmonica combo, Odd noises from the telly, and a chorus of dogs barking. Not that you'd be able to tell.

Aerobic Jonquil (Nicolas Jeanbourquin and Léa Dubois)

leadubois@mac.com

"Voice2"

Notes: Voice 02 is a piece with strange waves behind her and the effort was to make the good scales for the song. I used metasynth to do this job and for me the shape of these waves, the colors and the moods is the signature of metasynth. After that, I mix all the song in Protool 5.2.

Jerry Baker

jbakerstudio@earthlink.net

"Till We Get What We Want"

Notes: Written in Xx and realized in MetaSynth. Later it was remixed by Glen Bledsoe in MetaTrack.

Karl X. Hauser

xneon@rcn.com

"Hiccup Memory"

Notes: I like using resynthesis for rhythms. Usually I quantize the resulting image and apply an instrument that I happen to be using, often times without any altering of the image. I'm really interested in how sounds are perceived spatially. I really am quite pleased with the reverb in MS. One of my most favorite "effects" in MS is Wave Shaping. I'm also really starting to understand how to use MS and MT together. I used the partch_43.scale for this piece. Harry Partch, Conlon Noncarrow, and His Name is Alive are some of the influences for this piece. Attempting to compose music (or something like it) makes my brain hurt (in a good way). "I know what art is, but I don't know what I like." -- James Thurber.

Phil Curtis

pcurt@hotmail.com

"Chromatosphere"

Notes: This piece began as a multitracked guitar duet that I had recorded as an exercise, not really thinking about making a piece. When I decided to make it into something, I had a problem in that both guitars had the same tone and feel, so I decided to replace one of them with a resynthisis done in Metasynth. You can hear a little bit of the the original second guitar in the chord swells at the end. I doctored the original opening of the duet to make it a little quicker and focused; other than that, it's pretty much what was played.

The piece was assembled in Logic, and a few plug-ins were used. Antares Kantos was used as well, which I found blends well with MS resynthized parts. Also, there's some EXS24 in there (for example, the tablas and flute and sitar in the middle). I used Opcode Vision to convert the guitar audio into midi for the EXS parts.

Edmund Eagan

ed@twelfthroot.com

"Terminal"

Notes: The source vocal material was "spur of the moment" laptop recordings based on words from a magazine article I was reading at the time. A noise loop created in CellSynth was also used as source material. Terminal was constructed in MetaSynth and premixed in MetaTrack before being exported to a ProTools system for final mixing.

Neil Goldstein

ngold@attbi.com

"Short End Suite"

Notes: Each of the four movements in this suite was grounded on a percussive groove created in MS. Experimentation with different subdivisions, including judicious use of one of my favorite groove techniques: applying the '6 against 4' Displacement Map with horizontal displacement against a 4/4 percussion groove. I created a tabla instrument (from Talvin Singh's Abracatabla sample CD) which is used extensively in movements 2 to 4. All other sounds are from the included Instruments in Metasynth. Many MS effects and transforms were applied.

The working modality was to create a large pallet of sounds in Metasynth, and go back and forth from MS to Metatrack, where it was multi-tracked and mixed.

Todd Barton

Ddot@aol.com

"Reanimator"

Notes: This soundscape is created from a single sample of a Chinese vocal (the original sample is available at http://www.mind.net/music/original.mp3). The first iteration you hear is a cluster of high register looped sample texture which creates an arhythmic/phased ostinato. Each successive iteration is the same sample resynthesised and played back with different custom scales and sound sources.

Pericles Boutos

pericles@mfa.gr

"The artist casts a critical eye on the western world and wishes he was back in his beloved Caucasus"

Notes: The piece was put together using sounds created through long processes in MS except for the pad that carries the melody which is an Absynth pad. So is the fluttering drum sound. A first phase of sequencing was done in Cubase. Then the sounds were exported to MT where they were recompiled and new effects were added. Some of the sounds not created in MS were re-treated in MS. Final mastering was done in Cubase.

It was composed after having visited the Caucasus for the last time, and carries all the memories of months spent in the Russian foothills of these great mountains.