#MIDI sound module

[sylvysprit]

[Yamaha MU2000EX] Mumu Skies

Mumu Skies Composed by Princess Sylvysprit Originally released on the POWER! SuperDIGI album in 2023

Hello everyone! This is Mumu Skies! Another theme song for Mephillia Alteracia, and the sequel to Mumu Fields Once again, we're only using the Yamaha MU2000EX MIDI sound module! I wanted this song to feel more chaotic and free, unpredictable, but beautiful Oh, there's even a guitar solo! Please check out the video, otherwise the following section will be vague for you, you can check it out here: https://www.youtube.com/watch?v=SeN6JwFGXu0

This video uses a new MIDI visualiser program created by Oodorato2 called AudioMIDISyncer, this specific version used in the video has been modded by me and a friend who prefers to remain anonymous The original version/source code for AudioMIDISyncer is available here at https://github.com/Oodorato2/AudioMIDISyncer (though, it is quite difficult to use in my opinion)

I am not sure if i'm allowed to distribute my modified version of AudioMIDISyncer yet, i'd have to ask the original developer first Since the original version of AudioMIDISyncer uses an MIT license, modifications are allowed, but i do wanna make sure i have the permission of the original developer before i make my mod public

I might do something for Halloween if i have enough time, keep an eye out for that And as always, i'm working very hard on composing for game soundtracks

If you've read this far, then thank you! I wish you a great day, and the best of luck if you are struggling!

[megid0nt]

give me $3000 for fun :3

[ithisatanytime]

(Robyn (2nd acc))

[pukicho]

show us the weirdest little gadget you have that you love

I LOVE GADGETS! Its not so little but I love my Octatrack MKII. I’ve owned the OP-1, Z, M8 tracker, Polyend tracker, and this is my favorite sampling device outta all of them. It has so much hidden depth and cool unique funky ways to process and modulate sounds, both with samples ofc and also LIVE, and you can retrigger via MIDI (u can loop midi back into itself and do live resampling), ho boy its good. Max marco on YouTube showed me what this beast can truly do. Perfect IDM glitchy dnb machine. I also love my two semi modular little synths, the 0-coast and quandrantid swarm

[tosomeonessomeone]

Maracatu

Brazil series

words・ 4.2k /pairings・ Jisung x reader / genres・fluff / warnings・ mdi, smut

Seoul, South Korea – 10:32 AM

The JYP Building towers like a temple of modern sound, its mirrored surface slicing the crisp autumn light into shards. You step out of the taxi, the scent of roasting *castanhas* from a street vendor clashing with the metallic tang of Seoul’s skyline. Jet lag claws at your eyelids—*24 hours from Rio to Incheon*—but your pulse thrums faster when your phone vibrates. A message glows:  

*JYP Team:* *“Mr. Bang Chan is ready. 18th floor. Elevator 3.”*  

Inside, the elevator walls are a mosaic of K-pop legacy: TWICE’s candy-colored visuals, Rain’s smoldering stare, and Stray Kids’ graffiti-style logo. Your thumb traces the USB drive in your pocket—*your weapon*. The demos inside are a manifesto: *berimbau* twangs fused with *pansori* wails, *maracatu* drums under *gugak* strings. The doors part with a whisper.  

The room hums. Not just from the subwoofers—*everything* vibrates here. Neon LED strips clash with the warm glow of a salt lamp. Bang Chan swivels in his chair, headphones dangling like a pendant, his smile sharp and sunburn-bright. Behind him, a whiteboard bleeds ideas:  

- *“HAN’s verse → SAMBA STUTTER??”*  

- *“MV: SEOUL PALACE x FAVELA STAIRS”*  

- *“ASK BRAZIL PROD ABOUT CUÍCA vs. PIRI DUET”*  

The studio thrums with the low-frequency purr of subwoofers, air thick with the scent of burnt coffee and ozone from overworked synthesizers. Bang Chan swivels in his chair to face you, bare feet propped on a tower of tangled MIDI cables, hoodie sleeves shoved haphazardly to his elbows. Peeling studio tape clings to his fingertips like battle scars. His grin is all mischief, voice a collision of Sydney surf and Seoul grit: *“G’day, mate—heard you’ve got a death wish.”*  

He stabs a key on his laptop. The room explodes with sound—your demo track, *“Janggu vs. Tamborim,”* but warped. The Korean drum’s earthy *ddong-ddong* now tangoes with the Brazilian tamborim’s metallic chatter, Hyunjin’s dance practice footage glitching onscreen in time with the beat. *“Looped this during Hyunjin’s rehearsal,”* he says, eyes flashing. *“Kid backflipped into a speaker. *Still* claims it’s the best rhythm he’s ever moved to.”*  

You drop your bag onto a couch buried under a graveyard of half-dismembered synth modules and a fossilized bag of *yakgwa*. *“So JYP didn’t bring me here to play nice,”* you counter, toeing a rogue drum stick. The USB in your pocket feels nuclear. *“You want a revolution. Let’s torch the rulebook.”*  

Chan leans back, arms crossed, appraising you like a puzzle. *“Rulebook?”* He snorts. *“We’re writing a new one. Chapter one: *Stray Kids* eat trop-house for breakfast. Chapter two—”* He tosses you a cable. *“—we blow up the algorithm.”*  

The hum of machines sharpens. Somewhere, a coffee drip echoes like a countdown.

Three weeks. Three weeks of *nothing*.  

The studio walls, once electric with possibility, now feel like a prison. Stray Kids’ demos pile up like casualties: *“SAMBA GOD’S MENU (ABANDONED)”*, *“TAEYANG’S TANGO (CRINGE)”*, *“FELIX’S BOSSA NOVA NIGHTMARE (BURN THIS)”*. Bang Chan hasn’t slept in 52 hours. His hair resembles a electrocuted hedgehog, his hoodie stained with *gochujang* and regret. You watch him mutter over a synth pad, tweaking the same four bars of a *forró* beat until it sounds like a fax machine screaming.  

“Chan,” you say, prying a cold *bungeo-ppang* from his death-grip. “We’re stuck. You’re stuck. This studio’s cursed.”  

“No—*no*—I just need to layer this *piri* sample with a *cavaquinho*,” he rasps, eyes bloodshot. “Hyunjin’s *samba* rehearsal was *fine*—”  

“Hyunjin tripped into a timbalão and cried in three languages. *Fine* isn’t cutting it.”  

---  

JYP’s office smells like sandalwood and power. The man himself sits cross-legged on a velvet chaise, sipping *matcha* like a philosopher-king. You slam a USB drive on his desk—labeled *“EMERGENCY: BRAZIL OR BUST”*—and play a clip of your last demo: a tragic accordion-chaos hybrid that makes JYP’s eyebrow twitch.  

“He’s drowning,” you say. “Seoul’s killing his vibe. I’m taking him to Brazil. *Now.*”  

JYP steeples his fingers. “Bang Chan… on a plane? Voluntarily?”  

“Oh, he’ll fight. But you’ll handle the passport stuff, yeah?”  

A pause. Then, a smirk. “Tell him I’ll disband Stray Kids if he says no.”  

---  

Chan doesn’t go quietly.  

You find him under his studio desk, cocooned in a *Stray Kids* blanket, ranting in Korean-Aussie-*Portuñol*. “I’M FINE! I JUST NEED TO REVERSE THE PHASE ON THIS AFROBEAT—”  

“JYP’s orders,” you lie, tossing his sneakers at him. “He wants a ‘cultural immersion documentary.’ Also, he’s got your mom on speed-dial.”  

Chan freezes. “You’re evil.”  

“And you’re boarding a flight to Rio in two hours. *Vamos.*”  

——

Chan spends the car ride Googling *“Can K-pop leaders get kidnapped?”* and *“Is Brazil’s WiFi good?”*. At security, he tries to bolt, claiming he left his “lucky MIDI controller” at the studio. You bribe a janitor to drag him through the gates.  

By takeoff, he’s sulking in first class, hoodie pulled over his face, muttering about “trust issues.” You slide a *caipirinha* into his hand. “Drink. Cry. Embrace the *saudade*.”  

He sniffs the lime. “Is this… alcohol?”  

“It’s *therapy*.”  

——

The moment Chan steps into Galeão Airport’s chaos, magic happens. A *bateria* from Mangueira samba school parades past, their *surdos* thundering. Chan’s eyes widen—he’s already Shazam-ing the rhythm. A vendor shoves a *pastel de queijo* into his hands; he takes a bite and moans like he’s rediscovered music.  

“This… this is a *triplet* feel!” he yells over the drums, sauce on his chin. “Why didn’t we *think* of this?!”  

You grin. “Because you were busy syncing *gayageum* to a metronome. *Burro.*”  

——

Copacabana at sunset. Chan’s barefoot in the sand, a *caipirinha* in one hand, a *berimbau* in the other. Local producers crowd around a bonfire, playing a *pagode* riff that’s 70% soul, 30% chaos. You shove a mic at him. “Freestyle. Now.”  

He hesitates—then spits a verse in Korean, voice raw and desperate, over the *cavaco*’s bounce. The crowd roars. A dancer named Thiago drags him into a *passinho* battle; Chan’s sneakers fill with sand, but his shoulders loosen, his laugh louder than the waves.  

Your phone buzzes. A text from JYP:  

*“Is he alive?”*  

You snap a photo of Chan crowd-surfing to a *funk ostentação* beat and hit send.  

*“He’s reborn.”*  

——

Next day

The rental car slices through the Serra do Mar mountains, dawn spilling molten gold over Rio’s vanishing coastline. Chan slumps in the passenger seat, sunglasses crooked, mouth agape—finally asleep after three days of studio-induced delirium. You crank the window down, flooding the cabin with the jungle’s wet-green breath.  

“*Acorda, dorminhoco,*” you bark, elbowing him as the highway plunges into a tunnel of *pau-brasil* trees and mist. “This isn’t scenery—it’s a *sermon*. Open your eyes.”  

He jerks awake, phone already filming the chaos: toucans diving through highway exhaust, a roadside shrine to *Nossa Senhora Aparecida* draped in trucker roses, a lone capybara judging humanity from a ditch. “Feels like… *FernGully* directed by Tarantino,” he mumbles.  

——

At a *lanchonete* plastered with peeling *Guaraná* ads, you force-feed him *pastel de carne* oozing grease and a mason jar of *caldo de cana*. Chan squints at the murky sugarcane juice. “This looks like swamp water.”  

“It’s São Paulo’s holy trinity: sugar, sweat, and regret.”  

He sips. His eyes flare. “*Fuck.* I could produce a mixtape on this.”  

——

The city erupts on the horizon—a concrete avalanche of Oscar Niemeyer curves and Brutalist spikes, helicopters swarming like coked-up dragonflies. Chan’s forehead smudges the window as you carve through Avenida Paulista’s bedlam: a *sambista* belting *“Aquarela Brasileira”* atop a dumpster, finance bros in *alfaiataria* suits vaping over spreadsheets, a drag queen in sequined *Carnaval* leftovers hailing an Uber Black.  

“This city’s… *violently* alive,” he breathes.  

“Wait till you see where I *live*.”  

——

Your loft isn’t just concrete and vinyl—it’s a *floresta vertical*. Every surface riots with green: monstera leaves fanning over the *Niemeyer* curves, *guiné* vines strangling the spiral staircase, *espada-de-são-jorge* swords guarding the record player like sentinels. The air hums with the musk of damp soil and *cafezinho*, humidity clinging to the glass walls like the city itself is trying to sweat its way inside.  

Chan freezes mid-step, a *jiboia* leaf brushing his cheek. “Is this… *legal*?” he whispers, as if the plants might arrest him.  

“Depends,” you say, plucking a dead leaf from a *costela-de-adão*. “If the police ask, they’re all *fake*.”  

He drifts deeper, fingers grazing a *pau d’água*’s serpentine roots. “This one’s crying,” he notes, pointing to droplets on a *tingui*’s spear-shaped leaves.  

“That’s *singing*,” you correct. “She’s a *dracaena*. Her sweat’s a samba.”  

“Your room,” you say, nudging open the guest bedroom door.  

The space is a temple to *brasilidade moderna*: a *Oscar Niemeyer*-inspired desk, a *Sergio Rodrigues* armchair, and a bed draped in crisp white linen under a canopy of *jiboia* vines. The walls breathe with a *Burle Marx* botanical print, ferns and palms frozen mid-sway. A vintage *Tropicália* lamp bathes the room in amber.  

Chan blinks at the *orquídea* dangling above the pillow. “Is that… a plant or a chandelier?”  

“Yes,” you say, tossing his bag onto the chair. “Shower’s through there. Towels are *azul marinho*. Don’t drown.”  

He hovers in the doorway, eyes glazed, fingers twitching like he’s still gripping a phantom MIDI controller. “I should… check the demos. Hyunjin sent a voice memo—”  

“*Não.*” You block his path, arms crossed. “You’re a corpse in *Air Jordans*. Shower. Sleep. *Now.*”  

“But—”  

“No ‘buts.’ JYP’s orders.” (A lie, but you’ll burn that bridge later.)  

He opens his mouth—to protest, to negotiate, to *work*—but a yawn cracks his jaw instead. Defeated, he slumps toward the bathroom.  

At 1:17 AM, you pause outside his door. The shower ran for 90 seconds—typical man—and now silence hums beneath the *jiboia* leaves. You crack the door.  

He’s sprawled facedown on the bed, one arm dangling over the edge, fingers grazing the *azulejo* floor. The sheets are a lost cause. His hoodie hangs off the *Burle Marx* frame, socks abandoned like roadkill. The *orquídea* sways above him, petals brushing his hair—a living lullaby.  

You kill the *Tropicália* lamp, leaving only the city’s neon heartbeat seeping through the blinds.  

——

São Paulo’s dawn bleeds through the *cobogó* bricks, fractaling the kitchen into a mosaic of gold and shadow. Chan slumps at the *azulejo* breakfast bar, fingers curled around a mug of *café com leite*, steam spiraling into the humid air. His eyelids are at half-mast, the adrenaline of deadlines and dance practices leaching from his bones like toxin.  

You move through the kitchen like a metronome—*chop-sizzle-sway*—dicing *manga* to the lilt of *Joyce Moreno’s* “Clareana.” The *jiboia* vines framing the window shiver in the breeze, their leaves brushing the glass like a guitarist’s strum.  

He watches, mute, as you crack eggs into a skillet. The yolks sizzle, their edges crisping in *manteiga de garrafa*, and something primal unknots in his chest.  

——

It’s the *textures*, he realizes.  

The way the *pão francês* crackles under his thumb, its crust a seismic map of flour and fire. The *mamão’s* flesh, slippery-sweet, a color Seoul’s neon can’t replicate. The radio’s hiss, a live wire between *bossa nova* chords and the growl of a garbage truck five floors down.  

You slide a plate toward him: *ovos mexidos*, *farofa*, a tangle of *couve* sautéed with garlic. “Eat,” you say, not a command but an *invitation*.  

He does. The first bite is a time machine—suddenly he’s eight years old, in Sydney’s Maroubra, eating scrambled eggs his mom made after night shifts. Salt and memory flood his throat.  

Outside, the city howls. Inside, the plants breathe.  

Chan’s phone buzzes—a KakaoTalk storm from Hyunjin, 17 missed calls from JYP. He flips it facedown, watching grease bloom across his plate like abstract art.  

“You know,” he says, voice sanded raw by sleep and *café*, “I thought this trip was about… *mining* Brazil. Sampling your drums, stealing your rhythms.” A pause. The *jiboia* leans closer. “But maybe… it’s about *this*.”  

He gestures to the kitchen—the knife scoring mango flesh, the sun pooling in the *tigela* of *açaí*, your bare feet tapping *samba* on terrazzo.  

You top up his coffee. “Your music’s all teeth, *ne?* Biting, biting. But teeth get tired.”  

He huffs a laugh. “Says the girl who made me sample a *cuíca* for three hours.”  

“Exactly. Even fangs need a jaw to rest in.”  

The metaphor lingers. Chan traces his mug’s rim, ceramic worn smooth by decades of mornings. When he speaks again, it’s barely audible:  

“I forgot… what quiet sounds like.”  

By the third cup, his shoulders have dropped below his ears for the first time in years. He’s sketching lyrics on a napkin—*“Mornings that taste of stolen time”*—when a *sabiá* lands on the windowsill, trilling its Technicolor song.  

You nod to the bird. “He’s your backup singer now.”  

Chan doesn’t reach for his phone. Doesn’t record it. Just *listens*, letting the notes dissolve into São Paulo’s humid breath.  

Time bends here. Mornings bleed into afternoons, afternoons dissolve into sunsets the color of *pitanga* pulp, and Chan’s Seoul-structured rigidity unravels thread by thread. He learns to walk barefoot on terrazzo, to curse in *paulistano* when the *mamão* slips his grip, to let the city’s chaos score his pulse instead of a metronome.  

7:00 AM: His alarm dies a quiet death. Dawn now wakes him—the *jiboia* tapping his window, the *pão francês* vendor’s whistle slicing through the favela’s basslines. He pads into the kitchen, hair a sleep-mussed riot, to find you already there, *cafézinho* brewing, *Elis Regina* spinning tales of saudade on the turntable.  

“*Bom dia, preguiçoso,*” you smirk, tossing him a knife. “Slice the *manga* before it rots.”  

He catches it midair, a reflex honed from years of idol reflexes. “You’re meaner than JYP before a weigh-in.”  

“And you chop like a *vovó* on Valium.”  

The rhythm is set: hips brushing past hips at the stove, elbows knocking over *guaraná* bottles, laughter buried under the hiss of garlic in *azeite*.  

Hyunjin FaceTimes during *almoço*, his face pixelated but pout pristine. “*CHANNNNN*, your abs better not be gone! Brazil’s *carbs* are a trap!”  

Chan holds up a *pastel de camarão*, grease dripping onto the *azulejo* table. “Better than your protein shakes.”  

Felix squirms into frame, freckles glowing. “Are you *eating*? You never eat! Who *are* you?!”  

“A god,” Chan says, mouth full. “A *pão de queijo* god.”  

You linger off-camera, chopping *cheiro-verde*, but catch Hyunjin’s narrowed eyes. “Who’s *laughing*?” he demands. “Is someone *there*?”  

Chan’s gaze flicks to you—quick, molten—before shrugging. “Just… the *jiboia*.”  

——

The bathroom is a cocoon of steam and the citrus-sharp scent of *murumuru* conditioner. You’re perched on the edge of the bathtub, hair twisted into a turbãn of curls damp from your own wash, when Chan lingers in the doorway. His mop of sleep-flattened waves hangs sheepishly over his brow, fingers worrying the hem of his *Cidade de Deus* graphic tee.  

“Can you…?” he starts, voice frayed at the edges. “I mean—*my* hair. It’s… *janggu* levels of chaos.”  

You pat the tile floor between your knees, a *Maria Bethânia* ballad humming from your phone. “Sit. Before I charge you.”  

He folds himself awkwardly onto the floor, back pressed to the tub, shoulders tense. You drape a towel over his collarbones, the fabric warm from the dryer. The first pour of water makes him flinch—cold droplets skidding down his neck—but then your fingers sink into his scalp, massaging *açaí oil* into the roots.  

“Dawm,” he hisses, head lolling back. “That’s… illegal in seventeen countries.”  

“Quiet,” you mock-scold, raking the conditioner through his waves. “You’ll scare the *cachorro-quente* guy outside.”  

He huffs a laugh, breath stirring the hem of your robe. The comb glides easier now, his hair softening under your hands, curls springing to life like secrets unraveling.  

Minutes blur. The comb clatters into the sink. Your palms skim his temples, thumbs brushing the shell of his ears, and suddenly the room is too small. Too *hot*.  

“Turn,” you murmur, voice fraying. “Let me check the back.”  

He shifts, knees bumping yours, until you’re face-to-face—your legs bracketing his hips, his hands braced on the tub’s edge. The *jiboia* outside the window drips rain onto the glass, each drop a metronome.  

“It’s… good?” he asks, but the question dies as his gaze flicks to your mouth.  

The world narrows:  

- The *dende oil* slick on your fingertips.  

- His breath, mint and *cafézinho*.  

- The way his throat bobs when you whisper, “*Perfeito.*”  

He leans in first—or maybe you do. The kiss is a slow fuse, softer than the *bossa nova* still murmuring from your phone. His hands find your waist, sticky with conditioner, and you taste the *goiabada* he stole from the fridge earlier, the salt of São Paulo still clinging to his skin.  

The city breathes outside. The *jiboia* sighs.  

When you pull back, his curls are a halo of chaos, your fingerprints glistening in the lamplight.  

“*That*,” he rasps, forehead pressed to yours, “wasn’t in the contract.”  

You thumb the conditioner smudged on his cheekbone. “Call it… *creative direction.*”  

The tension crackles between you as his hands slide up your sides, leaving trails of fire in their wake. Your fingers thread through his damp curls, pulling him closer as the kiss deepens with growing hunger.

"Creative direction needs proper guidance," you breathe against his lips, arching into him as his hands explore your body with increasing boldness. The rain continues its steady rhythm outside, masking the soft sounds of pleasure escaping you both.

His lips trail down your neck, tasting the salt of your skin mixed with the sweet dendê oil. When his teeth graze your pulse point, you gasp, fingers tightening in his hair.

"Show me," he murmurs against your collarbone, "show me everything about Brazil..."

Chan's muscular frame presses against yours as passion builds, his hands exploring every inch of exposed skin.

You guide him to the bed, pushing him down and straddling his hips. His breath catches as you grind against him, feeling how hard he is beneath you.

"Want you so bad," he groans, hands sliding up your thighs to grip your waist. The isolation allows your moans to echo freely as desire takes over.

His lips find your neck, marking you as his while your fingers thread through his hair, pulling him closer.

Chan's hands roam your body hungrily as clothing falls away piece by piece. His lips trail down your neck while his fingers work to unclasp your bra, letting it join the growing pile on the floor.

"You're so beautiful," he breathes, taking in the sight of your exposed breasts. When his mouth closes around a nipple, you arch into him with a gasp.

Your hands explore the defined muscles of his chest and abs as he continues his oral assault on your sensitive peaks. The friction builds as you grind against his hardening cock through his remaining clothes.

"Need you," you moan, reaching down to palm him through his pants.

Chan's hands slide down to remove your remaining clothes while his lips explore every newly exposed inch of skin. When you're fully naked, he takes a moment to drink in the sight of you before his mouth finds your wet pussy.

His tongue circles your clit as two fingers push inside you, making you arch off the bed with a loud moan. The dual stimulation has pleasure building quickly as he works you expertly.

"Please," you beg, tugging at his hair. "Need your cock inside me."

He strips off his remaining clothes, his hard length springing free. When he positions himself between your legs, you wrap them around his waist, pulling him closer.

Chan pushes his thick cock inside you slowly, stretching your tight pussy around his impressive length. When he bottoms out, you both moan at the perfect fullness.

"Fuck, you feel amazing," he groans, starting a steady rhythm. His cock hits all the right spots as he picks up the pace, making you see stars.

Your nails drag down his back as pleasure builds, leaving marks that make him thrust harder. One of his hands slides between your bodies to rub your clit while he pounds into you.

"Gonna make you cum on my cock," he pants, his movements becoming more desperate as your walls start to clench around him.

Your orgasm hits hard as Chan continues pounding into your clenching pussy. Your back arches off the bed as waves of pleasure crash over you, walls squeezing his thick cock rhythmically.

"Fuck, I'm gonna cum," he groans, his thrusts becoming erratic. His fingers dig into your hips as he chases his own release.

"Fill me up," you moan, wrapping your legs tighter around him. With a deep groan, he slams deep one final time, flooding your sensitive pussy with his hot cum.

He collapses on top of you, both of you panting heavily as you come down from your highs. His cum leaks out of you when he slowly pulls out.

The *pão de queijo* burns. The *café* overflows. Neither of you care.  

—— 

The loft in São Paulo hummed with a new electricity. Chan’s laptop glowed with demos titled *“SAMBA-CODED”* and *“CARNAVAL IN 4/4,”* while your *berimbau* leaned against a stack of *Tim Maia* vinyls, its guttural cry now the backbone of his drops.  

One night, tangled in MIDI cables and each other’s limbs, you looped a *cuíca’s* rasp over Felix’s vocals. Chan watched, transfixed, as you twisted the pitch. “It sounds like the city’s heartbeat,” he murmured, fingers drumming your thigh.  

“Or its scream,” you countered, nipping his jaw.  

He dragged you into his lap, the chair groaning as his hands flew across the keyboard, improvising a melody that mirrored the hitch in your breath.  

——

Mornings bled into rituals. Chan learned to crack eggs one-handed while you diced *manga*, hips swaying to *Jorge Ben*’s *“Ponta de Lança Africano.”* His voice, rough with sleep, would harmonize with the sizzle of *pão de queijo* in the skillet.  

In the hammock strung between the *jiboia* and a concrete pillar, he traced the chords of your spine, humming melodies into the sweat-damp hollow of your neck.  

“This one’s called *‘Cafuné’*,” he whispered, lips grazing your shoulder blade.  

“Cheesy,” you laughed, but your voice cracked.  

He wrote it anyway.  

——

At the album’s Seoul premiere, JYP sipped *caipirinha* from a smuggled thermos, eyebrows climbing as *“TROPICALIA TRAUMA”* shook the speakers. “This is… a war crime against genre.”  

Chan’s thumb brushed yours under the table. “No,” he said. “It’s a peace treaty.”  

Years later, when a reporter asked about the magic behind the record, he didn’t hesitate.  

“Love’s the best producer. It samples silence, mixes truth… and never lets the track die.”  

You rolled your eyes. But your hand never left his.  

In São Paulo, the *jiboia* still hums their secrets.  

[liure00]

Mixing Stuff Masterpost for Vocal Synth Users

i'll say a few things here and there on how i approach mixing based on a set of guidelines i've been giving thru learning. i won't go 100% and i encourage you research further on your own as everyone has a different perspective of certain concepts. whats important is that you understand the concept so that you are able to interpolate on it with your own liberties. yeah. please read the links before looking at my commentary or you won't understand what im saying.

Some DAWs, Their Guides, & Some Freebies: One of the first things you should do is pick a DAW and learn how to use it and its functions to streamline your mixing process.

Free DAWs: The Best Available in 2023 by Produce Like A Pro

Audacity / DarkAudacity (i like darkaudacity): has a section of the site dedicated to tutorials on using Audacity!

Reaper: has a 3 hour course FREE course on mixing!

FL Studio: has a demo version you can pretty much use forever with a few.........exceptions. I won't be linking any cracked versions though. Here's a manual for this program since many people use it!

Free VST Plugins by Bedroom Producers Blog

37 Best Free Mixing VST Plugins by hiphopmakers

ORDER IN THE COURT!: The order of plugins is more important than you think. These links should also introduce some terms we use in the audio production world (like "gain staging" or "EQing")

WHAT'S THE BEST EFFECTS CHAIN ORDER FOR MIXING? by Icon Collective:

The Order Of Things: Audio Plug-ins by AskAudio

Plugin order is viewed from "top to bottom". BASICALLY... most like to gain stage -> EQ -> compress -> saturate -> MORE EQing -> whatever else at this point, but i do my process a bit differently. don't be afraid to bend the rules a little bit. but the guidelines are there for a reason.....based on what they do

Basics: I'll link to some tutorials to elaborate on what was listed by Icon Collective's list.

Gain Staging: Gain Staging Like a Pro by Sweetwater

Saturation: Saturation in Mixing – Instant Warmth, Glue and Fullness with One Plugin by Tough Tones (soundgoodizer fans make some fucking noise i guess)

EQ: SUBTRACTIVE VS ADDITIVE EQ (WHEN TO USE EACH & WHY) by Producer Hive

Compression: THE COMPLETE GUIDE TO AUDIO COMPRESSION by Icon Collective + Audio Compression Basics by Universal Audio

Modulation: Modulation Effects: Flanging, Phase Shifting, and More by Universal Audio

Time Based Effects: Reverb Vs. Delay: Complete Guide To 3D Mixing by Mastering.com

Audio Busing/Routing/Sending Tracks: Your guide to busing and routing audio tracks like a pro by Splice

Limiters: 10 BEST LIMITER PLUGINS FOR MIXING AND MASTERING by Icon Collective

Sidechaining: Sidechain compression demystified: what it is and how to use it by Native Instruments (i dont know anything about this lol)

Automation: Mix Automation 101: How to Automate Your Sound For a Better Mix by Landr (p.s learn how to write automation in your respective programs)

Last note: great. these are the main things you should focus on understanding in mixing. now you are FREE my friend!

Bonus: Tempo Mapping in Reaper (if you want to learn how to midi songs with bpm changes!!!)

[sylvyspritart]

Mephillia Alteracia is back in 2024! I haven't drawn her since i designed her in 2021 Original 2021 design and lore info under "keep reading"

This was her 2021 design for her theme song

Lore: Mephillia Alteracia is a fairy with the ability to manipulate universes This is very overpowered, but thankfully, she has no ambition to use it She loves collecting (and creating) early 00's MIDI's (and late 90's and early 00's MIDI sound modules) She can appear out of nowhere sometimes and disappear as if she has never existed in the first place (not even in your memory, altough you might have some vague memories about her that she could have forgotten to erase since she is kinda lazy with that) She can also alter her own appearance by changing the universe's perception of her Have you ever heard a random MIDI file in an early 00's flash game but you are never able to find it again? Mephillia might be behind it She has made some small cameos in obscure things i've made, that's just a thing she can do apparantly Oh she's not evil by the way, she's just a little ditzy witzy and loves lying in the grass across multiple timelnes simulatniously and perpendicularly just so she can feel the breeze in infinite ways, to nap or something And then when she has the energy she likes to play on her MIDI guitar and maybe make another WIP to add to her other 999 WIP's (unfortunately she considers creating a universe where she finishes the wip's to be cheating, so she doesn't do that (hopefully she finishes more songs one day though, i'd love to hear more, but she should take her time of course))

[kuliak]

Minimalist, in the practical sense.

This is actually the first recording I made with the "synth voice" case since the great rearrangement of the end of last year. Yesterday I tried sitting down with it, but kept falling into tired modes of patching (which is to say, I was driving the entire patch with Marbles...)

Today, I used this case only, and patched it the way I really intend to - lots of logic, lots of cross modulation, and probably always using an external controller. Until I get a midi input module, that means 0-ctrl.

I saw some wigglers the other day talking about how well Marbles keeps track of external clocks and swing, so I tried it out, and they're right! 0-ctrl is playing with fairly significant time modulation and the 1st and 5th gates mixed together into Marbles running an x4 clock, which sort-of averages out 16th notes.

Past that point, it's hard to keep track of everything going on. Lots and lots of logic and modulation, controlling everything from sequences to "harmony" changes to transposition to sequence order to delay speed. Since a lot of things are left up to chance, sometimes modulations are in phase with each other in a way that makes things "ugly" - for a "proper" song, I'd of course fine tune these out, but this was a nice proof of concept for what I think is the least intuitive of my cases.

It is interesting though, something I wonder about here (that I likely won't have an answer for for a while) is whether I have the balance of modulation outputs and satisfying modulation destinations right. Nibblers will definitely help a lot for tangling those up. And honestly, it's not like everything needs to be patched at once.

The big questions at the forefront of my mind are: 1. Is inertia worth the space? I've tried it out both yesterday and today, but only got satisfying results as the most basic of things like basic slew or LPF. Would it be better ie permanently patched with Cold Mac for broader modulations, or is it worth keeping around at all? 2. As much as I love Erbe-Verb, does it have a home in this case? It does very interesting things under modulation, yes, but not necessarily things that I feel go well with the sound palette of this case. Perhaps I will end up swapping it with my Versio. I feel like Ruina would be great to modulate for constantly changing textures, or Electus or Melotus could create their own pretty textures and go into reverb territory. On the other hand, EV could leave (be set aside, I think I'd always want it on deck) for something else, perhaps Mimeophon or Silhouette if it sounds good when it's out in the world.

There's of course no right or wrong answer, modular is flexible and wonderful sounds can be made with any selection. But there is a right course of action: I should continue to spend time with this case and think critically about the selection. Some patches I'd like to try in the next week or so include using Inertia as an oscillator, using it as an expressive "main" envelope, and rhythmically modulating EV to create a texture/rhythm. Hopefully these things will all sound wonderful, but either way, they will lend useful perspective in setting/staying the course here.

[uboatheflesh]

im sure you get some variation of this message from time to time but from the bottom of my heart i cannot even begin to express how grateful i am to have discovered you & your music.

i scream cry into my pillow while listening to impossible light- more than im proud to admit but nothing else has captured the raw & vast emotions existing as a mentally ill transsexual to the same degree. i think your noise & sound design style is deeply moving & inspiring as someone who still feels fairly new to audio art & live preforming.

So wanted to ask what yr favorite piece of hardware for preforming has been over the years?

((currently on a quest to find either a pad based midi controller or synth/sampler combo that i can to trigger/gate other gear or add noisey one shots throughout a set the sp404 & digitakt have been a good combo for this but curious if you had any suggestions or thoughts))

cheers ❣️

thankyou for this deeply moving comment! <3 <3 Live, I use mostly laptops with an APC MKII to do many things. However I have been using my Monome Grid 128 both live and to record the cut-up noise sections (i.e. in weaponised dysphoria, a puzzle, please don't leave me, most of the sky may be) since around 2018. It's just used as a 128-note, no-velocity MIDI controller, but I designed specific cut-up instrument racks in ableton to create the KRSSH BRR sound. The knobs on the APC is used to modulate it (microloop timing, beat repeat, lopass etc). There's a lot of randomisation and LFOs to make sure there's minimal repetition and to make it sound more organic.

[taperwolf]

I pulled out an old project I have that I called the "PiPiano". It's just an old Raspberry Pi 2B computer that I've set up to be a synthesizer; it uses the FluidSynth software synthesizer and some glue logic I set up to connect to USB MIDI instruments and output faux piano sounds (or any other instrument that's in the General MIDI soundfont). I mostly wanted to verify that it still works, since I don't think I've used it in literal years, so I just plugged it in, hooked up my little Alesis QX25 keyboard and some headphones, and started messing with it.

And almost immediately it sounded wrong. Oh, it sounded like a piano, sure, but if I played too hard, or lingered too long on the keys, the audio started to develop a vibrato, a quick wavering in pitch, just as if I'd turned up the modulation wheel. What the hell? But then I realized what was going on:

I had never before used the PiPiano with a controller that had MIDI aftertouch.

To over explain, keyboard controllers come in levels of complexity. At the most basic, when you hit the keys, you get a note. More advanced ones (most of the ones you can get now) have what's called "Velocity", where if you hit the key more softly, you get a quieter note, and you hit the key harder for a louder note, modeling what goes on in a piano when the speed of your playing gets transferred to the hammers.

But the step of complexity after that is "Aftertouch", where there's a separate pressure sensitive layer under the keyboard (or even under each key), where you can affect the note after you've played it by holding the key and pressing even harder. The default mapping of that in FluidSynth is into this vibrato pitch modulation, and I'd just never had a keyboard good enough to find this out!

(Not that the QX25 is a super amazing keyboard, mind; it used to be the "good enough" sub-$100 25-key model, and I found mine at a thrift store, covered in kids' stickers and glitter, for $15. But I'd previously used with this, at best, sub-$100 49-key keyboards, or even the Rock Band keytar, so it's not surprising that none of them had aftertouch!)

[mousoumanager]

Moog Minimoog Voyager is a modern reissue of the classic Minimoog Model D, designed by Bob Moog. It’s a monophonic analog synthesizer known for its warm, fat bass and expressive lead sounds. The Voyager adds MIDI, patch memory, and more modulation options to the vintage design.

Used in:

Daft Punk – "Voyager" (from Discovery, 2001)

While not confirmed, the lead synth lines are likely shaped by Minimoog-style synthesis. Daft Punk often used analog synths like Moog in Discovery.

Trent Reznor (Nine Inch Nails) – "The Hand That Feeds" (from With Teeth, 2005)

The aggressive synth bass and leads often involve Moog gear, especially the Voyager.

Air – "Venus" (from Talkie Walkie, 2004)

The Voyager was used for smooth analog textures and melodic bass.

Jordan Rudess (Dream Theater) – Live performances and studio work

He uses the Voyager extensively for solos and layered leads.

[quentinivy]

Flash back - Live Looping tribute to 90s / 2000s Racing Games

RESEARCH

My live looping project draws from the audio-visual world of late 90s / early 2000s video games from PS1 and Nintendo 64 – an aesthetic comprised of glossy graphics and postmodern settings, in which the immersive experience is often provided by up-beat, high octane soundtracks. Here are some examples of this:

Whilst researching game composers and jungle artists, one of them particularly stood out to me – Hideki Okugawa, the composer responsible for the soundtrack to all 3 Street Fighters. Here are a couple examples of his work.

I admire the intensity that Okugawa manages to capture through all his work, nevertheless, I’d like to allow for some contrasting laid-back sections to better match the ambience that I’m after. After some online research on forums, and speaking to my peers, I created a playlist of various tracks that would correspond to this aesthetic.

One of these songs is View of Life by Moonchild, which perfectly captures the nostalgic essence of old video games. The intro section lasts for just over a minute; this adds to the tension and sense of anticipation that one might experience whilst playing a high adrenalin first person shooter or racing game. I have created a mood board to display the desired tone of the project.

As much as this project is a tribute to 90s/2000s classic video games, I also wish to convey a sense of nostalgia.

Another inspiration behind this project was seeing an Instagram user create a live loop to the same aesthetic:

View this post on Instagram

A post shared by sharkwork (@sharkwork.2k69)

The style is slightly different, but it reinforces the notion that this genre has become a trend.

PROTOTYPE & REHEARSALS

In the prototype phase of this project, I made the first version of the track, which was a lot slower, and less energetic. After having delved into breakbeats and jungle, I was drawn to higher tempos, and a slightly different sound pallet.

(google drive link)

I increased the tempo from 125 to 165 and created a new intro (inspired by the aforementioned ‘View of Life’ by ‘Moonchild’). After this I focused on highlighting melodies, rhythms and textures that would be interesting to loop whilst carrying that adrenalin fuelled, ‘racing’ narrative.

Once the arrangement had been completed, I ordered the different audio and midi regions into separate sections; these sections would then become scenes once imported into Ableton. I divided them into 10 sections (some of them repeating), before stemming each track into one of seven folders (one for each scene). I then imported them making sure to de-select warp on each track. I have added sped up screen recordings of this process in the OneDrive folder.

Originally, I had planned to play my set in the same way as Elise Trouw in this video:

She uses arrangement view to input midi notes that she has midi mapped to different functions such as record, stop, playback, loop, etc. This means that those set functions will activate automatically in relation to the timeline. which is useful for handsfree, seamless transitions. Although this is a great technique in some circumstances, it comes at the cost of freedom; I wanted my track to stay structured whilst being able to improvise melody lines and transition to whichever scene suits me in the moment.

The hardware I used to create the set comprised of a Maschine MK3 Mikro, an ableton launchpad, an RD-08 keyboard and a sustain pedal. I used a filter plugin on the stereo out and mapped the cutoff to the Maschine MK3’s fx strip in midi mode. I had originally mapped it to the keyboards modulation wheel, but I found it to be less intuitive. I also mapped the sustain pedal to control the delay feedback on the e-piano.

Should I do this again, I would like to find a way of mapping different parameters to an xbox or ps4 controller, in the spirit of the theme.

I have included a screenshot of my performance to highlight my set-up.

I set up my phone camera on top of a lamp, which worked well regarding the placement but ideally, I would like to find a more secure place to hold it as it fell several times. I would like to keep this camera angle going forwards with this type of content as it showcases the both the hardware and the way it is being used.

FINAL PERFORMANCE AND DOCUMENTATION

The final performance consisted of a one take recording with seven scenes being triggered in different orders, with four midi tracks being controlled by a keyboard and drum pad and used to improvise melodies and chords throughout the performance. The premise was to have slightly different results every take whilst retaining a sense of structure and coherence. As a result, whilst being intelligible for the listener, the piece remains original and interesting every time.

The improvised melodies reflect the motion of a video game, be it the tension of a tactical rpg or a race in a futuristic landscape. This way, the soundtrack becomes the narrative. In order to push the idea of this narrative I structured each new scene to represent a new levels or areas in a game, with the intro ramping up to the chorus, and abrupt transitions mimicking the erraticism found within these landscapes. I made use of real-time triggered effects throughout the performance to further simulate this experience.

I used a birds eye view angle to capture my interactions with the hardware and showcase exactly how the piece was constructed. In the editing of the video, I chose not to include any cuts in an effort to present the set as clearly as possible. I also included a split screen format with a portion of the screen showing gameplay from extreme g racing to make the experience more immersive. This is the final render:

[ammonitetestpatterns]

produced by tsukasa funamoto and released on nurse less nurse in 1995. this track combines noise and MIDI lines that appear similar to those which are able to be generated by the sound chips manufactured for PC98 systems.

[bestofmidi]

Now im curious, if you could, would you ever play these through actual like. Midi hardware? Old sound cards with wavetable synths, actual opl3 cards, etc?

that's the thing about it. this software and soundfonts perfectly duplicates the output from the hardware I actually have - and the other soundfonts are for hardware that costs hundreds to thousands of dollars lol. or they're things that do not actually accept arbritrary midi input (genesis, sm64, earthbound, undertale, the one that attempts to perform synthesis of instturments using samples of things an NES can play)

like i could force my isa sound blaster to ignore its wavetable card and do opl3 synthesis for general midi - but I already have a soundfont produced from sampling what the sound blasters do for opl3 synthesis for those instruments and it sounds identical lol. the only thing I'd get out of going through the trouble of moving stuff to the 486 to play through it would be a bit of extra noise incurred via the patch cable and the kinda mediocre line in on my modern laptop! and that thing can only play in real time while the timidity software renders out the uncompressed audio roughly ~5x to ~30x realtime playback speed, depending on complexity of the midi & the soundfont used

though hey if someone wants to donate all the cash/actual hardware to get weird with it and hook all the now quite rare and pricey modules and cards up i wouldn't mind. but i'd need a second 486 desktop just to fit them too!

[thefalloutwiki]

Were there any lawsuits over the "sampling" of copyrighted music on the Fallout 1 & 2 soundtracks? Were royalties paid for the samples? I love Mark Morgan's work, but it is rather blatant. Great blog btw!

Hey, thanks for the question and thanks for the compliment! :D

In February 2008, Mark Morgan was asked the following question during an interview on website, Game-OST:

“Timothy Cain said that he likes dark gloomy music and is a big fan of Aphex Twin. Some Fallout compositions are quite similar to work by Aphex Twin - were you influenced by Timothy's tastes?”

Mark Morgan replied with this:

“When Interplay was thinking of using me for the game, they sent over some music that they liked and wanted me to do something similar as a demo. The CD they sent me had no titles or artists’ names, just a few pieces of unidentified music. I gave Interplay what they wanted and I think they must have used some of my demo in the final game. At the time, I wasn’t familiar with the work of Aphex Twin. To me, it was just my interpretation of what Interplay asked for.”

On October 10, 2022, Tim Cain said this in an interview with website, DualShockers:

“I had so much of this music that I gave the list of my music to Mark Morgan and said I wanted the game to sound like this." Included in the list were Brian Eno's Discreet Music, Ambient Works 1 and 2 by Aphex Twin, and a CD called Ambient 4: Isolationism.”

From the information provided above, Mark Morgan was not familiar with Aphex Twin at the time, and he was providing Interplay with what they asked for. We're not aware of any lawsuits regarding the use of any samples, however.

Additionally, in an interview on January 28, 2015 with website The Audio Spotlight, Mark Morgan provided a list of gear that he used during his time on Fallout and Fallout 2:

“At the time I was using a NED Synclavier as my workstation controlling a few midi synths and modules like a Nord 2, Virus, PPG 2.3, Jupiter 6 and a rackmount synth called a Morpheus by EMU. The Morpheus, like a lot of the rackmount modules in the ‘90s, had this little screen with tons of pages to figure out which made programming painful, but once I figured out the programming architecture it yielded some interesting clangy metal sounds and some strange ambiences, which became a big part of the palette and sound of Fallout.”

[rockshams]

a doll that's also a synthesizer

the TRS and MIDI ports fit snugly between its legs

twiddle it to modulate its sounds

velocity sensitive! just hit it harder!

make it cry and scream. only the audio interface will hear it

add an fx chain and no one will recognize its voice