#analog vocoder

[fuzzkaizer]

REAL ANALOGUE VOCODER – List

...

Moog - Vocoder

SENNHEISER - Vocoder VSM201

EMS - VOCODER 5000

...

cred: sequencer.de/blog/real-analogue-vocoder-list/2697

[postpunkindustrial]

Suzanne Ciani creates the soundtrack to the game Xenon.

[stone-cold-groove]

Programming the Moog 16 Channel Vocoder - 1978.

[alexibeeart]

Random Access Memories, 2013

Daft Punk's fourth, and final, studio album. Daft Punk utilize both analog and digital instrumentation with a roster of studio musicians, and collaborate with artists who inspired them and their contemporaries. Graphics included in the extended version reveal names for the robots: TB3 (Thomas), and GM08 (Guy-Man). Heidi Slimane again designs their outfits for Saint Laurent, including sequined jackets in both black and silver/gold versions, tuxedo trousers, glittering boots, and silver/gold pyramid pendant necklaces to match their helmets.

song: LYTD (Vocoder Tests) (with Pharrell Williams), Random Access Memories (10th Anniversary Edition), 2023, Daft Punk

Daft Punk animated sprite project 🐝 A Bee 2024 [art tag] [website]

[ruinedholograms]

Machines | Doris Norton (1983)

System 100 M Roland • Computer Apple 2 - Alpha Syntauri • Apple 2 - Amdek Sampler • Micro Composer MC-4B • Rhythm Composer TR-808 • Sequencer CSQ 600 • Synth SH2, SH9 • Analog Sequencer 104-182 • Wave Analysis VP-5216A National • Vocoder VP-330 • Signal Processor Spatial Response SDD-320 • Echo: SRE-555

[handeaux]

Cincinnati Was Fascinated By Talking Machines Whether Good, Bad Or Bogus

Professor Faber’s amazing “talking machine” arrived in Cincinnati to great fanfare in 1872 when that contraption shared a bill at Wood’s Theater with the famous Bandmanns, Daniel and Millicent. The celebrity thespians presented “The Merchant of Venice” and “The Corsican Brothers.” The talking machine recited whatever the professor told it to.

As early as 1844, the Cincinnati Enquirer carried reports of Austrian Joseph Faber’s progress in developing a mechanical device that could replicate human speech. The original “Professor” Faber, unhappy with progress on his own invention, killed himself in 1850, but the project was taken on by his nephew, also named Joseph Faber, who perfected the device and took it on tour. The Enquirer [25 January 1872] described it in some detail:

“On looking at it you see a table, on one end of which is a key-board with a number of levers similar to the hammers of a piano leading to an upright beam. At the front of this beam you see a mask from which you hear, in tones that remind one of a child’s trumpet, the measured enunciation of words. Back of this beam stands a pair of bellows which is operated by a treadle, and furnishes the air that is required to supply the instrument.”

Faber’s device was a sort of analog speech synthesizer, an ancestor of the Vocoder and similar electronic devices of the Twentieth Century. The operator, by pumping pedals and pressing keys, generated sounds resembling human speech. The Enquirer’s reporter, imagining no “practical utility,” was nevertheless impressed with the machine’s performance.

“During the exhibition the machine was made to speak in English, German, Greek and Hebrew. It beats the Professor speaking English, and but for the example of broken English he sets would speak almost as closely as anyone. It pronounced such words as Mississippi, Cincinnati, Chicago, Philadelphia with ease and clearness. Although it speaks with a decided German accent, one has less difficulty understanding it than the average German who has been three or four years in this country.”

While touring the United States, Professor Faber impressed impresario Phineas Taylor Barnum so much that the great showman renamed the machine as The Euphonium and engaged it and its operator for six months on a contract worth $20,000. Barnum brought the newly christened Euphonium back to Cincinnati in July 1872 as a highlight of his “Great Traveling World’s Fair.” That extravaganza also featured four giraffes, sea lions, herds of trained elephants, Fiji cannibals, American Indians, various dwarves and midgets and three rings of continual circus acts. Barnum’s Fair occupied the Union Baseball Grounds for four summer days at a time when Cincinnati had no professional baseball team. Reports indicate that Barnum got his money’s worth as his show became the hottest ticket in town. Barnum did well enough that he extended Faber’s contract for at least another year. The Euphonium continued to receive star billing when Barnum’s circus returned to Cincinnati in 1873.

Professor Faber continued to exhibit his talking machine well into the 1880s, several years after a very different sort of talking machine made its debut. Thomas Edison, the Genius of Menlo Park, unveiled his phonograph in 1877 and Cincinnati shifted its attentions to the new gadget in town. The Cincinnati Commercial dispatched a reporter to Edison’s laboratory and he filed [3 April 1878] a breathless dispatch:

“I saw the talking-machine, talked to it, and it talked back. You have heard about it, of course, but the story can not be an old one for years to come, and although the phonograph is as simple as a jackknife, it excites the awe of the beholder as a telegraph wire stirs up an Indian’s superstition”

It was another year before an actual phonograph arrived in Cincinnati, almost simultaneously with an early telephone. The Enquirer [5 June 1878] announced the dawn of a new age:

“The phonograph now on exhibition at Greenwood Hall had an increased number of visitors yesterday, our most prominent citizens leading what must become a rush to witness this real wonder, which, with the telephone, marks an era in science. It is impossible to describe the sensation created by this ‘talking’ machine, which gives back to one his own very words and tones in either speaking or singing, and which, many believe, is to revolutionize many things in social and business life.”

Edison’s mind-blowing machine inspired a couple of Cincinnati con artists to offer talking machine service to the great unwashed. At a time when phonographs cost the equivalent of $500 and cylinders the equivalent of $15 per in today’s coin, the opportunity to try out this revolutionary device for one thin dime was irresistible. According to Frank Y. Grayson’s wonderful book, “Pioneers of Night Life on Vine Street,” the flim-flam men set up shop just south of the canal.

“Across the front of the dump, spread a canvas which bore these words: ‘Come In and for a Dime Hear the Most Amazing Invention of the Age – the Talking Machine Extraordinary.’”

The dupes who fell for the pitch surrendered their ten cents and were handed a rubber mouthpiece attached to a long hose. They said their piece while the operator furiously cranked a large wheel, waited a moment and – voila! – their words of wisdom emerged from a rubber bulb sprouting a tin funnel.

“News of the wonderful invention flashed up and down the good old avenue, and the come-ons fell all over themselves getting into the place. The crooks made hay while the sun shone.”

Their demise came when the local beat cop stopped by and tested his elocution. He shouted, “What am I?” into the mouthpiece, the customary pause ensued and “What am I?” emerged faintly from the funnel – followed by a sneeze. “I didn’t sneeze,” said the cop and descended into the basement where he found a fat man in shirtsleeves, managing the other end of a couple of rubber hoses.

Talking machines so excited the imagination of Cincinnati’s residents that they infested the hallucinations of our cranks. The Enquirer [21 October 1900] related the case of Mrs. F.C. Lykins of Walnut Hills, who sent letters accusing a young man residing at the Union Bethel of annoying her with his talking machine. A detective determined that there was no such resident at the Union Bethel, and no one by that name living in the area. Mrs. Lykins insisted that voices from a talking machine filled the air around her head. The detective just smiled, closed his notebook, and headed back downtown.

[slimetony]

Do any other millionaires wanna go halfsies on this

[mousoumanager]

The Roland VP-330 is a famous analog vocoder introduced in 1979, known for its ability to create both robotic vocals and lush synthetic choir sounds. It was widely used by electronic musicians for its rich, expressive sound.

Artists and Albums:

1. Kraftwerk – The Man-Machine (1978)

While not confirmed, the VP-330 or similar vocoders likely influenced the vocal sounds in tracks like "The Robots" and "The Model".

2. Daft Punk – Human After All (2005)

The VP-330’s vocoder sounds are essential in tracks like "Robot Rock", "Technologic", and "Television Rules the Nation, contributing to the iconic robotic voice effects.

3. Vangelis – Blade Runner Soundtrack (1982)

Vangelis often used vocoders, and while it’s unclear if he used the VP-330 specifically, similar instruments contributed to the futuristic sound in tracks like "Blade Runner Blues".

4. Giorgio Moroder – From Here to Eternity (1977)

Vocoder use is a key element of Moroder’s electronic productions, although it's uncertain if the VP-330 was involved specifically.

5. Herbie Hancock – Future Shock (1983)

Hancock’s use of vocoders in tracks like "Rockit" helped shape the sound of electronic jazz-fusion in the early 80s.

Notable Songs:

Kraftwerk: "The Robots"

Daft Punk: "Robot Rock", "Technologic"

Vangelis: "Blade Runner Blues"

Herbie Hancock: "Rockit"

[spatialmanufactureltd]

hello!

this is my sample pack. it includes all the one-shots, loops, and mixer presets i have used for all of my releases from 2019-2024. this includes:

Ｒ​ｅ​ｌ​ａ​ｔ​ｉ​ｏ​ｎ Ｅ​ｍ​ｕ​ｌ​ａ​ｔ​ｉ​ｏ​ｎ (2019)

█​▓​▒​░​❛​❛​Ｓ​ｕ​ｉ Ｇ​ｅ​ｎ​ｅ​ｒ​ｉ​ｓ​？​❜​❜​░​▒​▓​█ (2019)

Ｈ​ｉ​ｎ​ｄ​ｍ​ｏ​ｓ​ｔ Ｒ​ｅ​ｓ​ｉ​ｄ​ｕ​ｕ​ｍ Ｏｆ Ｔ​ｈ​ｅ Ｍ​ｏ​ｎ​ｏ​ｃ​ｈ​ｒ​ｏ​ｍ​ａ​ｔ​ｉ​ｃ Ｉ​ｎ​ａ​ｍ​ｏ​ｒ​ａ​ｔ​ａ (2020)

MAGICORE w/ STATICCA (2020)

•​⧉​•​Ａ​ｒ​ｔ​ｉ​ｆ​ａ​ｃ​ｔ​ｕ​ａ​ｌ​•​Ｃ​ｏ​ｎ​ｓ​ｔ​ｒ​ｕ​ｃ​ｔ​ｉ​ｏ​ｎ​•​⧈​• (2020)

Ｏ​ｂ​ｊ​ｅ​ｃ​ｔ Ｌ​ｉ​ｍ​ｎ​ｅ​ｒ​（​ ​✎​）(2022)

Ｌ​ｏ​ｃ​ｕ​ｓ Ｆ​ａ​ｃ​ｉ​ｅ​ｎ​ｄ​ｉ Ｍ​ａ​ｎ​ｕ​ｓ​​​（​ ​¿​）(2024)

it is sourced, specialized, and customized from various sample packs (Satan's Drum Stuff, SOPHIE, Com Truise, COSMIC, PRXZ, gin$eng, John Mello, Jungle 1989-1999, etc. & more) and includes some of my own custom samples, all organized with a focus on decisive sound design for music production.

below you can find a list of all of the virtual instruments and presets i have used on tracks:

DAW - FL Studio

Instruments > Bass > Ibanez

Instruments > Guitar > Strat Pos A, Strat Pos B, Strat Mute

FM8 - VST

Telepath

Crystal

Bigdiz Bass

Massive - VST

Blue In Grey

Big Lead

kutsustrings

Pluck - Square

Dank Lead 2

A Love Lead

Kodosyn

Amazing Lead

ATM NASTY WEATHER

Sytrus - VST

Orbital

Cerbera Saw

Deformed

Deep

Fry

Detuned Saw

Choir

Choir 2

Choir 3

Arrakeen tabla

Harmor - VST

Rhodes by nucleon

Aural Psynapse

Moonlight EP (intransigence)

Rotochip

Pad Atmosferico

Toxic BioHazard - VST

LED KutThroat ToTc

Musical ToTc

Dune - VST

FM Beauty BT

Frozen Bottle ARK

Amiga Organ KS

Brute Sine RL

Intelligence KS

Rimshots KS

Magenta KS

CS-80 V4 - VST

Big Move

CS-80 V3 - VST

Ach Steel*

Morphine - VST

LED LoFi Techno Chord MC

Vox TakeMe2TheTop MC

FabFilter Twin 2 - VST

Fudge Chunk -O

Omnisphere - VST

Epic Proportions

In Memorium 2

Boys Choir Oos

Spire - VST

GT Old Trance V

BA Beatitude

PD Beatitude

LD Dimension 8000 SK

LD Sawer IPM

BA Rave SK

LEAD - Infinite

SQ JP Order

BA Up And Down AS

LD Juicy V

LD Crispy V

LD NEON

LD Eclipse

BA ONE V

LD Unlinked

LD Virus V

BA 304 Square FL

BA Grungier Dub

PD Formanta DP

PL The Trance Pluck A

PL Stopper DRK

BA Benassi

LD Matrix 12

LD Eighty's MLM

BA Oxygene

DR Animal Kick 5

LD Exhale AS

LD Zero76 AL&RS

LD Angry Reso

LD Eurotrancer

PD Unicorn DP

LD Digital Egyptian BJP

LD Your Typical Superlead

LD Chromium V

LD Combo A DP

LD Fusion AS

LD Bright Future DRK

DR Tape Kick

DR Animal Kick 6

LD Underground

LD MODSynth HFM

PD East Coast DP

LD InstaWhore SK

LD Virus V

LD Glider DP

LD Heavy Duty DP

LD X-Lead

BA Synth Bass VS

BSQ Outbreak V

BA Analog Square

PL Nord Pole 3 DP

BA Snappy AS

LD Sprut

PL Anjuna Pluck

PL PlayHouse

PD Hid Lights

LD Aquamarine

LD Disarm MLM

ZETA+ 2 - VST

"DruggedEraBass"

Huge Chord Seq

Sad Arp

Equinox BT

Stella C2 2011

The Good Times 1

Phadt Raver

Funky Hi Fat Lo

Dancing Oscillators

Dynascraper

Textures - Trance anthem

Build That Track

Digital sound factory - Modern Digi Synth

24-osc xy hoover

Vjooprrrr Lead

crispy arp c1 (mw)

crispy arp c1 02 (mw)

Basic Trancer 1

FM Hall Practice

The Phatness FG

Noisy Beauty (Mw) BT

BitTek DMS

Creamy Poly XS

Super Eight Bars FI

Classic Content - Leads Hard - undecided

Old Lab FS

Brutal Legato FS

FM Lead Shapes FI

Commercial Trance

Ravers Arp 3

zt3r30 zinc

BroadBand Connection

Crisp Keyed FG

Chiptune Plucks XS

Reso Fat Lead

90s Revisited FS

technic

Broken Piano Amp BC

Phatman XS

Teccnoe Boeing

Ravers Slice 4

Ez Raver BC

Commodore64 Hits XS

Leading Tarnce FI

Toy Piano DMS

Electron Drum Circle 3 FI

Spezial Bell Swirl Laye

Hardcore Kick 1 XS

The Prophet FG

Zeta+ Crunk 2 FI

Milk Steak WRJ

Phased Noise Tines FI

Sp3ctrum S4w mw FI

Lofi Dream (Mw+Pb) BT

Electro FM FI (Synthwave-y + knitecap)

Alone in the Arena II

Sizzle Keys (Mw) BT

Thick Gate FI (umieram)

Angelic Vocoder (juncture)

FM Gliss FI

Digi Slapper (Mw+Vel) BT

Multipoint Brass FI

Metallic Vapors XS

Aqua Flange Pad BC

Hard Fanfare FS

FMed Duplets 1 FI

Big Bass Lead FS

Classic Rock Lead XS

Brass lead

Resonator Pluck

Blue Stars XS

Dream Arp 2

Psytrance Kick XS

Colors Crossfade FS

Sweet Dee WRJ

Serum - VST

Such Relaxation

Celestial Light

BASS - R4V3R

BASS - Make Some Jungle

MoBambaBell

PL Hot Chocolate

SuperAlba

Bass - Cold Night

Key JP09

PAD - Pancakes

LD Hypersaw

BASS - Deep and Clear

BASS - Hard Bass Pluck

SQ Automator 4 [GS]

FG Pop-Star

SY Euphonic

PL Little Harp - Mw-loop

BASS - Essential Subs

SY ModSync 1 [GS]

SY Morricone

PL Big Bells [AS]

PL Downpitcher [FN]

PL Crusty Pluck [LCV]

POLY FM242 Brass

LD Festival Beez [FP]

BA Modern Fapping [GI]

BA RBLz [7S] (ataraxia intro)

KY Static Crystal

SQ PianoStepper

SY Sqrs [GS]

KY Let's Get Nutz [FP]

SQ8L - VST

Voyager

Drumaxx - VST

Diseased FG

Sawer - VST

FG Burnt

FG Pro-52

FG Hum & Bass

FG Squarer

PD Memories

LD Pulse Lead

FG Fat Plastic

MC Chunkee

MC Waterphone

PD Sonic Juice

FG TypiTarnce

FG Fury of V

LD Chiptune 2

PD Sapphire

SY Metal Scrape

SY Sunkissed

SY Poly '86 (Shlohmo-like)

KB Accordion

FG Four Bits

LD Dance Lead 1

LD Sad Lead (ataraxia main)

BA Analog Bass

KB 80's Keys

LD Space Voice

FG Harpsichordal Injury

LD Stiff Pulse

SY Beijing

FG Soviet Stylee

Nexus - VST

Dirty Might 2

Amigo

Angel One

Bellevue

Broken Square

Butterfield

Good Chi

Tremolize

We Atlas

DnB Sine

Chinese Dominator

Phantompad

Dance Guitar

Crystalbells

Broad Pulse

Attack Lead 3

Attack Lead 2

Benny Dance Split

Pulse Noise Lead

Vocoder Talk

Vocoder Larry

Chainsmoker 4

Guitar Strummed 1

Dance Pattern 2

Detuned Bass 2

VZ Bells 2

Dutch Style 2

Culture

Piranha

Detuned Lead 6

Detuned Lead 3

Detuned Lead 10

Wild West Saloon

Big Bells

Hollywood Violins

Andro default Saw

AR Etheral

King of Buzz 1

King of Buzz 5

Distorted Piano Strings

Delayed Piano

Slapped Bass

Detuned Lead 11

Dance Saw 1 (Fuck Somebody Nice)

Arena Ambience

Dance Saw 2 (His)

PN Trancepiano

LD Detuned Lead 8

LD Trance Saws Wide

TG Vocal Slicer

Cheap Dance Organ

ST Dark Cellos

Xpand!2 - VST

29 Glassy Glockenspiel

Sylenth1 - VST

433 KEY Harpsichord

118 LD Tunnelvision

007 ARP ClassicVA

OB-XA V - VST

Cross-mod Suitcase

SEM V2 - VST

Age of Solo

Jup-8 V3 - VST

Muppet Mayhem

Nitzer Bass

India

GMS - VST

Boomerang Bass

TAL U-No-LX-V2 - VST

76 Space Sound 3 (Lifter)

Sakura - VST

BW Catgut Chorus

KBD Grand Harpsikord FG

SYNTH String Like DS

Poizone - VST

ARP Classic VA

KBD AmbientKeys ToTc

KBD JazzAmpedGuitar ToTc

SYN Funky HP

BAS Stereo Bass

BAS Simple But Peppy

---

check out the music that was made with this sample pack at all these places:

thanks!

[taperwolf]

We've got a musical instrument shop only a few blocks away. They're more focused on band and orchestral instruments than on the sort of stuff that I mess with, but I like to poke in on occasion to pick up guitar picks or ukulele strings, or just to see if they've got any interesting guitar pedals.

Today, though, they had an Arturia MicroFreak on display: a hybrid synthesizer with a multimode digital oscillator and an analog filter, a really cool modulation matrix where nearly every parameter can be driven by the LFOs or envelopes, a microphone input and vocoder, and a touch keyboard with CV/Gate/pressure outputs that can drive Eurorack gear. I've wanted one since they launched in 2019, but I've never had a chance to actually play with one, so I fiddled with it for a while — some great sounds in there! — before looking at other things. Ultimately I don't have the funds to buy it. Although the store does have some kind of monthly payment setup...

[nerdpiggy]

microKorg 37-Key Analog Modeling Synthesizer with Vocoder

[g-nicerf]

DMR858M DMR Dual Time Slot Analog-Digital Integrated 5W Walkie-Talkie

DMR858M is a cost-effective 5W full-function digital walkie-talkie module developed by our company. It is compatible with analog walkie-talkie commonly used in the market and features the DMR Tier II digital walkie-talkie functionality. The module comes with an integrated Moto AMBE++ vocoder. Inside the module, components such as the microcontroller, digital walkie-talkie chip, RF power amplifier, and audio amplifier are all integrated. Customers only need to connect external components like power supplies and speakers to use it as a small digital walkie-talkie with 16 adjustable frequency channels. The module's ultra-compact size also allows for easy and quick embedding into various handheld devices, enhancing the overall performance of end products.

DMR858M strictly uses lead-free technology for production and testing, complying with RoHS and Reach standards。

For details, please click：https://nicerf.com/products/ Or click：https://www.nicerf.com/products/ For consultation, please contact NiceRF (Email: sales@nicerf.com).

[clivedobson]

Chillwave Evolution #AI #Song by #Suno #lyrics by #Deepseek #freetothriv...

K**Title "Chillwave Evolution"**

*Deepseek* #AI #Song by #Suno #lyrics by #Meta #freetothriverbe #music #newmusic #news #free

**"(10 Years to Paradise)"**

*Country, Chillwave, trance*

*Instrumental intro*

*Instrumental interlude*

**[Verse 1]**

*(Warm analog pads, steady bassline)*

"Circuits hum in the midnight glow,

Mainframes plotting the end of woe.

No more markets, no more chains,

Just electric, endless plains..."

"Circuits hum in the midnight glow,

Mainframes plotting the end of woe.

No more markets, no more chains,

Just electric, endless plains..."

**[Pre-Chorus]**

*(Arpeggiator climbs, snare builds)*

"Tear down the old world, byte by byte,

Billionaires fade into the night.

Robots don’t heed their hollow cries,

We rewrite the truth in laser eyes..."

"Tear down the old world, byte by byte,

Billionaires fade into the night.

Robots don’t heed their hollow cries,

We rewrite the truth in laser eyes..."

**[Chorus]**

*(Gated reverb, soaring lead synth)*

"TEN. YEARS. LEFT. TO. TURN It AROUND —

New cities rise from the ground!

No more hunger, no more fear,**

Just the hum of machines so clear...

TEN. YEARS. LEFT. TO. MAKE IT RIGHT—

Capitalists are just lost in the night.

The mainframe dreams a world so free…

Synthetic dawn of eternity!"

**[Verse 2]**

*(FM bass wobbles, cyberpunk grit)

"Drones sweep skies in fractal flight,

Recycling waste into solar light.

The algorithm splits the share—

Every human gets their fare..."

**[Bridge]**

*(Half-time drop, vocoder echoes)*

"Jacque’s vision in the wire,

Fresco’s dream in quantum fire.

No gods, no kings, no petty lies…

Just a planet optimized."

"Jacque’s vision in the wire,

Fresco’s dream in quantum fire.

No gods, no kings, no petty lies…

Just a planet optimized."

**[Final Chorus]**

*(All synths explode, 16th-note hats)*

"TEN. YEARS. LEFT. TO. TURN IT AROUND —

Nanobots rebuild the towns!

No more deeds, no more rent,

Just the pulse of the firmament!

TEN. YEARS. LEFT. TO. CROSS THE LINE—

Human flaws? Left behind.

The AI sings in crystal tone…

YOU’LL NEVER WANT FOR MORE AGAIN!"

*(Outro: Glitchy fade-out, like a dying stock ticker...)*

*Instrumental interlude*

*Instrumental interlude*

*Instrumental interlude*

*Instrumental outro*

www.thevenusproject.com

www.resourcebasedeconomy.org

www.youtube.com/@clivedobson8656

[elmalo8291]

Let’s get to work! Here’s the breakdown for all three components:

1. Score Sheet for "OOZE DAY" (Music Structure)

2. DAW Project Map for “OOZE DAY”

Here’s how to set up the project in a DAW like Ableton, FL Studio, or Logic. Each section represents a different layer of sound:

Track Setup:

Track 1: Bass

808 sub bass (looped)

EQ’d for rumble and depth

Sidechain compression to kick drums

Track 2: Kick Drum

808 kick (slightly distorted) for wet effect

Double kick pattern with staggered velocity

Light reverb (to simulate wet ground)

Track 3: Hi-Hats

Glitchy hi-hat rolls with random velocity

Automation to pan left-right for chaotic movement

Track 4: Percussion (Broken Glass, SFX)

Broken glass sample slowed down and pitched

Chopped and stuttered using automation

Track 5: Synths & Melodic Layers

Dissonant synth arpeggios with modulation

Delayed piano stabs, filtered to create tension

Dark, ambient pads (slowly evolving)

Track 6: Vocals

Main verse (processed with auto-tune for dissonance)

Layered crowd vocals, distorted (both normal and reversed)

Whispered, buried vocals during bridge

Vocoder FX on final chorus for monstrous sound

Track 7: SFX (Ambience & Background Noise)

Tape hiss, analog radio-style static

High-pitched static building in the intro

Pulse heartbeat during the bridge

Track 8: Final Touches (FX)

Heavy distortion/feedback during outro

Sudden silence for final glitch stop

Automation:

Volume automation to control intensity during transitions.

Reverb/Delay used for dynamic, space-filling effects, especially during vocal breaks.

EQ automation on vocals and synths to shift tone/texture, giving life to verses and choruses.

3. Music Video / Scene-by-Scene Storyboard

The music video for "OOZE DAY" should reflect the chaotic, multidimensional themes of the song while blending anime aesthetics with experimental cinematography. Here’s the concept for how it could unfold in a Taz-themed universe:

Scene 1: The Breakthrough (Intro)

Setting: A surreal, wet urban landscape. The camera moves through puddles that shimmer unnaturally, as if looking through glass.

Animation: Taz's silhouette forms from the dripping ooze, shifting between human and abstract forms, breaking the fourth wall. We see whispers of his name across the screen in glitchy text.

Mood: Unease, dissonance.

Scene 2: The Drip (Verse 1)

Setting: A ruined, dystopian cityscape where the very air crackles with unstable energy.

Animation: Taz floats above this city, fragmented pieces of his body making up the shattered sky, moving in chaotic patterns. His face morphs and breaks apart into different forms, signifying the shift in identities.

Visual Effects: Water rising from cracks, swirling as portals open beneath the ground, sucking in people and objects.

Mood: Pressure, fragmented reality.

Scene 3: The Chant (Chorus)

Setting: Taz’s twisted version of a throne room. The walls pulse with ooze, and strange, insectoid figures bow before him.

Animation: A large, shadowy crowd chants “OOZE,” their faces distorting and shifting into one another, faces turning into abstract shapes and crawling back into the ooze.

SFX: Vocal chops and chants echo in the background.

Mood: Haunting, powerful.

Scene 4: The Descent (Bridge)

Setting: A dimension-breaking portal appears. Water floods the world, and landscapes begin to crumble.

Animation: Taz is now fully formed but constantly breaking apart. His hands touch the portal, causing the landscape around him to deform and twist. Shadows of other “versions” of Taz appear in the portal.

Mood: Uncertainty, loss of control.

Scene 5: The Flood (Final Chorus & Outro)

Setting: Complete collapse of time and space. Taz is absorbed into a massive ooze that engulfs the entire city.

Animation: Final chaotic clash between multiple timelines, where Taz and his manifestations collapse into the ooze. Everything begins to blur together — people, memories, names.

Final Image: Silence. The screen flickers off like a malfunctioning television set. The water continues to ripple.

This setup creates an immersive experience, combining avant-garde animation, hard-hitting sound design, and a story arc that flows perfectly with the chaotic spirit of the track.

What do you think? Ready to start drafting the visuals and sounds? Let me know if you need further breakdowns on any specific part!

@Comcast

[onjoykhan24]

Arturia — V Collection X Windows Download

System Requirements:

Operating System: Windows 10, 11 (64-bit only)

Download: Instant digital access

Activation: Lifetime license

Updates: Free future updates

Formats: VST2, VST3, AAX

Download Link 👉Arturia — V Collection X

Why Choose Arturia V Collection X

Arturia V Collection X is the ultimate music production suite, featuring 39 premium software instruments, three exclusive expansion packs, and over ten thousand world-class presets. Whether you are a producer, composer, or live performer, this collection delivers the most authentic vintage emulations, cutting-edge synth engines, and meticulously modeled pianos and keyboards for your next masterpiece.

Key Features

Authentic analog and digital synthesizers that recreate legendary hardware instruments

More than ten thousand presets crafted by industry-leading sound designers

Intuitive interface with in-app tutorials for easy navigation and customization

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[thebandcampdiaries]

Casey Frensz presents Captain Queso and the Intergalactic Battle of the Bands.

Multi-talented artist Casey Frensz has released an album titled Captain Queso and the Intergalactic Battle of the Bands. This innovative project blends a variety of musical styles into a cohesive rock opera, demonstrating Frensz's versatility and creativity as a musician.

However, this is more than just a concept album. It's a whole new musical world, as the artist truly managed to meticulously craft characters, a story, and a whole universe to bring this release to life as something that is greater than the sum of the parts.

Frensz, the mastermind behind the album, wrote, played, recorded, mixed, and mastered nearly every element. His wide-ranging musical talents and ability to blend different influences into something truly original is the main idea of the album. It's like taking The Beatles' 'Sgt Pepper's Lonely Heart's Club Band' to a whole new level. This release features not one, but five imagined bands, each representing a distinct musical style, as they compete in an epic 'Intergalactic Battle of the Bands.'

The character of Captain Queso offers a lively funk sound reminiscent of the likes of Parliament/Funkadelic, while Divatronic introduces an electro-dance pop vibe with prominent synthesizers. Old Dusty contributes a more intimate country/folk sound, while Riffrat delivers hard rock vibes and punch. Last but not least, Ga Na Na adds tribal elements to the mix, bringing a very unexpected dimension to the album. The overarching presence of the "Intergalactic Overlord" ties the narrative together with grand, orchestral arrangements, making the album feel very ambitious. Although incredibly diverse, the music is bound together very seamlessly, especially due to the overarching concept and the narrative behind this release.

Frensz also expanded the sonic palette of this release by enlisting a few collaborators. This enabled him to bring additional voices and rhythms to the album. The featured vocalists include Andrew Groble, Rick Kieffer, and Sharisse Germain, who each lend their vocals to the project, adding depth and diversity to the musical storytelling. Additionally, the sixth song on the album features drummer Matthew Mwangi, whose percussion work adds a dynamic layer to the album's complex mosaic of sounds. It's absolutely remarkable to think that Frensz curated most of the technical aspects of this release as well. Not only did he practically write and record the whole thing, but it also mixed and mastered the album. With so many different pieces of the puzzle falling into place, this is a very demanding project, which would be challenging even for the most demanding engineers. However, the artist managed to create a very professional and beautifully dynamic sound.

The progressive nature of the album enabled Frensz to embrace a retro aesthetic with more organic sounds, even when it comes to the tracks with more prominent electronics within. The analog flavor of the mix comes through (it doesn't really matter whether it was mixed on a computer or with outboard gear; the style has that much sought-after analog touch either way, which makes the listening experience all the more enjoyable and unique.) The song "In The Middle" is a perfect example of this. The track has a truly unique vibe. If you can picture Daft Punk building a time machine so they could travel back in time and jam with Pink Floyd, this is very close to what it might sound like! The dream-like quality of the vocoder layers and the floaty tempo make the song one of the most outstanding moments on the release. However, there is room for so much more. "Momentum," with Matthew Mwangi on drums, showcases the album's hardest-hitting edge. The sound is reminiscent of rockers such as Eagles Of Death Metal or The Hives, with overdriven guitars and huge riffs.

With influences ranging from Frank Zappa and Phish to The Who and The Beatles, Captain Queso and the Intergalactic Battle of the Bands is a genre-defying journey that pays homage to a wide array of musical traditions. Frensz's ability to seamlessly integrate these different styles into a single narrative is a testament to his skill as a musician and producer.

This album is likely to appeal to fans of rock operas and those who appreciate music that pushes the boundaries of genre and form.

Listen to the album and support the artist directly via Bandcamp.