Amberwolf's Music Studio Technical Stuff

I know! It’s way better than that royalty free stuff people add to their videos.
Is it?

Making the A match up with the V is a whole nother hobby.
in nearly every song, I have to make assorted bits of audio line up with each other, the beat, and ohter midi notes or events, so it wouldn't be that much more comlicated tp line it up wiht video. )
If you do it for a movie, you could win an Oscar!

It's a little more complicated than that to get an oscar, but...yeah. :)

Even if it were simple I'm nowhere near good enough at music to win anything for it. (if I was, I'd have a much bigger audience by now).

Still, I'll keep making it because i'd explode if I didn't.. ...and so, here's a new one:

mystery WIP
Any feedback would be useful.:) No name yet; still waffling among several ideas (none of them feel quite right).

020825 000027h mystery WIP by Amberwolf
Meant to be a bit mysterious, sparse bits of instruments among the base bass / percussion.



EDIT(s): A number of significant edits made, mix changes, added parts and instruments, etc. Most recent version number at the bottom, link above is still where to listen to it:
2-13-25: 020825 000027h (first public version)
2-13-25: 020825 000039j
2-15-25: 020825 000044k
2-16-25: 020825 000048k
2-16-25: 020825 000054m
 
Even if it were simple I'm nowhere near good enough at music to win anything for it
1739777350355.png

Either the site gets no traffic at all then, or you're a tad better then you're attributing to yourself if a WIP get's #3 on their charts.

Either way, listened to it twice, going back couple of times. Not sure why. Near the ~3:50 - 3:54 mark I got a bit confused like I was missing a transition, but then the voices come back in and it connects again around the 4m mark.

Is there an intended feeling/emotion you're trying to convey with this particular song?
 
Either the site gets no traffic at all then, or you're a tad better then you're attributing to yourself if a WIP get's #3 on their charts.
That site gets virtually zero traffic. A single listen can stick me in the top ten of a subchart for days, and in the top thousand of the "main" charts. :roll:



Either way, listened to it twice, going back couple of times. Not sure why. Near the ~3:50 - 3:54 mark I got a bit confused like I was missing a transition, but then the voices come back in and it connects again around the 4m mark.
I probably missed putting something in there, or mistimed it. Or there's something I can't hear because of my tinnitus and/or missing frequencies that is altering the timing being heard.


Is there an intended feeling/emotion you're trying to convey with this particular song?
It's just supposed to be kind of mysterious, but active...I didn't have much of a concept when I started messing iwth the sounds, other htan...to mess with the sounds. :lol: I can't even decide on the name yet. :/

I have been looking up info on how to tune my 6string bass to use the lower strings (that I don't often play on) as resonant "drone" strings so I can create some more "sitar-like" (in concept) pieces for sections of this, as I don't have all the bits I'd like to hear available as samples already, and I've pushed the ones I do have about as far as I can go for retuning/pitching/stretching/squishing them for time/etc., without making them sound like they've been done that way; artificial. If i can manage the retuning (apparently it doesnt' always work, too many "it depends" factors) then I have to figure out a technique to play the bits with what control I do have over the strings and my fingers ( I can't do it the way everyone else would). .

I already tried playing in the various piano bits and couldn't get htem right, so I drew them in instead (including the sweepy crossing notes bit in there, which came out better just running the note draw tool randomly across the screen a few times than trying to play that in by sweeping my hands across the keys). I turned off all the snap / quantize and just drew the notes in "loose" and left them where the ended up, "close" to the various timing lines, and it sounded "right'.

ATM I'm messing witht eh snare notes to get them to sound a bit different for each hit because they all stand out so much in the mix and I don't lik the machine-gun repetititveness. (I tried turning them down but then the song sounds wrong). am also removing various drum hits to thin the percussion down to just what's needed (i almost always start out with too much).

Some of them I will have to render out the drum tracks to audio, then replace the individual sounds with a separate sample because the drumsynth being used is very very hard to edit the "kits" (you have to use a hex editor to read the "kit" file, which tells you which "sfz" files it uses for various "drumpads", find that file and copy it to a backup location, then use an SFZ editor to see which samples it uses in the original sfz file, and then replace the samples you want, assig nthem, create any adsr envelopes needed, set volumes, etc., and resave the sfz file over the top of the original one (because you can't eidt the kit file itself to point to a different file). It's way easier to just manually stick in and align the new sounds directly into the aduio track, and given taht complexity and time, is saying something about how hard it is to customize a drumkit. :/

There are much easier to edit drumsynths than SessionDrummer3, but I already have that and know it well, and anything better is expensive and usually requires ilok or some other retarded authorization hardware/software setup to have to run on your machine all the time, and always have a working internet connection and always allow automatic updates, or you can't even use it. I refuse to use those kinds of software for a number of reasons that may be obvious, but i know some poeple don't care what problems they are left open to by this kind of thing, or they like fixing things instead of making music (i don't).
 
Some of them I will have to render out the drum tracks to audio, then replace the individual sounds with a separate sample because the drumsynth being used is very very hard to edit the "kits" (you have to use a hex editor to read the "kit" file, which tells you which "sfz" files it uses for various "drumpads", find that file and copy it to a backup location, then use an SFZ editor to see which samples it uses in the original sfz file, and then replace the samples you want, assig nthem, create any adsr envelopes needed, set volumes, etc., and resave the sfz file over the top of the original one (because you can't eidt the kit file itself to point to a different file). It's way easier to just manually stick in and align the new sounds directly into the aduio track, and given taht complexity and time, is saying something about how hard it is to customize a drumkit. :/

This sounds like it's way to much work to get what you need, it's likely limiting you.

There are much easier to edit drumsynths than SessionDrummer3, but I already have that and know it well, and anything better is expensive and usually requires ilok or some other retarded authorization hardware/software setup to have to run on your machine all the time, and always have a working internet connection and always allow automatic updates, or you can't even use it. I refuse to use those kinds of software for a number of reasons that may be obvious, but i know some poeple don't care what problems they are left open to by this kind of thing, or they like fixing things instead of making music (i don't).

You use FL studio as DAW right, so any vst should work? There are free vst plugins like Drum Pro, Steven Slate Drums 5.5 free or MT Power Drum kit 2.

To me, having to take all those steps to edit sfz is also 'fixing things instead of making music'. You've just grown accustomed to it. But I believe you would be more productive if you didn't have to take all those extra steps.

But not sure what would work even better for you then what you're using now.
 
This sounds like it's way to much work to get what you need, it's likely limiting you.
Probably, but its the method I have available that works (many others tried don't).

There are a lot of things that limit me...but that's life--if I had unlimited funds (and thus didn't have to work a dayjob) I could get around most limitations, partly by paying people to custom-build me things or custom-write me software, and having enough time to do more of the things I need/want to do (including get enough sleep)a. But there are some that are built into me, like my physical body control problems, my miswired brain, etc., that I can't do anything about.


You use FL studio as DAW right, so any vst should work? There are free vst plugins like Drum Pro, Steven Slate Drums 5.5 free or MT Power Drum kit 2.
No, I use a very old version of SONAR, and not going to change over to something else (reasons discussed elsewhere in this thread, and also over on the current cakewalk/bandlab forums in various threads if interested). Can't presently add new VSTs (reasons discussed previously here and cw/bl forums).

I took a very quick peek at those three, but from the very little info on their sites and in a very cursory google search for users with similar needs, none of them can do what I require (not even as well as the one I already have, much less improving the situation). Below is a cursory summary of what I found.


Drum Pro is a rompler, you have to buy new packs. I can't use it if I can't customize it myself easily right off the bat. If it doesn't let me use multiple samples per pad with velocity switching, round robin, etc., then there's no difference from what I'm using now, so no reason to learn something new that doesn't do anything different that I need. Can't tell what kind of copy protection it has, but any form of that beyond a one-time entering of serial number makes it unusable for me.

Steven Slate Drums is a big unwieldy thing I don't want to deal with; I don't need/want something to do drums for me, I just need it to play the drums I want to hear from the notes I play in or draw in. It's also a subscription model if you want more than the basic kit from teh free thing. While it supports velswitching and roundrobin, that's only for their prebuilt kits--you apparently can't build your own that do that. So useless. Can't tell what kind of copy protection it has, but any form of that beyond a one-time entering of serial number makes it unusable for me.

MT Power Drum kit 2 appears to be the same thing as SessionDrummer3; i can't tell from their site if you can build your own kits or not; since they don't make that a big deal then it's probably basic at best if available at all. So also not useful. No need for any of the built in rhythuyim/building/effects/etc.

Can't tell if any of them have multiple outputs each drum can be assinged to separately either, which SD3 can, which is extremely important to effect and process each one separately without having to mute all but one and render each track out to its own audio track, first for the basic input of the tracks, then dleete all those every time i edit any drum note and re-render them all over again (would have to do this hundreds or thousands of times in any project).


So, if you know of a free one that I can build my own kits from my own samples (without editing them outside the program), with multiple samples per layer with velocity switching and round robin, can assign pads to any note, can save my kits as "presets" that don't require saving as a huge bundle file of all the samples (that are already on my drive and don't need yet more copies of), that doesn't ahve any copy protection, doesn't rquire an internet connection to use, doesn't require logging in to use, doesn't have autoupdating, doesn't require using their kits or patterns, has at least 8 separate audio outputs that can be routed out as mono, or stereo pairs, tuning/pan/volume controls per pad, etc., then it would be at least equivalent to what I have, plus the editing built in and the roundrobin/velswitching I'd like to get.

Something like that might be worth dealing with the issues of learning it (which takes a lot of time away from eveyrthing else I want and need to do), and figuring out how to get it to install and be seen by SONAR. ;)


Unfortunately everything I've seen that has even *most* of the features (pay or free) also has some form of one or more of the unacceptable things: autoupdating, login-to-use, internet-always, subscription (even free ones are unusable***), always-running-copy-protection, separate "manager" software, etc. None of those are going on my machines.

(those are also some reasons I can't use the modern version of SONAR, but serious visibility, customizability, and other GUI problems are others).



To me, having to take all those steps to edit sfz is also 'fixing things instead of making music'. You've just grown accustomed to it. But I believe you would be more productive if you didn't have to take all those extra steps.
It is indeed, and yes it would be more productive and creative not to, but thankfully I don't have to do it very often--only whenever I need to use a different drum that has to be played in...which is one reason i drop them into the track as audio samples instead, much of the time. Because that's faster, as long as I already know where I need them. ;)

I don't play the drums (well, I don't actually play anything, not like a real musician or whatever), so 99% of the time its' just as easy to construct them by samples dragged around int he trakcs as it is to play them from midi notes in a different track. I sometimes use an old Yamaha tabletop drumpad unit, or a keyboard, to tap in midi drums via realtime recording, then edit those, but the editing of my poor playing is often more work than constructing them note by note. :oops:


But not sure what would work even better for you then what you're using now.
I haven't found anything yet that doens't have problems (often advertised as features) that make it unusable for me...or else I'd probably be using that already. :)




***many things have gone the subscription / login method, which means that even if it's free, it's useless, because if their server goes down, I can't use it because if it can't phone home it won't run. If that's a momentary glitch, its' bad enough...but if they decide to discontinue it now suddenly I (and all their other users) are now frocked, because all the years of work I and the other users have put into it are now completely lost, and we all have to start over with some other company's trash instead.

A few years ago, I had tried out a really nifty free symphonic orchestra by the BBC, and a bunch of other cool free instruments they made...started really getting into learning and using it, then last year they forced an update that deliberately removed a bunch of the instruments, changed the way it worked and responded to input, destroying all the work I had done with it. Supposedly they "fixed" this, but I can never use it again because I can't trust that it won't do this again at some point, destroying my work and my music created with it. (because anything that was still in progress would now be destroyed and have to be redone from scratch as a different piece of music using some other instruments...if I have to do that, I have to do it from the start, because for me, the sound itself is everything--a tiny difference in the sound of something means I will probably make very different music with it).


It's too bad that companies have this mistaken belief that punishing their leginitimate users with all this crap is going to prevent the pirates from using their stuff without paying them for it. It doesn't even slow them down a little. So I just avoid all companies that do this (especially the ones that even do it on their free stuff).
 
So, if you know of a free one that I can build my own kits from my own samples (without editing them outside the program), with multiple samples per layer with velocity switching and round robin, can assign pads to any note, can save my kits as "presets" that don't require saving as a huge bundle file of all the samples (that are already on my drive and don't need yet more copies of), that doesn't ahve any copy protection, doesn't rquire an internet connection to use, doesn't require logging in to use, doesn't have autoupdating, doesn't require using their kits or patterns, has at least 8 separate audio outputs that can be routed out as mono, or stereo pairs, tuning/pan/volume controls per pad, etc., then it would be at least equivalent to what I have, plus the editing built in and the roundrobin/velswitching I'd like to get.

Sadly, no. But now I have a detailed 'wish list' I will use it to look around :) Don't expect to find something, as I think you done your homework, but you never know.

***many things have gone the subscription / login method, which means that even if it's free, it's useless, because if their server goes down, I can't use it because if it can't phone home it won't run. If that's a momentary glitch, its' bad enough...but if they decide to discontinue it now suddenly I (and all their other users) are now frocked, because all the years of work I and the other users have put into it are now completely lost, and we all have to start over with some other company's trash instead.

I still have my old copies of Visual Studio .net 2002, old copies of Adobe installers and if I look hard enough maybe some MacroMedia Authorware stuff ( long forgotten how to use it though ).

Can't even use vs studio .net 2002 anymore, and VSCode is pretty good. but at least my CS6 installers should still work ( not on win 11 I hear, but I could always run them in a vm ).

I will never 'subscribe' to CC, it's just a ripoff imo. Though maybe different if you're making your income with it.
 
So now I don't need to deal with floppies on my Ensoniq ASR88 (ancient sampler workstation keyboard; it's core computer technology is basically the same as a Mac Plus!) anymore:

A friend that uses these on his own ancient synths sent me a GOTEC HXC2001 floppy drive emulator that essentially replaces the floppy drive with a usb-stick reader (with some firmware magic in there to translate the one into the other and some controls on the front).
20250220_192920.jpg

Some basic info about them, and what they can work on / with, for those interested:
(basically anything that runs from a floppy drive can now run from a USB stick, including assorted industrial devices)


There are no instructions anywhere (including some extensive websearching!) for the exact process to use when installing one of these on the ASR88 (or any other ASR or EPS) and how to use it afterward. Physical installation was easy, (i have the ASR service manual, such as it is, if I needed it, thankfully didn't), but getting it to be detected and booted from..... I eventually got enough hints from the descriptions of how certain things work in various places to make a guess and that worked to at least get a bootable image onto it to startup the ASR.
20250220_192906.jpg
I'll make as complete a tutorial as I can for anyone that runs across this in a search, but for now:
--Installs just like the original FDD, but you have to make sure the "jumper" on the HXC is set to "S0" (mine came on S1).
20250220_193012.jpg
--You don't make the USB stick into a disk image (with your PC), which is possible to do with various programs, from the HFE or IMG files of the Ensoniq OS, you just put the image file onto the FAT32-formated USB stick.
--Put this USB stick in the emulator's slot, turn on the ASR, then the emulator will have a screen showing the first image file's details; if the OS HFE is the only one on there then you don't have to scroll thru the image files, just click the knob and it's now "loaded".
--Turn the ASR off, then back on, and it will now go thru the boot process normally.

I still get some errors; I can't change whihc image is loaded (if I have several on the emulator) as it says "disk not formatted", then sometimes if I wait a little while it will then begin reacting as if it can read directories and files on the new image, but it won't load anything off of it, giving the DNF error each time. I'm sure there's a solution to it, but I am too tired now to keep researching, and will continue later.

However...even without that, I can still just boot to the OS, faster (a little) than the original floppy, and "create new instrument" so I can then use it as a keyboard to control my in-SONAR softsynths, which is how I've used it for a long while now. This way I'm not wearing out the few floppies I have left that it can actually use (it's pretty picky because the ASR OS doesn't test for or mark out bad sectors, it uses them all regardless...so an imperfect disk will "work" but then fail on something important because the data is wrong), or the drive, and I can (eventually when figured out how) have a lot of floppy images (32gb I think the stick I have holds) on there if I wanted to have the sounds, fx, etc., and use the workstation as a sound generator and/or fx processor as well as a keyboard.
 
Several new edits of the "mystery" song, which now has a name:

I'm Sure It's Nothing, But....


02-15-25: 020825 000001 000044k
03-03-25: 020825 000001 000058n: reduced bassline 9db, some rearrangement of percussion, removed a few clips and notes here and there to let the rest breathe
03-07-25: 020825 000001 100063p - cahnged from sonitus eq to lp64 eq to calm down the 35hz and lower by 24db. (is only 6db at 35hz, rolloff starts at 50hz AFAICT on the scale (hard to tell on it's gui), presumably is down by 24db by the time it hits 0hz.
03-11-25: 020825 000001 100072q: re-eq'd bassline, assorted edits of many parts, mix changes.
 
Had a chance today (by dint of failure of ability to do much of anything else) to get the music workstation set back up to use the ASR88 with the new boot drive.

20250316_204237.jpg



The main "problem" is that the computer being used is presently still my main laptop, as I still can't clone it's drive to the SSD for the duplicate laptop I wanted to use just for the music stuff. (I have yet to finish installing enough things on the HP server rack to use it for the music stuff, and then to do the mods to the cooling systems to be able to remove all the loud fans...).

The main laptop is across the room next to the bed, and because of the already existing problems with it's connectors I don't ever move it. So the cable for the workstation's monitor have to reach to the external USB video box I've attached to it, and the audio and midi cables have to run to the external USB boxes for those, and all have to run down the back of the station, under a heavy floor rug, and back up the shelves the laptop is on, so that JellyBeanThePerfectlyNormalSchmoo won't entangle herself in any of them and remove all the equipment from the room in a panicked flight out of it as she then yanks things to the floor.... ;)

So every cable ahs to be around 12-15 feet long, or multiple shorter cables strung in series. For USB, MIDI, and audio, that's not a big deal, but I haven't yet found a really cheap HDMI cable that provides usable video at that length (tried two off amazon becuse they had free returns, and had to use that feature for both). So right now I'm using a DVI-VGA adapter at the video box output (it has one each HDMI, DVI, DP, each of which can be used as a separate monitor output, or clone the display, etc), then a long VGA extension cable and then a long VGA regular cable. The latter is well shielded, very thick, but the former is not etiher of those, so the resulting video is horizontally slurred across the screen. Still readable, but details are lost and certtin editing functions are difficult.

I have two thick well shielded cables but neither can be used because there is a missing color in each one, and I just don't have the ability at present to cut into the cables to find out which end the problem is at and replace that connector or fix it (or whatever wire fault there is between them). All these cables are used, some of them 30 years old or more, so ti's not surprising they dont' all work right. :/

Goodwill sometimes has good HDMI cables but they are never longer than about 6 feet, some fo them shorter than that. VGA cables hardly ever show up there anymore, and are almsot universally short and crappy.


Unfortuantely the video box uses a specail very short usb cable and doesnt'w ork right with longer ones, so I can't extend it that way and avoid a longer video cable; I had to actually glue the box to the laptop to ensure it wouldn't move around and unplug or damage that short cable or the lptop's (only) usb3 port.


by the time i was done I was too tired to do anything with it othe than make sure it worked and sound was good, but...it does work (and the powered partner speakers are MUCH better than the vizio soundbar i normally use (because the PPs are too big and heavy to mount on the monitor swingarm over the bed).
 
The Next Breath
The Next Breath, by Amberwolf

1744009570730.png
is a short (presently 1m49s) energetic 140bpm experiment currently using entirely wave sounds, some loops, some single hits, most chopped up and pitched, stretched, some mutilated, etc. Mostly from Ghosthack, BigEDM, BlackOctopus, FunctionLoops (most of which prohibit me naming individual contributors for whatever wierd reason, so just giving the company sources).

Once I can figure out how to play the bits I want to play in on the real guitar I'll add those, sort of a not exactly lead, and some synth and piano bits played in via keyboard (or drawn in as MIDI if I can't end up playing them right), it'll be a little different, but probably not by much.

Eventually there may be an extended version...but this is already extended to double it's original length.
;)


Version list with changes, edited as needed:

04-06-25: 040125 000001 100027f -- First Public Version
04-07-25: 040125 000001 100030g -- detail edits, some mix changes, added further intro sounds

Current version always at

The Next Breath, by Amberwolf





original version still at 040125 000001 100027f -- The Next Breath by Amberwolf for comparison if desired
 
Last edited:
So...a wierd problem has happened that I've never seen before, and cannot figure out how it could possibly happen. I've now finally got the project working again, but it took quite some doing, was very frustrating, and wasted a lot of time I could've used to further the musical content of the project instead. :(

Bandcamp now has the repaired version 040125 000001 200042j-000013.
The Next Breath, by Amberwolf

Sounclick.com has the broken version
The Next Breath (broken audiosnap/etc version) by Amberwolf
and the working version just prior to that
The Next Breath (pre-audiosnap-broken-version) by Amberwolf

Problem and fix sumary:

Before I rendered out the song version 040125 000001 100053l as a wave file to post on bandcamp, back on the 8th, everything was working normally and correctly. I had made a significant number of timing edits in various clips using the time stretch function, splitting and stretching or compressing sounds in time to fit in specific moments and still line up with the rest, and using Audiosnap which lets you do this without splitting hte clip by dragging markers around (it's easier to use AS for complex clip edits, and the split/stretch for simple one-move clip edits).

Both are nondestructive methods, so you can change or undo these edits at any time by turning the function off on that clip, which is handy for comparisons and experimenting.

Apparently during the render, the project file changed, for no explicable reason, and many of the timing edits (including all of the AS edits) and some of the clip fades (also nondestructive) changed, screwing up the timing of various parts, some of which are very obvious to hear, some of which are more subtle. I looked at the project file and while the AS edits were visually correct, they played and rendered wrong. Same for the stretch edits, fades, etc. Unenabling and reenabling AS on each clip, which should just toggle the state from edited to not edited and back to the same state as before, showed the clip's visual waveform incorreclty displayed, visually compresed to about half it's length with the remainder a flat line, but audibly not sounding like that, or rendering that way.

Rebuilding the waveforms (a function within clip properties dialog) didn't fix this, and messed up waveforms for other clips as well, that had nothing to do with any of hte edits or waveforms I was working with (not even on the same tracks).


So after that, I went back to listen to the last-rendered versions' wave file (100042j) and everything was as expected, so I opened that versions' project file and found that *it* was damaged the same way as the current version, and so werre all the other versions with these edits. None of them had had a problem before, and none had been saved or written to since originally saving htem, so there is no way that they could possilby be corrupted....yet, they were. Neither drive nor file system corruption could cause this, as those would be random damage, and these are exatly the same in every file, and the files open and work whcih they wouldn't if they were file-system damaged; it's just specific clip informaiton that's been altered.


It "feels" like a program problme of not being able to read the clip information correctly, but the program works correclty for newly created edits of any of these types, and it correctly reads old files not in this project. :?

A possible cause of the file damage, but still not explicable for how it worked and worked and then suddenly none of them worked....I have been reusing the same project over and over again for a long time now, as I learn more doing this type of music / mixing, just deleteing all the track and bus content / automation but leaving all the fx, routing, tracks, busses, etc. and saving as a new file ina new project folder for each new project. Maybe something has become corrupt in the file itself.

So I first used track templates to save the track and bus states, routings, fx, etc as exported trakc templates to save a huge amount of time, so I exported every track as a template, then inserted each of those into the new blank file, then copied all the content from the broken version and pasted into the new file, saving the new file as a new version at each step (just in case, as always).

There is a few hundred kb difference between the "broken" version and the new copy/pasted file version, with the new one being smaller at around 1736kb, and teh brokne one at around 2367kb. So there is data not copied over that might be accumulated garbage or errors in the file.


All the automation *seems* to be the same and working, had ot fix a bunch of clip positions, lengths, fades, and some of the stretched audio that showed the waveform in the correct place but played a different segment of the clip. Had to unstretch, reposition, and restretch each one. Rendered them all out afterr that so that each clip is just the actual audio and nothing to get corrupted in the way that just happened. Have to remember to do that for each such edit in the future for all projects, just in case. (which is annoying because it means I can't just change my mind on something, I have to then dig out hte old version of the clip in whatever previous file it was in and then copy it over to whatever version I'm working on, wasting a lot of time and taking me out of the workflow).



I'ts just...totally wierd that all these projects could get damaged *after* being saved, and they are all damaged the same way so it is not random file damage from a drive or filesystem issue, etc. And it's not just the audiosnap clips, it's the timestretched ones too, and clip fades in or out. Not all of the non-AS clips were damaged, just some of their edits, but every failure was time-related, position of the edit within the clip (where it showed visually in the correct place but rendering it or playing it back made it obvious it was not time aligned, and I could not find a consistent offset either. The pitch-shifted clips werent' altered, nro were jsut plain slip-edited clips or looped clips.
 
New one, with lyrics (spoken word), less than a minute long.

The Beaten Dog

Please...save me
let me go
this life is kinda hard
why?
my people...my people,
they left me.
Why?
trust me--there's a reason: I'm a shadow...
I'm free....which way do you think we should go?

Not the lightest song in the world. :(
 
04-21-25: 042025 000001 200031d -- corrected version

The Beaten Dog, by Amberwolf



Something went wrong somewhere with the previous version, and all sorts of bits got mixed up in where they should have played, so the previous version is garbage.

I should've listened to the export before uploading it.
:(


Been fixing that, new much much better version now, (I listened to the export to make sure!) you can tell what's what now.
 
04-22-25: 042025 000001 200049h -- added accents, emotionalized ending
04-22-25: 042025 000001 200054i -- added backing sounds
04-22-25: 042025 000001 200058j -- cleanup and timing

The Beaten Dog, by Amberwolf
 
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Behind You Lie Many Unseen

Behind You Lie Many Unseen, by Amberwolf


Evolving cinematic track, 3:42 long. The Elven rock hard in the last minute.

04-25-25: 042425 000001 1000034n -- First public version

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Technical stuff:

The most recent song Behind You Lie Many Unseen is built almost entirely using Ghosthack's Shymer, Ultimate Composer Bundles 1-3, and Ultimate Cinematic Vocals, though almost none of the pieces are used wiht any other pieces of the same 'kits" or "stems" they were intended to be. As part of the experiment and learning process, I deliberately went thru Shymer's "song kits" and picked only one piece at most from each one. Some are "loops" of patterns of sound, some are just individiual sound samples.

The Elvish speech comes as spoken phrases, with English versions as well, in dry (no effects) and "wet" (effects applied), but I like the sound of the elvish versions better so I use them, and I use them for how they sound rather than what they mean (unlike in Gareki where I chose them for their meanings). Later when I care what's being said and have something to say, I'll use the English ones in some other song. ;) I did leave most of the phrases intact in their order, but I stretched or squshed them in time to fit the beat of the song, and pitch shifted some of them for variations in ones used more than once.

The sung syllables in the rockin' Elven section in the last minute of hte song were individual syllables of the chants in FunctionLoops' Ethnic Voices bundle. I just picked a phrase at random, and split it up, and it turned out to work; almsot none of the syllables are in the order they were sung in. These were also time-altered and pitch shifted in some cases.


Similar things were done to choose and modify the staccato strings, the cellos, the long vocalizations and elven phrases, as well as the percussion, fretless bass, etc.

The only piece in there that is nearly unmodified is the pulsing bassline in part of the slow beginning and middle part of the song.

So, while I'm using existing recordings, it's not really much different in principle from playing a keyboard that uses samples of sounds to make it's instruments (which very very many of them do), except it is a bit more like creating that instrument in the first place (editing the samples for playback). Or like paying an artist to record things for you that you then edit down into a recording....the main difference being that htese are recorded by such artists so that any other artist that wants to (and buys them) can create whatever they want with them, instead of being recorded to my specifications.

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The Beaten Dog was built somewhat similarly, however I used mostly spoken phrases from Veela's Siren bundle. The sounds were from various bundles I don't recal with much certainty, but the sax bits are from a Basement Freaks bundle called Funk Legends in the Miles subfolder.

I had to cut and composite most of the vocal phrases from the ones available in that bundle to get the words I wanted, and pitch shift or time expand or compress individual syllables as needed to fit the music, and also to create expressiveness that isn't there in the original phrases.

For instance, "My people" is just one phrase, said rather dully, and I needed it to be more emotional, perhaps wistful or sad when the dog is thinking about what happened, so I listend to the way I could say the phrase myself in different ways utnil I figured out the differences in the way I said it flat and dull vs expressed the way I wnated, and then did those things to the phrase. I ended up using the phrase twice in succession, as one might when considering something one may not really want to say out loud and have to pause after starting to, so the first is more matter of fact and the second more emotional.

One phrase, had all the words I wanted, but all as one rapidly spoken phrase, and I needed it all slower and separated, so the first part was so fast that there are obvious artifacts in it after slowing it down and separating the parts enough to sound the way I wanted, and that's the "there's a reason", followed by the "i'm a shadow". These aren't in any of the other phrases, so I'm stuck with those. I found some other vocalist in a differnet bundle but had the wordes but they're not spoken, theyre sung, and they sound totally different than this vocalist anyway, so it wouldn't match.


I wanted to tell the story more copmletely, but not al the words I need are in the Siren spoken section, and I don't have another source that sounded wistful or sad enough, or could be made so. So for now, this is as long as the story can be. I dont' have a specific set of words written down for it ohter than those I used, but the story of an abused dog from it's own point of view, up to it's end, is what this song is meant to be. Kind of an homage to Kirin, who while probably not beaten, was certainly starved for her first few years along with other dogs at that place, and to Loki who was probably used as a bait dog and had probable cigarette burns all over. :(

So at some point I'll expand the song once I can either modify the existing words and phrases I have to do what I want, or find another source to replace all of them with consistent new ones with the right emotional content. (that I hopefully won't have to modify syllable by syllable!).


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Behind You Lie Many Unseen

Behind You Lie Many Unseen, by Amberwolf


Evolving cinematic track, 3:42 long. The Elven rock hard in the last minute.

04-27-25: 042425 000001 100063t -- timing and mix tweaks; Elven rock harder now.
04-28-25: 042425 000001 200075v -- replaced awkward section and fixed tuning glitch
04-28-25: 042425 000001 200096x -- timng and mix changes, bounced some clips to fix repeated broken fade problems (where some of the clips, especially in percussion at the last section, would "get" clip fades that extended *beyond* the actual clip, usualy several clips at a time all the same fade length, when none of htem actually had fades. Everything fine, save the file, close it, go back later, and they'd be broken like that. Fix it, resave, close, reopen, and broken again.
:/
But bouncing them fixed it.)
04-30-25: 042425 000001 200104z -- tweak intro percussion
 
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Behind You Lie Many Unseen

Behind You Lie Many Unseen, by Amberwolf


05-03-25: 042425 000001 300113A -- Extended: The elven get funky after they rock out.


Added a new section that reprises the former last section, but funky bassline and some trumpet accents.
 
Mmmm...only a single listen to any of the few most recent songs, except The Beaten Dog that got two, but whoever it was must not have been impressed; no replies about them. :/



Ah, well, on we go anyway ;) :

Behind You Lie Many Unseen

05-11-25: 042425 000001 300157K -- timing, mix, sound, vocal, etc changes to funky section.
 
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