One Sample Dare 32

[Wanterkeelt]

Hi,
here is my sample for One Sample Dare #32:

https://soundcloud.com/aural_solace/ambient-online-one-sample-dare-32-in-need-of-oil

I recorded these sounds where you hear me turning on a neon light, opening the door, turning on another light, the squeaking door, closing the door, etc.

There's not as much going on as in the previous challenge's sound, but I wanted to present something more quiet. I hope you'll come up with something nice :thumbsup:




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The idea of the contest is to create ambient track using only one sample.

Rules are:

1. Additional samples, soundfonts, synths, samplers are NOT permitted (except instruments which will use only given contest sample loaded). Any other processing of contest sample is permitted.

2. You can use as many copies of original sample as you want, each processed with respect to Rule 1.

3. Time for submissions is 16 days, counted to midnight, UTC, of 16th day.

4. Submissions should be uploaded to place available for all AO members. Links should be posted in thread dedicated to given round. Please, do not use hosting with countdown, CAPTCHA and other obstacles.

5. Sample is provided under CC0 (public domain) license.

6. Winner of contest is chosen by votes of AO members.

7. Winner of contest chooses sample for next contest.

8. Participants SHOULD disclose the formula for winning track for the benefit of community.

[MetaDronos]

This sample is very rich of possibilities!

[sklawlor]

this is a cool sample and I can see lots of potential with that sqeaky door. I already created a rhythm track which may or may not get used but this will be cool and I'm looking forward to hearing the submissions for this one.

[sklawlor]

Here's my submission. I hope you guys enjoy it.

http://soundcloud.com/sklawlor/1sample-dare-32-submission


track 1: took the two instances of the squeaking door, pitch shifted them down by 4 octives, mixed them end to end with a little overlap, ran it through a delay, then smart electroniques ambience and then time stretched it by a factor of 7.
track 2: ran the first squeaking door through a reverse bouncing ball delay, smart electronix ambience and then time stretched it by a factor of 10.
track 3: ran the second squeaking door through a reverse bouncing ball delay, smart electronix ambience, time stretched it by a factor of 10, reversed it and then ran the whole track through a delay adding a pitch bend to the ending.
track 4: took the metallic sound from 00:00:03.750 to 00:00:04.865, boosted the highs quite a bit, ran it through three different delays and smart electroniques ambience and then panned it from right to left in the quieter parts of the mix.
track 5: pitch shifted track 4 down by 4 octives
track 6: ran track 5 through a distortion plugin, ressonnance filter and then pitch shifted it down by 4 octives.

[MetaDronos]

"Tuentaror"

Synths: Crossfade Loop Synth, Granite, Iris 1, Padshop Pro, Windchimes.
Effects: Anima, GRM Evolution, Lizard Morph, sp3ctr3, Tyme Sefa, ValhallaRoom.
Tools: Generative, Hyperscore, PaulStretch.

Preparation steps:
All silent parts from original sample were removed. Resulting sample was my "start sample"
From start sample I created two sub-cuts: one containing door slam sounds only ("slam cut")
and one containing only screeching sounds ("screech cut").

Layer 1: Melody "handwritten" in Hyperscore was exported to MIDI. This MIDI was played
by iZotope Iris 1, with "screech cut" loaded into all three slots. In every slot different
spectral mask and pitch/speed settings were applied. After Iris 1 ValhallaRoom follows,
and GRM Evolution spectral smear 50% wet.

Layer 2: Windchimes MIDI notes generator plays Padshop Pro with "screech cut" loaded into first slot
and "slam cut" into second slot. Then two Reaktor FX ensembles follow: Anima and Tyme Sefa.
ValhallaRoom closes the chain.

Layer 3: This layer contains "start sample" reversed and timestretched (Reaper's onboard stretching),
then "screech cut" resynthesized in Generative standalone granular resynthesizer (this sections has
its own FX chain: sp3ctr3 + Lizard Morph), then again "screech cut" paulstretched, and finally "start sample"
stretched using Reaper's onboard stretch algorithm. ValhallaRoom on this layer's FX channel received the whole sequence.

Layer 4: Windchimes MIDI notes generator plays New Sonic Arts Granire granular synthesizer, with original sample loaded.
ValhallaRoom follows.

Layer 5: Windchimes MIDI notes generator plays Crossfade Loop Synth with "screech cut" loaded. ValhallaRoom follows.

Master chain: SlickHDR, A1StereoControl, PSP MasterComp, PSP Xenon.

Arranged, mixed and rendered in Reaper.


https://soundcloud.com/metadronos/tuentaror

[DarkenedPines]

ohmygod haha u turned the sample up cause i thought it was quiet. Then all of the sudden, VERY loudly, I hear the squeaky door. Jesus man. I thought it sounded like a broken trumpet with a balloon letting out air inside of it. Idk if ill be able to work on this one. Im working on my AO5 submissions still :S

[Tuonela]

https://soundcloud.com/tuonela-1/murdoor-ao-osd-32


I loaded the sample into ambient v0.3 and “improvised on it”. The result was double-tracked, slightly out of phase, with one track being downpitched by three semitones. The soft middle section was amplified, double-tracked and given varying levels and types of delay in order to enhance its (mostly accidental) features. Three drones were created from various parts of the original improvisation and used at the beginning and end. Two of the small, sharp noises from the original sample were mixed together, cloned and treated with delay, reverb and equalization to create the rhythmic passage between 6:12 and 8:58.

Image is of a doorway in Paris, colour interfered with by me.

[Wanterkeelt]

I love those Metadronos posts, I always find useful plugins I didn't know before. And of course cool music :D:thumbsup:

[MetaDronos]

I love those Metadronos posts, I always find useful plugins I didn't know before. And of course cool music :D:thumbsup:

Wow, thanks! :highfive:
I always try to showcase interesting plugins/tools in my work. There are loads of treasures in "forgotten gems" music software category.

[Synthetic Aurality]

I love those Metadronos posts, I always find useful plugins I didn't know before. And of course cool music :D:thumbsup:

Wow, thanks! :highfive:
I always try to showcase interesting plugins/tools in my work. There are loads of treasures in "forgotten gems" music software category.

You're really good at it! Your tracks inspire me to suck less! :thumbsup:

[Synthetic Aurality]

Working on my OSD track now.. the sample is full of terror and lamentation, it's PERFECT!!!

This is my first real sample-manging project in SONAR.. taking some getting used to.. maybe beer will help...

[Synthetic Aurality]

And now, dive into.. THE RIFT!!

https://soundcloud.com/synthetic_aurality/the-rift


Boy, this was a BLAST! Created in Tracktion 6 since SONAR wouldn't play nice (angry face) and finished up in Sound Forge.

4 tracks:

1 - Original sample timestretched and pitch-shifted, fed in PSPAudioware PSP 85 with a send to Kaleidoscope.
2 - The stretched-and-shifted track above, reversed, sent into Audio Damage Ronin with a send to the same Kaleidoscope as above.
3 - Copy of the sampe from Track 1, hit with an instance of PSP Audioware PSP 85 (which I'm in love with), with a send to Mlekular.
4 - Same sample from Track 2, ,sent into Audio Damage Discord 3, no sends this time.

Master Bus: Tone2 Akustix into ValhallaVinageVerb for that killer smeary reverb thing.

Final wave brought into Sound Forge 9, trimmed, normallized, and the last minute and a half hit with the Sony multitap delay set to eight taps with varying delays, finally everything tweaked with Soniformer for spectral expansion (yeah, that's a preset).

Track art created in Bryce 7 Pro.

3 beer died to bring you this recording.. :rockon:

Enjoy!

[synkrotron]

I'm going to give this a go...

I've already had a bash at messing with the supplied sample, mainly stretching in Paul's wottsit... A great tool that is... I love what it can do.

I'm also using Tantra. I almost feel like I am cheating with that, but it is, at the end of the day, a VST effect, and not an instrument. So I'm hoping that it will be allowed.

I will have a problem disclosing my techniques though cos I forgot to write down what I am doing, and that's fatal, with all the chopping and stretching going on. Best I could do is describe the effects used and my send set-ups.


I have listened to some of the examples above and I am really impressed with the results so far


cheers

andy

Okay, I'm going to add my processes and steps here. I've yet to write up what happens in Sonar. What follows here are the steps I used to create my samples from the original sample:-

1) Renamed original file from In need of oil.WAV to OSD32.WAV

2) Created a copy of OSD32.WAV and renamed it OSD32_001.WAV, opened in Sound Forge and reversed the sample

3) Opened OSD32_001.WAV in Paul's Extreme Sound Stretch, stretched 10x and rendered as OSD32_002.WAV

4) Opened OSD32_001.WAV in Paul's Extreme Sound Stretch, stretched 10x, dropped pitch by 2400 cents and rendered as OSD32_003.WAV

5) Opened OSD32_001.WAV in Paul's Extreme Sound Stretch, stretched 10x, dropped pitch by 3600 cents and rendered as OSD32_004.WAV

6) Created a copy of OSD32_002.WAV and renamed it OSD32_005.WAV, opened in Sound Forge and cropped sample between 2:00.000 and 2:50.000

7) Created a copy of OSD32_003.WAV and renamed it OSD32_006.WAV, opened in Sound Forge and cropped sample between 2:00.000 and 2:50.000

8) Created a copy of OSD32_004.WAV and renamed it OSD32_007.WAV, opened in Sound Forge and cropped sample between 2:00.000 and 2:50.000

9) Opened OSD32_005 in PESS, stretched 10x and rendered as OSD32_008.WAV

10) Opened OSD32_006 in PESS, stretched 10x and rendered as OSD32_009.WAV

11) Opened OSD32_007 in PESS, stretched 10x and rendered as OSD32_010.WAV

12) Opened OSD32_008.WAV, OSD32_009.WAV and OSD32_010.WAV and normalised each one to a peak value of -4 dB

13) Created a copy of OSD32_001.WAV and renamed it to OSD32_011.WAV, opened in Sound Forge, cropped sample between 23.5 and 28.0 and normalised to -4 dB

14) Opened OSD32_011.WAV in PESS, stretched 109x and rendered as OSD32_012.WAV

15) Created a copy of OSD32_009.WAV and renamed it to OSD32_013.WAV, opened in Sound Forge, cropped sample between 1:07.000 and 2:07.000 and then normalised to -4 dB

16) Created a copy of OSD32_001.WAV and renamed it to OSD32_14.WAV, opened in Sound Forge and cropped sample between 38.0 and 39.0, changed into a mono WAV by combining 50% L/R channels and then normalised to -4 dB

17) Opened OSD32_014.WAV in PESS, stretched 430x and rendered as OSD32_015.WAV

18) Created a copy of OSD32_008.WAV and renamed it to OSD32_016.WAV, opened in Sound Forge and cropped sample between 17.0 and 35.0 and then normalised to -4 dB

19) Opened OSD32_016.WAV in PESS stretched 28x and rendered as OSD32_017

20) Opened OSD32_005.WAV, OSD32_006.WAV and OSD32_007.WAV and normalised each one to a peak value of -4 dB



Now for the actual composition:-

I use Sonar Platinum as my DAW software.


Busses first:-


Master Buss


FX Bin


Pro-Q2 - No surgical cuts made, but the low-mids and hi-mids needed cutting and the low and high end boosting a bit. Actually, I lied about the surgical cuts... I cut out anything below 40Hz with a steep 96 dB/Oct slope, and anything above 20kHz (same steep slope).


Pro-L - I used the Film Score - Gentle and Musical setting. I set the metering to K-14 and raised the gain to +11 dB to get the RMS level to sit at around 0 dB. As it happened, not much limiting took place... Just the odd rogue peak. I set the output level to -0.4 if I am going to output a wave file that is converted straight to MP3, after trimming in Sound Forge.


SPAN - I use headphones for all my listening duties. I therefore pretty much rely on SPAN to tell me if there is anything seriously amiss and at some point I will pipe the sound through to my TV surround system to take a check on the lows. I leave the master fader at zero


Reverb Buss


I use Breverb 2, and on Void I used the Ball Room preset as the basis and tweaked the time to 5.85s. I also set the Dry mix to zero, so only the wet signal is passed through to the Master Buss. I drop the fader to around -3dB.


Delay Buss


I use Timeless 2 for any delay duties. For Void I used the Stereo Delay preset. I can't remember changing anything except the Dry mix was set to zero. I route a send to the Reverb Buss. I drop the fader to around -3dB with output sent to the master buss.


GR Left Buss


This buss was created for using Guitar Rig 5's granular effect. I used th Granular Sparkle preset and tweaked some of the parameters to suit. A send was routed to the Reverb buss with the level set to around -3db. The pan pot was set to 100% left and fader at around -6dB.


GR Right Buss


Similar to the GR Left Buss, except the parameters were tweaked slightly different, and the pan pot was set to 100% right.


Absynth Buss


This bus was used for Absynth's granular effect. An experiment really and something I had never ever done before. The Absynth granular effect is called Aetherizer and I messed around with the parameters a little bit. I'm still not entirel sure it was worth the effort. The fader was set to around -6dB.




Track 1


Sample OSD32_001 was placed on this track at around 4:20 and the clip faded in and out over a third of the sample. So, 1/3 fade in, 1/3 full level and 1/3 fade out. Pro-Q 2 was in the FX bin and was used to provide a steep cut at around 230Hz. I decided that anything below that wasn't bringing anything to the party so I cut it out completely. No high cut set. A send was routed to the Reverb buss, at unity gain and 40% left pan. The pan pot was set to 40% left and the fader set to around -16dB.


Track 2


Sample OSD32_002 was placed on this track. Although this sample could last the whole length of the project, it is cut out in places and some bits were moved around slightly. Pro-Q 2 was in the FX bin and was used to cut everything, with a very steep slope below around 75Hz. A send was routed to the Reverb buss, at -3dB and 100% pan right. The pan pot was set to 100% right and the fader to -7dB.


Track 3


Sample OSD32_003 was placed on this track. Again, as Track 2, the sample was cut in places, almost the same as OSD32_002, but the whole wave was dragged back in time by a bar. Pro-Q 2 in the FX bin was an exact copy of Track 2. A send was routed to the Reverb buss at -3dB and 100% pan left. The pan pot was set to 100% left and the fader set to -7dB.


Track 4


Sample OSD32_004 was placed on this track. Same as Track 2 and 3, except the clip was dragged back by another bar and everything was panned to centre (at least it should have been, but as I am writing this I noticed that the send pan was set to 100% left).


Track 5


Sample OSD32_005 was placed on this track at around 0:45, with half of the clip faded in, and the other half faded out. Pro-Q 2 was in the FX bin to cut everything below 200Hz. A send was routed to the Reverb buss at unity gain and 60% left pan. Another send was routed to the GR Buss at unity gain and centre pan. Yet another send was routed to the Absynth buss at -6dB and 100% left pan. The pan pot was set to 60% left and fader to -9dB.


Track 6


Sample OSD32_006 was placed on this track at around 1:00, with half of the clip faded in and the other half faded out. Pro-Q 2 was in the FX bin to cut everything below 200Hz. A send was routed to the Reverb buss at unity gain and 60% right pan. Another send was routed to the GR Buss at unity gain and centre pan. Yet another send was routed to the Absynth buss at -6dB and 100% right pan. The pan pot was set to 60% right and fader to -9dB.


Track 7


Sample OSD32_007 was placed on this track at around 1:18, with half the clip faded in and the other half faded out. Pro-Q 2 was in the FX bin to cut everything below 200Hz. A send was routed to the Reverb buss at unity gain and centre pan. The pan pot was set to centre and fader to -9dB.


Track 8


Sample OSD32_008 was placed on this track and features for the full length of the project, after a long fade in at the beginning and a long fade out at the end. Pro-Q 2 was in the FX bin cutting everything below 100Hz with a very steep curve and everything above 3.6kHz with a moderate curve. The FX bin also had an instance of Saturn using the Digi Tal preset, slightly tweaked. A send was routed to the Reverb buss at -1.5dB and centre pan. A send was also routed to the Delay buss at -4.4dB and centre pan. The pan pot was set to centre and the fader to -7dB.


Track 9


Sample OSD32_009 was placed on this track and features for the full length of the project, after a long fade in at the beginning and a long fade out at the end. Pro-Q 2 was in the FX bin to cut everything below 30Hz and everything above 3kHz. An instance of Tantra was also in the FX bin, but I'd have to write a separate chapter about this, assuming I could remember all the tweaks I made. All I will say, no drastic effects here... Just a bit of gradual filter changes made to the sample. Sends were routed to the Reverb buss, Delay buss, GR Left buss, GR Right buss and Absynth buss at unity gain and centre pan. Pan pot was at centre and fader set to -19dB.

Track 10


Sample OSD32_009 was also placed on this track, same as Track 9. Pro-Q 2 was in the FX bin to cut everything below 30Hz and everything above 3kHz. Saturn was also in the FX bin, using Delay LA I SM preset, tweaked a bit. A send was routed to the Reverb buss at unity gain and centre pan and another send to the GR Left buss at -6dB and 100% left pan. Pan pot was 100% left and fader set to -13dB.


Track 11


Sample OSD32_009 was also placed on this track, same as Track 9 and 10. Pro-Q 2 was in the FX bin to cut everything below 30Hz and everything above 3kHz. Saturn was also in the FX bin, using Delay LA I SM preset, tweaked a bit. A send was routed to the Reverb buss at unity gain and centre pan and another send to the GR Left buss at -6dB and 100% right pan. Pan pto was 100% right and fader set to -13dB.


Track 12


Sample OSD32_010 was placed on this track starting at around 0:14 and runs to the end of the project. Pro-Q 2 was used in the FX bin to cut everything below 50Hz and above 2kHz. A send was routed to the Reverb buss at unity gain and centre pan. Pan pot was cat centre pan and fader set to -15dB.


Track 13


Sample OSD32_011 was placed on this track at around 2:23. Pro-Q was used in the FX bin to cut everything below 50Hz and above 8.5kHz. A send was routed to the Reverb Delay and Absynth busses at unity gain and centre pan. Pan pot was at centre pan and fader set to -5dB.


Track 14


Sample OSD32_012 was placed on this track. Pro-Q 2was used in the FX bin to cut everything below 100Hz and above 11kHz. Tantra was used in the FX bin to modulate the Glitch effect, but in a moderate way. Guitar Rig 5 was used in the FX bin for some grain effects. A send was routed to the Reverb and Delay busses at unity gain and centre pan. The pan pot was set to centre pan and fader set to -18dB.


Track 15


Sample OSD32_13 was placed at the start of this track. Pro-Q 2 was placed in the RX bin to cut everything below 50Hz and above 11kHz. A send was routed to the Reverb buss at unity gain and centre pan. Pan pot was at centre pan and fader set to -10dB.


Track 16


Sample OSD32_14 was placed on this track. This sample provides part of the percussion whick kicks off at around 2:15 and contains cropped parts of the sample giving both a thwump and tick sound. Pro-Q 2 was used in the FX bin to cut everything below 50Hz and below 11kHz. A send was routed to the Reverb buss at unity gain and centre pan. A send was also routed to the Delay buss at -7dB and centre pan. Pan pot was at centre pan with fader set at -9dB.


Track 17


Sample OSD32_015 was placed on this track at around 3:21 with a long fade in. Pro-Q 2 was used in the FX bin to cut everything below 50Hz and above 12kHz. A send was routed to the Reverb buss at unity gain and centre pan. Sends were also routed to the GR Left and GR Right busses, at -3db and centre pan. Pan pot at centre and fader at -12dB.


Track 18


Sample OSD32_016 was placed on this track at around 5:31 with a long-ish fade in and out. Pro-Q 2 was used in the FX bin to cut everything below 50Hz and above 12kHz. A send was routed to the Reverb buss at unity gain and centre pan. Another send was routed to the Absynth buss at unity gain and centre pan. Pan pot was set to centre pan and fader to -19dB.


Track 19


Sample OSD32_017 was placed on this track kicking off at about 1:03 and chopped up into pieces in order to build up the rhythm track. Pro-Q 2 was used to cut everything below 50Hz with a steep-ish slope and everything above 1kHz with a shallower slope and low Q. Tantra was used in order to create the main rhythm by using an envelope to alter the filter in steps. A send was routed to the Reverb buss at -3dB and centre pan. Pan pot was set to centre pan and fader to -3dB.

[Wanterkeelt]

Hi andy, if you mean Tantra by Dimitry Sches, which I own myself, there's no problem with it, since it's an effect, it isn't using any other audio than what you're feeding it

[synkrotron]

Hi andy, if you mean Tantra by Dimitry Sches, which I own myself, there's no problem with it, since it's an effect, it isn't using any other audio than what you're feeding it

Brilliant! And thanks for confirming that