Coronia Righteous Reference Ensemble is an electronic experimental composition using various software packages to assemble the orchestra of sounds from a varied assortment of VST instruments. Even though the work was created from a variety of electronic tones, chords and sequences, the composition has the feel of a more complex formation - like an orchestra of sources, combining to create something interesting. The rhythm track was the foundation of the work. From the Elektrostudio Analog Pack, quite a few VST instruments were available - all emulating the classic analogue sounds of instruments that were used in the early 1970s. With the VST host program, two OCET Rhythm Synths and one Rhythmus rhythm machine were connected so that the three instruments would play their respective sequences in time to a 100 bpm tempo. The OCET was a very early analogue rhythm computer with 16 steps and 6 instrument tracks. One can enter into the VST version and adjust the individual settings for oscillator tone sources, filter resonance, noise level and tones creating many interesting and wilder timbres for the creation of unusual rhythm sequences. The OCET instruments were setup this way.The Rhythmus rhtyhm unit was another early analogue rhythm machine with 20 preset rhythms including waltz, rumba, samba, tango, marches and rock styles. One creates a rhythm by activating various presets, then making finer adjustments to the tuning and volume of the individual sounds. The three machines in the VST host created the swirling resonating rhythm. A bass drum reference track was added as a timing marker for other elements. The brass chordal sequences were created by twin eSLine string synthesizers connected in parallel, and playing different tunings with a phaser effect to create the big polyphonic sounds fo the early divide-down synthesizers. Three tracks of eSLine sequences created the brass combination. Another sound was made by playing a 4 or 5 note chord with significant amounts of phasing to create a rich choral pad - dynamically evolving by the phasing effect. The KX-Synth X16 VST emulation of the classic EMS VCS3 monophonic synthesizer was used for the "ghost" effect. Twin KX-Synth X16 units were connected in parallel with a short feedback delay to create the eerie effect. A section of sequences created by twin OR2v synthesizers was sped up and fed through a heavy reverb to create the church wedding bells. The OR2v VST synthesizer is an emulation of the Oberheim SEM synthesizer 2-voice. The OR2v has two synthesizer modules, each having two voltage-controlled oscillator tone sources. Twin OR2v units provide eight such VCOs. For the male choral effect, another great instrument was used from the Elektrostudio Analog Pack - the Tapeotronic - a Mellotron emulation with various string, flute and choir samples included, just like the real Mellotron. The Tapeotronic sequence was treated with extra chorus and reverb, and added at various intervals within the music. Towards the end we hear more twin OR2v synthesizer sequences sped up to create "electronic tingles", and a single sustained pulsating eSLine chord with heavy phaser to conclude the work. The visuals comprise background modulations and texture effects with keyed over images of a science fantasy or metaphysical nature. The images were animated by a loop motion feature acting on a single picture frame. various layers of these animations were built up to create a collage of fantasy imagery, together with animations of a female dancer whose cutout silhouette contained various geometric textures and video effects. The result is a bizarre "orchestral" sounding electronic composition filled with rich textures and complex visual collages to stimulate the imagination with all its creative potential.
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TAL BASSLINEby UPROAR246,167 views
that is a very interesting piece!
dancetech 7 months ago