Wintermut3 Music

I have worked on this for quite a while, on and off again. Probably one of the greatest symphonies ever created. This is not just a electronic facade slapped onto an existing symphonic recording, with the help of IKMultimedia's incredible VSTs I mapped the entire midi score pushing through there soundtanks and the like--in other words the entire recording is mine. Then I worked fretless bass amp simed and my favorite 303 vst which was realtime control mapped against its cutoff, res, evn mod, env decay, step length, env accent, etc to have the 303 complement the orginal score and voices as much as possible. I also worked a couple of Analog synths using various score elements from the woodwinds. Enjoy...

I have worked on this for quite a while, on and off again. Probably one of the greatest symphonies ever created. This is not just a electronic facade slapped onto an existing symphonic recording, with the help of IKMultimedia's incredible VSTs I mapped the entire midi score pushing through there soundtanks and the like--in other words the entire recording is mine. Then I worked fretless bass amp simed and my favorite 303 vst which was realtime control mapped against its cutoff, res, evn mod, env decay, step length, env accent, etc to have the 303 complement the orginal score and voices as much as possible. I also worked a couple of Analog synths using various score elements from the woodwinds. Enjoy...

I have not produced any music for about 4 or 5 month due to being out of work since January, last night I decided to fire up my DAW (FLSTudio) and this is what resulted. I named it Menagerie due to the various themes that interact in a edgy and not typical way even nearly clashing at time but somehow there is a great deal of beauty overall. The song was built around the rolling bass and piano line that is the first thing heard... then as I listened to that seqence again and again... I heard a lone solo Violin moving slowing against that opening bass movement--from these two themes the rest evoled over the night.

MTC

The idea behind this song is to capture that moment at the very last twight as the remaining light seems to melt away... except those very last lumens move forward into the dark night, seeking the dawn and provide those deizens of night, like us...the smallest glimmer of much needed light at our times of need.... you know.. a moonless night and you suddenly have and urgent need for just the smallest hint of light, you dropped your keys and yet somehow despite the deep moonless night a somehow brief glimspe of light reveals them....those lost lumens seeing dawn maybe ... The cover of the song art, very much reflects in color of what i hope the listener will feel...

MTC Soon added lyrics (with lite to medium vocoding ) --------------------------------------------------------- Dream, Dream, Dream... Dream of Yesterday Dream of Today Always remember who you were Always remember who you are But most of all Dream Dream Dream of Tomorrow Be BE BE... Be who you can be Be who you are Be what you were Be who you want to be Be who you are Be who you were, Never be afraid to look back Never be afraid to look now Never be afraid to look forward Be Yesterday Be Today Be Tomorrow Be the Dream of Yesterday Be the Dream of Today Be the Dream of Tomorrow But always always always... Dream Dream and Be

Electronicus Majoris:Claude Debussy:La mer, trois esquisses symphoniques pour orchestre movement III by Wintermut3

Electronicus Majoris: Claude Debussy:La mer, trois esquisses symphoniques pour orchestre movement II by Wintermut3

Electronicus Majoris: Claude Debussy: La mer, trois esquisses symphoniques pour orchestre movement I by Wintermut3

As I was revisting this piece due to issues with 4th movement the first time around and wanting to use a lot of the mixing ideas that had been the result of my workinig with Beethoven's 7th symphony, I decided to bring more emotion to piece over all and especially to the 3rd movement of his 5th Symphony mostly through tempo/bpm changes (this version ranges from 90 bpm to 135 bpm, and to mirror the flute and piccalo lines with a highly Filtered tb303. So instead of making this a "patch" to the already released 3rd movement... I decided this deserved to be a separate release. So here is the final ( save a few small edits I still wannt to do) version of Beethoven''s 3rd Movement of this amazing 5th Symphony... oh the "XD" refers to the extended Dynamics of this version tansients are fully intact.

As I was revisting this piece due to missing the 4th movement the first time around and wanting to use a lot of the mixing ideas that had been the result of my workinig with Beethoven's 7th symphony, I decided to bring more emotion to this 3rd movement of his 5th Symphony threw tempo/bpm changes (this version ranges from 90 bpm to 135 bpm, and to mirror the flute and piccalo lines with a highly Filtered tb303. So instead of making this a "patch" to the already released 3rd movement... I decided this deserved to be a separate release. So here is the final ( save a few small edits I still wannt to do) version of Beethoven''s 3rd Movement in his amazing 5th Symphony... oh the "XD" refers to the extended Dynamics of this version tansients are fully intact.

TC I have wanted to do one of my Favorite Symphonies for quite some time, but knew I wanted it to be near perfect. I have learned a lot about this type of production as I have built this "Electronica Majoris" series of "Classics". This is my take on this amazing piece that really shows the incrediable diversity in Beethoven styles. About 50/50 "traditional" to pure electronic voices, however this is all completely electronically generated and arranged. Once again for the Conti Bass and Cello line I have used electric bass ala "Chris Squire" styles and rigged (RIP Mr Squire, you are very missed). The mix is a bit aggressive but I feel it is how this piece should be rendered... The 2nd movement of this piece was feature in the TV series "Mr Robot"...

MTC I have wanted to do one of my Favorite Symphonies for quite some time, but knew I wanted it to be near perfect. I have learned a lot about this type of production as I have built this "Electronica Majoris" series of "Classics". This is my take on this amazing piece that really shows the incrediable diversity in Beethoven styles. About 50/50 "traditional" to pure electronic voices, however this is all completely electronically generated and arranged. Once again for the Conti Bass and Cello line I have used electric bass ala "Chris Squire" styles and rigged (RIP Mr Squire, you are very missed). The mix is a bit aggressive but I feel it is how this piece should be rendered... The 2nd movement of this piece was feature in the TV series "Mr Robot"...

I was inspired to create this track after watching the movie "The Trench" which was about the Battle of the Sommes 1916 July 1 just days before the beginging of the battle is when the story is set. That movie really brings home the savagery of that battle (July 1 to Nov ) a total of 6 miles was gained with the causualites over a million with England suffering over 59k in the first hours of the battle. The men marched across "no mans land" as their officers were in close quarters behind them... ready to shoot any that tried to run away...

From the WIki: According to Franz Mozart, Wolfgang's younger son, the symphony was given the name Jupiter by Johann Peter Salomon,[4][13] who had settled in London in around 1781. The name has also been attributed to Johann Baptist Cramer, an English music publisher.[14][15][16] Reportedly, from the first chords, Mozart's Symphony No. 41 reminded Cramer of Jupiter and his thunderbolts. It was this idea that inspired the cover art, and in keeping with the Electronicus Majoris theme of Starships, "Jupiter" (Zeus) rising over the horizon of Earth, hurling Thunderbolts at the ships... Arrangement choices: The choices for voices in a work like this, can allow you to hear the piece in a unique way. Mozart voice choices were not only "traditional" but spot on, to that end I only converted the Conti-Bass and Cello lines to Electric Bass. MTC

Over New Frontiers (A Pattern of Darkness mix) by Wintermut3

These was about a 3 hour work last night start to finish all was built around the first bassline (including the 2nd bassline) glitch was done by automated over time GrossBeat and DBlue Glitch. Line up: 2x Modo Bass2, running Funk, Breakbeat standard beat patterns 1 x Modo Drum (Jazz Kit) Sawer (keys) Massive x2(Pads) 1 x Slayer 2 (Jazz guitar 1) 1 x Flex Synth running Muted Strat (Jazz Guitar 2) 4xAmplitude 5 (Env filter, etc) ton of Tracks "Inserts" in fruity--the composition follows my Mix to Mixdown in One config (no post except vol reduction)

Electronicus Majoris: Beethoven's 9th Symphony: Presto 'O Freunde, nicht diese Töne! by Wintermut3

Electronicus Majoris: Beethoven 9th Symphony:Adagio molto e cantabile by Wintermut3

Electronicus Majoris: Beethoven 9th Symphony:Molto vivace by Wintermut3

Electronicus Majoris: Beethoven 9th Symphony:Allegro ma non troppo, un poco maestoso by Wintermut3

Somewhere in Time, or is it Space where seconds run from -1 to 1 and x is always -(infininity) or even the cube squared root of that lies a crossroads where if you watch long enough you will see the sun seem to collaspe on itself the light ebbs backwards as Infinates that defy any concept of time or distant cross or pass at a crossroads that is perpendicular to itself as it crosses to the 4th dimension and then passes to the 7th. They pass silent or maybe all of sound that ever was or will be, travels between these Giants of Giants in a matter of seconds.... watch and learn and you too will know of the Infinate and thier infathomable roads... Another driver for this song was Image-lines new soft synth "Kepler" which is a VST plugin that is a Roland Juno-60 (all the way to the UI of Kepler which has the very distint "pre-flat" Juno/Roland for the 1970s.--"Flat' wasn't a new look, it was a "reboot" of what colors and even "styles" which most of the computer hardware of the mid 60's to 70's had... If you have a licence to FLSStudio 21x, I highly recommend spending time with "Kepler" :) in the tags I listed "Progressive Ambient" a genre that sadly never existed, but many times when I first started that was the label my songs got from artists and fans. They would say: "I know there is no such thing as "Progressive Ambient", but if there was... that is what your song "X" would definately be :) so... even though it has been a long time since I tried to do this, I felt that this song, was truely Progressive Ambient.

"Transition(s)" has many contexts including musical. While there are musical transitions in this piece, the scope of the context is much wider than music... Transitions effect/affect us all, hopefully this one wll have a positive effect on you. composition: C, G, F, E these four notes are moved through : Major, Minor, Sus 4, Add9, and lastly and most complexly Min7 (#9) I orginally wanted 4 notes moving between 4 chords/mods but the flow was better with 5, besides transition when you look at all stages are seldom symetric in any contexxt ;) so section A is that progress, then section B is InvD-Mid Second, however the score for that progression is flipped on the X axis, so overall the structure is AABAA however the A's are very varied in terms of voice. Voices: 3x piano, Stacc Violins, One Massive pad, One Harmor pad

When I was working on KV 626 : Mozart's Requiem, I became very intested in the Medieval Poem "Dies Irae" when I found this vocal.. I knew I wanted to do a song similar to my "Nation of God" where I set Pope Benedict XVI to a beat From the Wiki: "Dies irae" (Ecclesiastical Latin: [ˈdi.es ˈi.re]; "the Day of Wrath") is a Latin sequence attributed to either Thomas of Celano of the Franciscans (1200–1265)[1] or to Latino Malabranca Orsini (d. 1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas (the Angelicum) in Rome.[2] The sequence dates from the 13th century at the latest, though it is possible that it is much older, with some sources ascribing its origin to St. Gregory the Great (d. 604), Bernard of Clairvaux (1090–1153), or Bonaventure (1221–1274).[1] It is a medieval Latin poem characterized by its accentual stress and rhymed lines. The metre is trochaic. The poem describes the Last Judgment, the trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames. It is best known from its use in the Roman Rite Requiem (Mass for the Dead or Funeral Mass). An English version is found in various Anglican Communion service books. The first melody set to these words, a Gregorian chant, is one of the most quoted in musical literature, appearing in the works of many composers. The final couplet, Pie Jesu, has been often reused as an independent song.

Regardless of thier existence, they live in each and every Ukrainian.This song is built on that spirit. May the Ghost of Kyiv live in all of us, May that "Spirit" free Ukraine. ====================================================== Update 11-6-23 Added a new mid break and a very "active" slap bass

If you have seen the movie "Rounders", the you know what the context of "mechanic' is in this track

a lighter version...

Still WIP, early share--front end still needs work. All orchestra structures have been replaced with 'non-traditional' electronic elements (Woods, Brass, Strings) Choirs have are completely entact of course. MTC Finally decided to remap the Strings for 4 string part (Violin 1,2 Viola, ContraBass) from the tradional (IK Multimedia Miroslav Philharmonik 2, yes my secret weapon when it comes to these types of creations) to pure analog synths (via Syntronik 2, NI's Massive, IL's Sakura, etc) Some of these voices are still "string like" but are fully modeled via Sakura.

Early WIP, MTC , Hybrid Tranditional vs Pure Electronic voices with focus on Analog Synth. This version "Minoris" is about 50/50 pure electronic instrumentation/voices(analog synths via IKMM Syntronik, NI's Massive, etc) to traditional voices used in this piece (Oboe, Bassoon, Trombone, etc). There will be one more version, "Majoris" which will all but the choral voices pure eletronic--the voices of course are also electroniic, but are 'pure' in nature and tonality. I am working on a vocode solution to maybe get the Latin back in the piece, but this is a highly experimental process(using the non worded choirs you here in this piece as a "carrier" and they voice generating the latin) in nautre and despite early tests working, it may not yield the results desired and will burn up a great deal of time trying to vocode that amount of text, but we shall see--if it works, the. result should be closer to real "speech"/singing and not a robot... 10/9/23 this may be the final mix--I still have a few tests to do--of this version of my KV626.. overall all I wanted the Vox and the Electronic elements balanced in both presence and clarity, I think this mix has that, the proof will be in the Sub-Freqency sounds at key parts of the Mass, especially when those electronic voices start to resonate with the Basses in the Choir. Now on to the full electronic version and something I want to do around "Dies Irae", despite the subject as implied by the title I just mentioned, this work will be a chance to cut loose from all this seriousness--this is what I get for recently watching "Amadeus" for like the 8+ time or more--but seriously, I have wanted to do KV626 for a very long time... ====================================================== Sections: Below is detail of the 12 midi sections that were used Requiem in d minor, KV 626 1) I. Introitus, Requiem, II. Kyrie, III. Sequentia 2) Dies irae 3) Tuba mirum 4) Rex tremendae 5) Recordare 6) Confutatis 7) Lacrimosa 8) V. Offertorio, Domine Jesu 9) Hostias 10) V. Sanctus 11) VI. Benedictus 12) VII. Agnus dei, VIII. Communio, Lux aeterna

Legaendry work, WIP...MTC i plan to offer this massive complete composition, and another one broken into major movements... Sections: Below is detail of the 12 midi secrions that were used Requiem in d minor, KV 626 1) I. Introitus, Requiem, II. Kyrie, III. Sequentia 2) Dies irae 3) Tuba mirum 4) Rex tremendae 5) Recordare 6) Confutatis 7) Lacrimosa 8) V. Offertorio, Domine Jesu 9) Hostias 10) V. Sanctus 11) VI. Benedictus 12) VII. Agnus dei, VIII. Communio, Lux aeterna just to map these 13 sequences took over 11 hours .

9/25 Pass 3: Added Fender Bassman '59 to the deepb bass to add more definition and flavor to that extremely deep bassline. Added the 3 Modo Drum Kit (DJEntleman) to thicken the drums and do not let them to get overrun by the extermely Driver DG and EB. Also running 3 Modo Bass--the project/track is over 10 gigs in memory-as this give me a great deal of flex in regards to the bass as the Low opening bass. if so low only a few of the notes in the sequence is even in range of Modo Bass. This is the first time in a long time I have worked in FLStudio with just one Slayer 2 vst to start to flesh out the riffs not using any external tools or even idea.--just me and a virtual electric guitar and my ear to start laying bass and lead riffs. All told there are about 8 Slayer 2 vsts and those are spread over 4 amp rigs via IKMM Amplitude 5. 9/26 The opening phase seemed incomplete, so I added more of "Calling opening". The whole song is interactions between the Necromancer, who calls for the dead to rise and do his bidding and the masses of dead (the complex arpgeggio-like riffs) and the reaction of the targets of these themes are very much like the risen masses and will soon intertwine together. The main leads Magiks are demostrated by the Drums, which then work into the tangle mass of the conflict between the enemies of the Necromancer (the heroes) the risen masses... as the Necromancer repeats his "call" to keep the risen updead to do all he wills... the final notes show how the call of the Necromancer vanquishes all...

The Shaman is a child of Ancient primordial ways. What other Wizards do with long verbal incantations many in ancient eldered languages, the Shaman does in primal chants and dance as their disciples and followers play primitive drums and other percussive instruments. As this all reaches a fevered pitch, primal elemental spring up from the Earth and either become part of the Ritual or provide protection as even more ancient elderish horrors appear as this all goes on. through the night... This track is built around various "world" drum kits (Arabic, Japanese, Water, etc. ) and 3 IKMM Heavy Drum kits ( Metal, Extreme, and Djentleman)--using 3 different instances

The Composition is built around the Key of D Minor. In addition there are two cascading progressions that form the core of the somg. the two progressions are paired with each other (in Paraelle, or more accurrately in Tandem) such that the first chord of the first progression is paried with the first chord of the second progression. The First progression only explores the Key of D/D min the second progression follows a range of notes all up down the scale but ones that complement the paired Chord from the first progression. The idea behind this is Cantrips are small spells that are generally the result of rigerous practice such that they are 2nd nature, in card games such as mtg they are spell cards that are invoked yet let you draw another card to replace them (a very important mechanic in a card game) Again the cacading progression in this song reflects the basic idea of a small incantaion (the 2ns Chord in the Chord pairings just described) which results from little to no obvious effort from the 1st Chording in the pairing--Key of D in all of variations, well this is basis of the idea behind the composition. Most major gaming systems that have some sort magic based "Subsystem" (D&D, MTG, etc.) have some form of Cantrip. Historically, The idea of Cantrips are thought to be of Celtic origin and may even be the "Trick" in the idea of Trick or Treat....

More complex continuation of the original song, still very much a WIP and this first cut has a composition issues as well as the fact that a few of the TR fx cutout and were not in this recording--IKMM Space Fx was a major one and gthe Buss that Massive was on failed to play as the top effect in the chain failed to Auth... MTC Note: only one version of this song will go on the final album in Oct so which every does better here at SC will most lilkely drive that.. in likes, reposts, comments, etc However many a time I put out a "Notes and Studies" companion for works that I feel should 'exist' beyond the final play list, so the 2nd best of the two will be on that. The current is the 3rd cut of this track--this version need to lose that screechy guitar near the middle and there are a few more compositional fixes as well.. but currently me and my computer are not getting along--however my day job is programmer, so I will win or it will find itself summing small numbers and I will take my virual studioes elsewhere ;) Upshot: so the 4th cut of this may not be out as soon as I like note: was the "Full on mix"

Early WIP for iCoW

early WIP, MTC

Many of the Strongest Wizards become Leaders and Statesmen, but when War roams over the Collition of Greater Kingdoms--these statesmen or even more specialized Wizards are drawn into these warring Kingdoms and don the most terrifying discipline of The Magical that ever was--War Magic. In short they become the most feared type of Wizard--The War Caster, as they try and keep whatever level of civilization they may reported before they are Geared in Lightning, Fire, and Steel or even use arcane magiks to power ancient constructs which will stalk over the Battleground rending all Asunder, as the War Caster protect these Behemoths with magical shields. Above all this Darkness and Carnage the War Casters fire volley after volley of dark spells, fire and rays at all who dare to resist. All the while these liberium of Dark Arts of War will tear at the Wizards very Souls... A highly Analog driven synth (via IKMM Synthronic 2) piece underscored by deep bass and drums in a very retro Progressive Rock style--massive by Native Instruments rounds out the sound. 11/14: 1st Update - Following the Tracks component layout of "The Mage" did initial Mastering of this track. remixed wav in TRacks with Sunset Studios Accousitics/Reverb, Final mix was sent to reel to reel tape for compression and added bias and then Stealth Limiter for final stage. All presence brought up, overall mix is cleaner and percise-- all transients left entact. Base mix and busses unchanged.

Another piece for the "Convocatoin of Wizards' Album/Playlist overall a series of "Hard mixes" 11/14: 1st major update: remixed wav in TRacks with Sunset Studios Accousitics/Reverb, Adding "interesting" air to backing, mix was sent to reel to reel tape for compression and added bias and then Stealth Limiter for final stage. All presence brought up, overall mix is cleaner and percise--most all transients left entact. Base mix and busses unchanged. This track has evolved (revolved ? :) ) into the "cornerstone" and "keystone" of the whole album/project.. The story below shows the contrast of ideas of peace and war that drive this song (and even this album) and give this songs hard edge but also a somehow lamenting yearn for better times. The Story: =================================================== Zimmerhahn ducked quickly to the right, just as a huge rock crashed beside him but then rolled harmlessly down the hill. "Those Orges are getting better aim, time to make them forget that" As he bathed the Orges in a blue light, he had a sudden flash back to the day the assistant to the high mage had stopped by to tell his parents that he had been invited to enroll all tuition paid into the "School of Magearchy and Mastery". He was so young and just didn't comprehend how this would change his life, how... he would eventually wind up a Warcaster on a faraway battleground... *ZAHKK* again he instinctively dodges a Cantrip, that a rival Mage who didn't like his meddling had casted, as he dodged, he spun right and let off a flare of red fire that was slightly stronger than what his adversary had decided would be hit to stifle Zimmerhahn. The enemy Mage clutched at his throat as the pure fire collapsed his esophagus then shot straight up through the top of his head, he fell over just a smoldering husk. "Now all I have is killing and war" Zimmerhahn thought back to those innocent days, "If only I had not gone with the high mages assistance that day, maybe now ... would be .... Home..."

MTC, part of ..Wizards...

This track is the counterpart of "Warcasters" in both execution and concept. It shows the "statesman" side of Wizards as a 6 come together to form the top of the Magearchy that rules their lands. This Wizards Convocation is both Judical and Legistlative and Coalition of Greater Kingdoms as ambassadors.

Fretless Bass, Slap bass, EPiano, Rhodes... Today is tomorrow's Yesterday... Modo Bass 2 2xFretlass, 1x slap Flame Bass->Amplitude 5 Modo Drum - Jazz kit- Running Breaks, with Alt Velocites Flex - Steinway, Rhodes

In contrast to "The Way" 7/28 First edit: Since I just finally a very Extended TRacks-I have remaster this at Sunset Sound--well at least virtually--In one of the Live rooms after running through "One" and finally to Tape Machine 99/and their Matcher.... The result I thin k is mostly warmer and clean, and there was no clipping so the transients should be fuller...

The Power of IKMM's Mondo Bass 2 and Mondo Drum.

This is the Mix from the upcoming Video and super dark crunchy This is the "Under the hood" mix and the "Eliminator " mix synced together ...

High Fuel Version inspiredby NHRA Funny Cars and Dragsters

MTC

Stripped back gain and amps to show details... The opening drums are very "engine" like--similar to what was done in "Sky Hunter"--in the final version of this track, there will be two kits one left one right, this will be the "V" of the engine.... MTC

On every track there is One Car, One Ruler... A song in the spirit of racing The opening Drums and most of the Riffs are made to emulate a High Octane Engine builds and climaxes are to reflect the race--compostion wise

Final dream that brings much of the other modes to bear

An alternate to the Metal version,