"Eleven Short Stories" albümü, Istanbul'un en heyecan verici plak dükkanı KONTRA PLAK tarafından "2012 SENESININ EN IYI ALBUMLERI" listesine dahil edildi.

Metasynth 2010
Artist Profiles

MetaSynth plays a prominent role in the work of many leading composers, musicians and sound designers. It has played a major role in soundtracks for major motion pictures and TV shows, countless techno and electronica releases as wellavant-garde and experimental CDs. MetaSynth is often the secret tool in the arsenal of professional sound designers and producers who are reluctant to publicize the tool that gives them the edge.

Its use as a key tool in the sound design for The Matrix which won an Academy Award for sound is widely known. It has played an important role in the sound design or scores of The Panic Room, The Lord of the Rings, Run Lola Run and many other films. It was central to Aphex Twin's infamous Window Licker. And many contemporary producers and artists consider it an important part of their arsenal.

Below are interviews with some innovative MetaSynth artists. And a few "sightings" of prominent artists using MetaSynth. Note: these are real MetaSynth users and not paid endorsers.


Erdem Helvacioglu / Per Boysen - These talented composers have released a record Sub City 2064 which makes extensive use of MetaSynth. Read Per's Note About the Collaboration

When beginning our duo collaboration for the Sub City 2064 I was looking for a certain sound to send Erdem Helvacioglu as the starting point for the first track, Radiation Patrol. We had agreed on a cinematic synopsis as the emotional guide but used no predefined musical structures. Our working method was intended as "a table tennis game in composition and sound design". I wanted to send Erdem something that gives the atmosphere of a city hosted inside a giant bowl of glass or steel and I did not want my track to restrict him to any particular key, instrument or sound. At the same time I also wanted a very slow movement over a six minute time span, like the wind slowly drifting along the backstreets and a little faster above the rooftops.

After testing a lot of ideas it suddenly hit my mind "why not use time?". I tried to record a short flute note and time-stretch it to six minutes in Logic Pro but it just sounded like a file getting stretched way too far. Then I came to think about granular synthesis and tried some granular plug-ins without much success.

Finally I remembered the Grain effect in MetaSynth's Effect Room and I fired up MetaSynth 5.0 to mangle the short flute note. Thanks to the real-time hands-on functionality in the Effect Room I could now create the sound I had in mind. I used a very high setting for Randomization, 99.65 percent. Output Step was set somewhere around 30 milliseconds but I kept the Input Step very short, like five or six milliseconds. Then I jiggled the Grain Size setting by ear to find the point where the flute note and airy ambiance were so stretched out that the sound almost stopped in time but still kept a vague reminiscence of movement. I sent that track to Erdem with no additional instructions and the next day he returned a dozen lovely noise guitar tracks that sounded like a bunch of Geiger-Müller counter devices getting fried in a big wok. That was an awesome kick-off for our collaboration!

Another inspiring MetaSynth technique I like is to use its ImageSynth in combination with Logic, both set to the same tempo. With the MetaSynth setting "preview to disk" one can mock around in Metasynth until one finds something interesting and then import that as a file into Logic, on an audio track. Then go back to MetaSynth to work out the next sound layer and so on.

Erdem Helvacioglu - Erdem tells us that MetaSynth was used extensively on his record Wounded Breath and many of his other projects. We hope to have an interview with him soon about his use of MetaSynth.

Metasynth 2010

Sub City 2064