Teuthida | Next_Never_Now_ @Teuthida | Uploaded 3 years ago | Updated 4 hours ago
"2050: The interconnective powers of the internet have lead to nothing short of a revolution. People from all corners of the globe live in perfect harmony, linked as tightly as web pages by a shared yearning for understanding and peace. The scrappy young technocrats who fostered this prosperous era now oversee us as our benevolent rulers, and their flawless judgement has eradicated nearly all of the world's former ills. Global warming, world hunger, and all manner of diseases are nothing but footnotes in schoolchildren's Digibooks, and people from all walks of life, able to procure all of history's knowledge at an instant, have found their ways into society's highest echelons.
The greatest pleasure in this utopian present is the club, a centerpiece of mankind's ever-expanding leisure time. No matter where they are, the citizens of the world all dance in metaphorical lockstep to the genres first pioneered in 2000—a rhythmic and energetic style, laced with the latest and greatest of timbres—united by the drum machine and the synthesizer."
While I've never expressed it on this channel before, I have a slight fondness for the so-called 'Y2K aesthetic,' a design style that reigned from roughly 1998-2001. Bolstered by the approach of the 'new millennium' and the seemingly limitless potential granted by the personal computer, designers embraced blobby curves, transparent surfaces, and extraneously ornamental circuitry designs in a reckless push to create the fashion of the future. Accompanying this new visual style was the recent popularity of techno music, whose washy synthesizers and relentless grooves were effectively the aural equivalent of the dreamlike CGI spaces omnipresent in Y2K-era art. All of this media is extremely dated now, of course, but that's why it appeals to me so much—2020 makes it very tempting to escape into idealized depictions of the future!
In an effort to capture the sound of 2000, I used several samples from E-MU's Orbit-3 and Proteus romplers, as well as the Methods of Mayhem loop pack, but I added EQ, reverb and other post-processing tools to them to keep the tone 'modern.' I also found a recreation of Korg's famous Ice Field patch from a Reddit thread (reddit.com/r/FL_Studio/comments/d9ss56/does_anyone_know_any_alternatives_to_this_preset), which became an invaluable part of the overall track (that patch is everywhere, by the way—look for it in almost any Y2K-era techno song!). In the end, the song ended up much longer than I originally anticipated, but I'm still happy with the results.
I'd like to shout out Synamax (youtube.com/user/SynaMaxMusic), whose Metroid Prime samples source videos were what introduced me to E-MU, as well as Froyo Tam of the Y2K Aesthetic Institute (y2kaestheticinstitute.tumblr.com), an invaluable source of references and inspiration.
Soundfonts used:
SupSawA (from 25 Free Synth Soundfonts)
VSTs used:
3xOsc
SANA 8-Bit VST
Matt Montag's NES VST
TX16Wx
Samples used:
Vocobeat 35-12-01 (Methods of Mayhem)
LFO LFO Impact 09 77-09 (Methods of Mayhem)
Overtone Bass 65-03 (Methods of Mayhem)
Ugly 23B 23-08 (Methods of Mayhem)
Mr. Jolly 89-01 (Methods of Mayhem)
Analoop 05 02-07 (Methods of Mayhem)
Beat 08 14-01 (Methods of Mayhem)
Cloud Pad (Emulator-X)
Resodive 2 (Emulator-X)
Resodive 4 (Emulator-X)
Slap Pop (Emulator-X)
Yeayeaz (Emulator-X)
Piano (Emulator-X)
Major 11th Hit (Emulator-X)
Major 7th Hit (Emulator-X)
"2050: The interconnective powers of the internet have lead to nothing short of a revolution. People from all corners of the globe live in perfect harmony, linked as tightly as web pages by a shared yearning for understanding and peace. The scrappy young technocrats who fostered this prosperous era now oversee us as our benevolent rulers, and their flawless judgement has eradicated nearly all of the world's former ills. Global warming, world hunger, and all manner of diseases are nothing but footnotes in schoolchildren's Digibooks, and people from all walks of life, able to procure all of history's knowledge at an instant, have found their ways into society's highest echelons.
The greatest pleasure in this utopian present is the club, a centerpiece of mankind's ever-expanding leisure time. No matter where they are, the citizens of the world all dance in metaphorical lockstep to the genres first pioneered in 2000—a rhythmic and energetic style, laced with the latest and greatest of timbres—united by the drum machine and the synthesizer."
While I've never expressed it on this channel before, I have a slight fondness for the so-called 'Y2K aesthetic,' a design style that reigned from roughly 1998-2001. Bolstered by the approach of the 'new millennium' and the seemingly limitless potential granted by the personal computer, designers embraced blobby curves, transparent surfaces, and extraneously ornamental circuitry designs in a reckless push to create the fashion of the future. Accompanying this new visual style was the recent popularity of techno music, whose washy synthesizers and relentless grooves were effectively the aural equivalent of the dreamlike CGI spaces omnipresent in Y2K-era art. All of this media is extremely dated now, of course, but that's why it appeals to me so much—2020 makes it very tempting to escape into idealized depictions of the future!
In an effort to capture the sound of 2000, I used several samples from E-MU's Orbit-3 and Proteus romplers, as well as the Methods of Mayhem loop pack, but I added EQ, reverb and other post-processing tools to them to keep the tone 'modern.' I also found a recreation of Korg's famous Ice Field patch from a Reddit thread (reddit.com/r/FL_Studio/comments/d9ss56/does_anyone_know_any_alternatives_to_this_preset), which became an invaluable part of the overall track (that patch is everywhere, by the way—look for it in almost any Y2K-era techno song!). In the end, the song ended up much longer than I originally anticipated, but I'm still happy with the results.
I'd like to shout out Synamax (youtube.com/user/SynaMaxMusic), whose Metroid Prime samples source videos were what introduced me to E-MU, as well as Froyo Tam of the Y2K Aesthetic Institute (y2kaestheticinstitute.tumblr.com), an invaluable source of references and inspiration.
Soundfonts used:
SupSawA (from 25 Free Synth Soundfonts)
VSTs used:
3xOsc
SANA 8-Bit VST
Matt Montag's NES VST
TX16Wx
Samples used:
Vocobeat 35-12-01 (Methods of Mayhem)
LFO LFO Impact 09 77-09 (Methods of Mayhem)
Overtone Bass 65-03 (Methods of Mayhem)
Ugly 23B 23-08 (Methods of Mayhem)
Mr. Jolly 89-01 (Methods of Mayhem)
Analoop 05 02-07 (Methods of Mayhem)
Beat 08 14-01 (Methods of Mayhem)
Cloud Pad (Emulator-X)
Resodive 2 (Emulator-X)
Resodive 4 (Emulator-X)
Slap Pop (Emulator-X)
Yeayeaz (Emulator-X)
Piano (Emulator-X)
Major 11th Hit (Emulator-X)
Major 7th Hit (Emulator-X)
