It’s been more than fifteen months since I finished posting a self produced sound everyday for three hundred and sixty five consecutive days. This all happened in the One Sound Every Day category. As a result I produced my solo debut under my Ostraka moniker titled, Precambrian Resonance.
In the spirit of One Sound Every Day, I am starting a new project called One Synthesizer Sound Every Day. My plan is to use hardware synthesizers from my collection (and eventually soft-synths) to produce a sound, musical phrase, or microtrack to share here on ACB every day for a year. As well as my own sounds, I’ll be accepting select sounds from other artists and ACB readers to share on the site in the daily article.
My long term goal is produce a synthesizer album where I focus on inventing new sounds and allowing these textures to inspire the compositions. I’ve already got a good start on this by writing nine or so tracks in the few days since I conceived of the project (some of these tracks can be heard in the mix I shared here). I’m looking forward to sharing more of these sonic textures here as I discover them.
Let me start with a sub bass patch I made for my newly acquired Casio CZ-1000. I used to own a Casio CZ-101, which is virtually the same synth except that the CZ-1000 has a full sized keyboard compared to the mini-keys on the CZ-101. Years ago I misplaced my affectionately renamed Sleazy-101, probably in a move. Pining for the sound of this under-rated little instrument, I picked up a mint condition CZ-1000 on eBay recently for a steal. Here’s a bass line using my new patch.
Casio CZ-1000 Sub Bass
This afternoon I stumbled upon another one of my recent FM synthesis experiments from November 2, 2008. On that day I recorded eight minutes of output from select randomized programs that I produced using a MaxMSP patch called X.FM. You can hear all of the examples I have posted so far by clicking on the 
This sound is the seventh entry in my series of FM synthesis experiments. There are some very strange high frequency overtones audible in the first half of the sound. If you can bear the high frequencies, I suggest looping this sound and then listening to it for about thirty minutes. 
Number six in my series of FM synthesis experiments is a grainy, low frequency stomach growl that makes me imagine subterranean seismic activity. For this example I played a randomized patch three times at different positions on the keyboard while exploring the patch.