I released this track during 3-rd covid lockdown. I had some time to spare so I remade my old track Bassline playground. That one has only one bass sound all the way through, so I found even better one for most of the song (except the riff, which stayed unaltered). 

The structure is simple: riff, verse 1, chorus, verse 2, chorus, riff, chorus. Rhythms are 3. One playing during riff - that one is original, and freshly composed on the spot. Next two are basic techno rhythms, first one in first verse, and second for the rest of song. The only thing that changes in those rhythms is hi-hat. 

Picture is made in Canva, I just throwed in some clipart pics together, but the message is clear, I hope. And with the name of song (warning immediate noise), it kind of suggests a loud and aggressive sound from the very beginning. Song plays only drums and bass, no melody or any other sounds. There's only one drum fill-up, and even that one is at the very end, and the track generally could be labelled as minimalistic too. Happy listening.

Warning immediate noise

Lady mystical

Ping pong nostalgia

This track marks a number of milestones in my progress on Garageband. First of all, I still consider it to be the edgiest/craziest, and most avant-garde sound I've done to this day (and I'm writing this in the middle of august 2023). Secondly, it's first time I learned how to do a transition and made one. It goes twice in the beginning, and twice during the dip, happening in second half of the song.
 
I was playing with the knobs for heavy electro-bass sound, and discovered that knob called sync is perfect for making a transitions. And then I discovered (through another knob) a sound that sounded like a keystroke sounds on atari 800. Finding this sound felt like a dream comes true so I immediately composed a melody, very cute one, and kind of videogame-ish.

I used this sound for opening melody (after a mini intro). It plays alone once and then the bass coming in is the original sound I played with. Hard, distorted bass riff goes into cross-rhythm with that melody, and after that comes the rhythm, which adds another dimension. It sounded very new and very original. I still remember that feeling when I first heard it. It was mind-blowing. 

Rhythms are basically only two. First one until the dip, and the second one after. A dip uses a heavy electronic bass sound, so distorted - almost unreadable, but beautiful - while still playing the first Atari melody with it. Then second rhythm and everything else keeps pumping. 

The end is the beginning, the same loop once again, which goes only once. It's created by levelling pitches for all sounds, and playing them all at the same time, with only a snare hitting on third. This loop happened as a by-product during making a structure, but it sounded crazy and rare, and it sounded perfect for a sweet goofy intro, and outro. Enjoy.

Five tones micro symphony

Tribal xylophone

Surfing on basses

Only one bass sound over 4 layers of octaves playing 5 different riffs in compelling succession. And yes, pretty minimalistic approach to percussions. A sunday afternoon experiment. Enjoy.

Sounds I used: (categories are in brackets)
- bass - deep synth bass (bass) - hollow 
- drum kit (all sounds)- modern 909 (electronic)

Bass riffs playground

This song I made in the middle of the period where I learned how to make proper tribe core, or hard core sound. The kick and bass all the way through, where the bass changes twice. First one is pretty basic, I would say as commercial as I could find, second one has a little hall/reverb in it, so it sounds a little mystical and new, and the third one sounds really new, heavy distorted, blasting from left to right ear, completely crazy sound. A cherry, a sort of.
Not much melody in this one, only the synths appearing for each bass sound, and with the last one I play weird riff on the sound where the repetition increases in time. It sounded funny, and very new and interesting, so I composed a melody using that sound. Otherwise, the overall feel of the track is a kind of "minimal tribe core", or the beginnings, if you will.  
Also, big shout out to Le Wanski and Avanity, which are my biggest inspiration when it comes to how the proper HC bass supposed to sound like. I also invite you to check their stuff.
For the picture I'm also proud, as I found some tribal couple and added some fire between them. I hope that correlates at some level, Enjoy.

Tribal beginnings

Very simple track with only one melody and 2 bass sounds that alternate as a verse and chorus. A refreshing tribal electro sound. Enjoy.

Sounds I used: (categories are in brackets)
- kick - big room (electronic)
- bass 1 - 70s classic synth bass (bass) - live brass
- bass 2 - plucky synth bass (bass) - hard (but altered)
- pulsating sound - heavy wobble bass (bass) - unison
- melody - airy synth lead (leads) - brassy

Fat beat 4 (tribal one)

Trippy trance

This one is definitely one of my top 5 songs. This bass sound I discovered while working on song Tribal beginning. Last/third bass sound in that song is the same sound as here (with one shift  to the left on the grid), so basically here it goes correctly (kick, bass, kick, bass, etc), while in Tribal beginning they play at the same time, which created this warped effect of twisting sound that I am so proud of. I found this sound by playing around with buttons, just turning them left/right, trying out what sound will appear. Which is something I should technically do with every sound, but it's pretty menial and time-consuming activity, so I usually go with sounds that are already there. Most of them are beautiful as they are (in garageband). 
This "falling star" sound at the beginning, synths playing mysterious vibes, and sounds used for both main melodies - all of those sounds are exactly as I found them in library (no alteration), and they sound pretty amazing to me, so.
When it comes to rhythms, there's basically only two of them. First just kick and snare (classic techno rhythm), and then I add  hi-hat, and that's the second one. I switch between them throughout the song. 
Beginning/intro is only kick line for about 10 seconds, and then kick and hi-hat for another 10. Then the song officially jump into swing and it stays there till the end, with only a couple of occasional and mild dips. 
The atmosphere seems highly cosmic and digital with mystic synths, and weirdly cute/tingling sound for two main melodies that complement each other very nicely. The whole thing is a heavy trip, very experimental, raw, and underground sounding. Just the way I like it. Enjoy.

Cosmic anomaly

This song started when I found a kick that had a extra surrounding sound, sort of like a impact sound (thumping and bassy), and I liked it a lot. So I made a rhythm using it. Rhythm consists of this kick, share and sticks sound playing sort of a cross rhythm. 

I found a bass sound where I could match the pitch with the kick (or more like with the sound around that kick - thumpy sound). It sounded amazing straight away, so I used a heavy bass riff that I came up with on my way to work (in the bus). 

Riff has 3 variations. First one is just copying the kick. Second one has extra tone between first and second tones. And third one has extra octave down between each tone, creating sort of a double sound, but still with the same sound. Third variation makes of a core/middle of the song. 

I switch the rhythm in second third, and go with double hi-hat instead of stick sound in the cross-rhythm. And then I turn back to second variation of a riff, and then to first one. The end. 
-----------------------------------
Sounds I used: (categories are in brackets)
- kick (second one) + snare - big room (electronic)
- bass - classic funk synth bass (bass) - long sweep 
- synths - analog silk (pads) - light brassy
- metronome sound/sticks - modern 808 (electronic)
- hi-hat - modern 808 (electronic)

Dark currents

Welcome to my crazy levels. First time I managed to incorporate relatively fast rhythm into my techno track. I think it's pretty new in techno arena, and I will very much dedicate my time into more of those tricks. This track is 5:44 min. long, which is my personal longest song, so another record/milestone. Also, I used first time in my life, some sort of voice-like sound I found in Garageband. So it's not my voice, in case you wonder about that. And as usually the bass sounds are top notch, I spent separate time on making sure of the pitch and timber. Track also contains 3 rhythms, synth theme, the main riff, and 2 variations of a pretty full-on piano melody. Hope you'll enjoy that, and hit me with your feedback if possible, Thank you.

Crazy levels

Welcome to my newest track. As the name suggests I somewhat managed to put together old sounds like piano, and roughly regular bass, with new sounds like heavy synth/distorted pumped out bass and cosmic sounds. Structure is pretty simple, there are two bass lines (or cord progressions)alternating. Only one rhythm through all the song, but there is a number or riffs/melodies including 2 piano riffs and two piano melodies. So the whole thing is pretty much a trip as usual. Enjoy.

Old and new sounds together

This song is based on a bass riff for which I found two brilliant sounds. Both electronic and distorted, but one is clear and the other one is muddy and fuzzy, and kind of acidy. First one appear at the beginning and at the end, and second one plays the middle (about 2 and half minute long). 

Opening sequence introduces mystic sounding synths with simple rhythm of a kick and shaker. Later on heavy techno rhythm follows. After the bass switch to fuzzy one, new melody comes in like a avalanche of church bells. Then faster/punky rhythms starts and whole thing gets pretty experimental, but not too crazy. The end is a combination of punky rhythm and clear bass sound with the melody joining later. 
---------------------------
Sounds I used: (categories are in brackets)
- drum kit 1 (kick and snare) - big room (electronic)
- synth - classic simple pad (pads) - synth string
- bass 1 (clear) - deep synth bass (bass) - hollow
- bass 2 (muddy) - deep synth bass (bass) - acidic 
- melody - shimmering bells (mallets) - big bell 
- drum kit 2 (hi-hats and second rhythm)
   snare - pile driver (electronic)
   hi-hat - classic drum machine (electronic)
   kick - big room, first kick (electronic)

Acidic beginnings

Absolutely the rawest thing ever, feels like it was done in 5 minutes, while actually it took me about a week to finish. It's highly minimal in the way that there's only 2 instruments playing, and those are drums and bass. Heavy distorted and electronic one as usual. It plays sequence of 3 riffs with moderate techno rhythm roughly until the first half, where I switch bass sound and rhythm for a fast one. Classic metal/HC rhythm with no fill-ups and no cymbals (only hi-hat) - as I said, very raw and minimal. 
I had about 6 very good bass sounds to choose from and it was really tough call. In the end I went with first one as electronic, non-aggressive, distorted and somewhat interesting, while second one is more Prodigy-like with some mysterious hall/reverb in it. 
The idea first came to me on my way to work, while sitting in the bus. It kind of happens more and more often. I came up with 3 riffs that created nice sequence, and tried imagining some gradual involvement of drums - as the beginning goes. Couple of days later, I put that into garageband and danced all night, playing it on the loop, since I had to decide on which of those beautiful and crazy bass sounds I'll use. So I hope you're happy with my decisions and enjoy the track. See you.

Minimal alchemy

This track I've done about a year ago, and it was sitting in my library because it wasn't completely finished. Last week I looked at it again and kept polishing details until I reached pretty high level of production (well, to my standards anyway).

Song lasting 6:17 minutes is my longest track yet, so that's a record right there. Moreover, I got way better with arrangement of cells (in garageband), and now I can work with structures way faster, along with having the ability to make longer and longer songs. Pretty good improvement considering that last 6 months I did almost nothing on production level. I guess creativity works in mysterious ways. 

Here I'm using 2 basses. One continuous-sounding and the other short and punchy. Both electronic and heavily distorted. Intro is long and for over half a minute there's only bass plying. I wanted to let you sink that sound in on it's own, since for me that bass sound is an orgasm. I play 2 octaves, first lower one, then upper, then both. That's an intro. 

Then the rhythms start. I use 3 main ones and two additional ones (one at the beginning and one at the end). First main one is classic techno rhythm(kick on first and third, and snare on third), second one is complex rhythm with slow hi-hat (closed), and third one is with fast hi-hat(closed). 

After playing first one for over a minute and half (after intro), there's mixture of second and third one going almost until the end. Melodically, there's two melodies that complement each other and kind of play out the most of the melodic structure. In short slow down at the end I play only 2 basses with kick as obvious finish line.  
Enjoy.

Moderate tribe

This is a second time I  found (and used) a sound that is somehow resembling a human voice (after Crazy Levels). Here I made two riffs using that sound and play one or the other the whole song, but always with a different arrangement, and rhythm (there's 6 rhythms altogether). 

Song can be seen as consisting of 3 parts (or themes). First one plays just riffs and rhythms (techno rhythms). In second one I introduce synths to round up the sound and add some mystery to overall atmosphere. End of second theme turns into a punk rhythm. 

Third theme starts with metal/double kick rhythm playing along synths and then the electronic bass turns on and you got some heavy experimental sound happening. Riffs will join the show promptly. 

The track is almost 6 minutes long, which is becoming a norm, more than a being a rarity, because my skills of working with cells (in garageband) and structure improved a lot. I plan to do more of this crazy stuff in the future combining metal and techno features. Wish me luck.

Sounds I used:
- kick - big room (electronic)
First rhythm:
- snare + clap + hi-hat - hip hop drum machine (smart drums)
- ride - house drum machine (electronic) - (smart drums)
Second rhythm:
- snare + hi-hat - modern 909 (electronic)

- voice sound - voice bass (bass) - roomy stab
- synths - analog sweep (pads) - overtone
- bass - 70s classic synth bass (bass) - smooth

Kwa kwa kwa song

This song is based on a mystic sounding riff that plays almost whole song (with only two breaks). Again, over 6 minutes track, containing 6 different rhythms, one already mentioned mystic riff, one bass riff, one extra melody (played twice in first half), and simple guitar chords (playing from about half to the end). 

Rhythms span from very slow, chilled, to middle tempo, normal techno, and then fast metal rhythm. The whole concept of transformation (on this transformational journey) is the progression of those rhythms from slower to faster, creating nice progression culminating into hard/heavy and experimental sound. Which is always my objective - crazy and new combinations of good things from the past. 

The picture is made in Canva (as always). I chose a train as a representative of journey and lots of happy colours and balloons to suggest that this ride will be heavy enjoyable. So enjoy, and leave a comment. See you next time.

Sounds I used:
first, second and last rhythm (all sounds)- hip hop drum machine (smart drums)
third, fourth and fifth rhythms(all sounds) - modern 808 (electronic)

- bass - 70s classic synth bass (bass) - edgy lead
- edgy melody - tubular synth bells (mallets) - piano
- smooth melody - 80s sync lead (leads) - bright lead
- guitar - hard rock (other) 
- wind/synth sound - cloud shimmer (pads) - more wind

Transformational journey

Really raw cut, jumping straight into full rhythm and heavily distorted bass sound playing the main bass riff from the begining. Second bass riff comes in second half of the song,  and the heavy bass is present completely whole song, except of a couple of seconds at the end where I play just one tone of that bass sound. 

This whole song took me around 5 hours to make, and I didn't even plan to make a song today. Luckily got that bass riff in my head all morning and couldn't get rid of it. And funnily I opened a file with one melody in it - it's the  main one ( or the chorus if you will), which I made long time ago (don't even remember doing it). All the rest I made on the spot.

I played with kick sound for about 20 minutes, chose kind of earthy echo kick by combination of 3 different hit sounds. Then I played with bass sound for another 20 minutes. This time I went raw into all the knobs available and tried to shift them up and down. I came into pretty magical button "release" which made a magic around at around 50-52%, and the rest is 2 hours of listening to one loop of bass and kick (and lots of dancing to it)

Then I came back to that old melody, finished it, made a relatively simple variation and designed a pretty neat structure where all riffs kind of click and keep the show going. All piano and nothing else.  

Towards the end I introduce new bass riff with new bass sound. I do a very short dip at that point, where I switch off and reintroduce snare, hi-hat and then old  bass sound - but this time not playing the riff, but only one tone - E2 with last four being the octave (E3).

At the very end I reintroduce the bass riff from beginning for only four times and then I play pure E2 with the first bass sound. I wanted a party from the go and as long as possible, so I didn't do any intro. Although there's only one rhythm playing whole song, it's very energetic, upbeat and good reason to boogie. 

Moreover, the end and the beginning are pretty good fit, so if you play this song on the repeat, then it sort of sounds like a never ending song. So I hope you enjoy that, and leave a comment if you feel like it. 

Sounds I used:
- kick - trap door (first, second, and footsteps)
          - and modern 909 (first kick)  -  four sounds altogether
- snare - pile driver (electronic)
- hi-hat - modern 808 (electronic)
- bass 1 - massive grime bass (bass) - grimey (cutoff - at 51%)
- bass 2 - pumping out waves (rhythmic) - bold pulse
- piano - grand piano (keyboards)

Floating keys

This track is a remake of my previous song Floating keys (as the name suggests). Also took me 5-6 hours to make yesterday, but this time I didn't go from the scratch, obviously. I had two very good bass sounds, playing two separate riffs. So last month I've been collecting some ideas now and then. I made 3 extra riffs with the first bass sound, and extra rhythm (fast one) that plays in the first minute. Then I switch to normal techno and stay there till the end. 

The end is also made like before, meaning that when the song is played on repeat, it kind of sounds like never ending song. Plus this time, the end connects to the beginning of next song (which is Floating keys), playing the same part, so those two tracks sound like one long song. I'm not saying it's completely unprecedented, but it's definitely very rare on soundcloud, so I think it's pretty genius, haha. 

Melody-wise, again only piano and nothing else. I made another version of the main melody (in chorus), and that one goes as first one with first new riff. Second new riff starts after that, and plays along the same setting as in original version merging into original riff during chorus. It sounds like original version for about a minute and half, and it ends with a couple of seconds of pure drums/rhythm. Then I introduce third new riff, and piano melodies on the top of it. 

Second bass sound (which started in two thirds of a song in original version) is moved to the beginning, where it plays along a new fast rhythm with the cow-bell sound. That combination creates a sound that is (in my opinion) outside of boundaries of normal/usual techno and I'm pretty proud of it. And, generally, the whole bass line is very well thought on the composition level. So I hope you'll enjoy it.

Sounds I used:
- kick - trap door (first, second, and footsteps)
          - and modern 909 (first kick) - four sounds altogether
- snare - pile driver (electronic)
- hi-hat - modern 808 (electronic)
- bass 1 - massive grime bass (bass) - grimey (cutoff - at 51%)
- bass 2 - pumping out waves (rhythmic) - bold pulse
- piano - grand piano (keyboards)

Floating keys 2

Sounds that I used: 
Kick - retro rock (acoustic) 
Snare - bluebird (acoustic)
Crash - modern 909 (electronic)
Closed hi-hat + ride - modern 808 (electronic)
Guitar - hard rock (other)
Bass - smooth clav (keyboards)

Punky punch

Sounds that I used: 
Kick + snare - roots (acoustic)
Cymbal - modern 909 (electronic) - closed + open hi-hat + crash + ride
Guitar - hard rock (other)
Bass - picked (other)

Frantic run

Sounds that I used:
Bass 1 (firing) - big hollow bass (bass) - noisy (plus set buttons resonance on 100%, and sync on 50%)
Bass 2 (smooth) - analog unison lead (leads) - big unison
All melodies - light bulbs (mallets) - detuned
Kick - modern 909 (electronic)
Snare - trap door (electronic)
Hi-hat - modern 808 (electronic)

Glitter on the mud

Sounds that I used:
Guitar - acoustic guitar (other) 
Synths - analog silk (pads) - light brassy
Snare - hacienda (electronic) - smart drums
Hi-hat - crate digger (electronic) - smart drums
Sticks sound - hacienda (electronic)
Kick in second rhythm - big room (electronic) - smart drums
Kick in third rhythm - hacienda (electronic)

Creature from magical lake

This song I wrote in second year on university. I composed and played it on guitar, so I took the structure (pickup and chords) and I play it with this nice staccato string sound, that sounds like symphonic orchestra. I did the same thing in Autumn falls, which is another song that I wrote during that era.

The main melody (which I originally sang) is played by oboe, which creates nice orchestral sound (together with strings). I jazzed it up with pretty dirty and distorted bass, that starts on first bridge and goes untill the end. It mostly copies the cord progression, playing just root notes. 

The whole structure (verse,bridge,chorus) is played 3 times. First time with no drums, second time with slow, basic rhythm. And third time with fast/punky rhythm with some fill-ups. 

The song has "kind of" escalating effect/feeling, since it starts very soft and meek, but it's intensifying, and ending with pretty up-tempo and energetic vibe. I hope you enjoyed, and feel free to leave a comment.

I'm not alone

During my time on university (when I played around 6 hours a day on guitar), I composed many albums with different styles. One of them was my death metal album, and this is basically first half of second song on that album. 

Obviously, I composed it on guitar, and played it many, many times. So  I took the composition (tones/riffs) and found nice edgy, distorted, techno bass. And played it with that bass sound, because I wanted to make it sound more like techno.

Drums I had to make from a scratch, although I already had some ideas about rhythms and fill-ups from long time ago. I came up with a number of good rhythms that complement the atmosphere of riffs. 

I added soft synths in first half, and then at the very end (the last part), where I play them with only fast drums. Somehow I love that combination, thinking about doing more themes like that. 

Wish me luck, see you next time.

Celebrating terminator

Fat beat 6 (festive one)

I composed this song somewhere during my first year on university - which means a long, long time ago. The string part I played on guitar as a finger pick up, and main melody I was singing with lyrics about ecological awareness. When I played around with different sounds, I stumbled upon string sound and we had a winner. Then I done bass line and all rhythms. 

Structure is simple: pick up/riff, verse, bridge, chorus, which all goes twice. First time no drums, second time with slow rock rhythm, and at the end I throw faster rhythm with pick up and do some around 5-6 fill ups. Pretty sure that's my record for number of fill up in one song (at least so far). Bass is slightly distorted, continuous, and dark and loud. It only plays cord progression, nothing fancy. 

Sounds I used: (categories are in brackets)
- synth strings - strings staccato (other)
- bass - 70s classic synth bass (bass) - smooth
- oboe - oboe (other) - in first verse
- french horn - french horn (other) - in second verse
- hi-hat - modern 909 (electronic)
- snare + kick - crate digger (electronic)

p.s. Later on I found out that there is a porn actress named Autumn Falls, so to be clear, that is a pure coincidence. I wanted to name the song after a town in Vampire diaries, but that was Mystic falls, and I already had song Mystic bass around that time, so it would be clashing. 

Hence, autumn falls. It sounds dark and mystical. Picture is made in Canva, as always. I chose dark, autumn forest, with ground covered with fallen leaves, and air full of fog. It nicely represents unknown and mysterious atmosphere that is characteristic to the sound and feeling of this song. Enjoy.

Autumn falls

Hint of tribe core

Judgement day chanting

Welcome - It all started when I was 6 and studied musical school on the top of normal school. We learned classical music - notation, scales, chords, etc. Within a couple of years, I got pretty good foundation of music theory, and I kept playing flute for next 5 years. 

But the real fun started at 13, when I purchased my first guitar, and then started composing within a year. I wrote many simple pop songs, punk songs, and some gospel, later on learned to play and compose very complicated riffs, licks, and many solo techniques, eventually landed in death metal band, where I played guitar for 3 years. 
     
Of course, that is a long history now, and I gave up making music at 31. But roughly 11 years after that I came along to own my first Ipad, which happened to have Garageband app. And since then I slowly learn more and more tricks, and have now done over 2 hours of music, which you can hear for free on this page. 
     
Every song is an experiment itself, although I tend to be melodic, upbeat, and various. I'm still using diatonic scales and chords as main channel for composition, just as I learned in school as a little kid. Although some pentatonic scales now and then won't hurt, right? 
     
Here is how I see it about the music. The most basic and effective way to make the magic is the combination of good chord progression and good melody. So basically, brilliant cords, brilliant melody and how much they complement each other - that is the magic. And, of course, the structure that utilizes all that to the max. All the rest is just a gravy, (I mean, "just" a gravy) Don't get me wrong, the gravy can be very beautiful and  enjoyable, and most of my tracks so far are mostly gravy, but the proper meal should contain some meat, Know what I mean? My most "meaty" songs so far are probably Autumn Falls and Hint Of Tribecore. The biggest and dirtiest gravy so far would be probably Tribal Beginnings and Warning Immediate Noise. But you can judge that for yourself. 

Still, my main focus now increasingly becomes a sound modulation, and structures of song, because more I play with that tweaking of sound, more crazy sound I can hear. The goal here is pure magic and beauty distilled into nice 2-6 min. pieces. 
     
Also, a little disclaimer here. I don't do any vocals, mixes, remixes, or live pieces. All should be well thought through, electronic, and freshly new, and original. So enjoy listening and feel free to comment. I appreciate the feedback as it gives me more info and insight.
Peace.

Fat beats project

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