Concept: I had imagined a family who had lost their daughter 'Cassie' who brought so much happiness to everyone around her especially when she played in the forest, in the park, in the yard running about smiling to all who she saw around her. This song is about remembering lost children, feeling that happiness from them, remembering this glee radiating from them. Perhaps you have such memories. Perhaps this song helps you to remember a loss and feel that happiness again when you think of them. Perhaps you just need some perking up, to feel love again, to feel joy and happiness, to stop for a moment to experience the joy of wonder, to reflect upon the happy moments in your life.  

Mastered on September 5, 2025 using Bandlab mastering:  Mastering Preset is Clarity, Intensity is 50%, Input Gain is -4.5 dB. Effects where changed prior to mastering. 

Instruments:  Korg Volca FM Digital FM Synthesizer, Keith McMillen QuNexus CV Gate MIDI Controller.  

Signal Path:  QuNexus MIDI connected to Volca FM, Volca FM Audio-out to Chnl-1 Bastl Dude 5-chnl mixer out to Boomstick Psychoacoustic DAC to USB Audio Adapter mic/line-in to Chromebook to Bandlab DAW. 

Bandlab Effects: 
* Guitar Input
* 120bpm, 4.4 Timing
* Gain is -3.4 dB
* Graphics EQ (7-band EQ with Level)(100 is +4.9 dB, 200 is +1.6 dB, 400 is +0.9 dB, 800 is -0.4 dB, 1.6k is +2.2 dB, 3.2k is +3.5 dB, 6.4k is +3.0 dB, Level is +2.6 dB)
* Dimension B Chorus (Preset is 04)
* EQ3-M (3-band EQ with Mid Sweep) (Low is +1.1 dB, Mid is -4.2 dB, High is -0.5 dB, Mid Sweep is 1663 Hz)
* Vocal Enhancer (Mix is 41%, Mode is Modern)
* Vintage Limiter (Gain is -3.92, Attack is 6.04, Release is 3.88, Knee is -8.14, Enhance is +2.16, Volume is +2.24)
* TecLab BA-2A (Mode is Compress, Gain is +42, Squeeze is +58)
* Feedback is 3.3

File Format:  WAV, 16-bit, 44.1kHz 
Photo "A Happy Family in the Park" by Elina Fairytale, Pexels License. 

"Cassie" is copyright by jtechno electronic music. Ask for permission to use by contacting jtechnoelectronicmusic@yahoo.com

Cassie

Concept: Create an experimental melodic arp techno work. This work is in the key of Bbmaj7 and includes inversions. This particular key enhances poly of the JX-08 to create the blending sounds. The focus was to maintain overall timing where the arpeggiator plays the part of the beat running with the melody. This work was created on a Roland JX-08 Boutique Digital Synthesizer after spending months learning how to fit the JX-08 into my creative workflow. 

Signal path: JX-08 out to the Bastl Instruments 5-chnl Dude mixer out to line input of the Plugable USB Audio Adapter into the Chromebook to the Bandlab online in-browser DAW. 

Timing: 120bpm, 4/4
File Format: WAV file, 16bit 44.1kHz

Bandlab effects: Feedback Killer, Gain, Dimension B set at 3 (chorus modulation and stereo spread of signal),Teclab BA-2A limiter (gain and squeeze), 6-band Graphic EQ (100hz at -1.1dB,200Hz at 0.0dB, 400Hz at +0.2dB, 800Hz at +0.4dB, 1.6KHz at +2.0dB, 3.2KHz at 3.8dB, 6.4KHz at 4.7dB). I used the bass guitar input. I used gain automation to intro fade-in and ending fade-out slopes. 

Roland JX-08: I used the A16 Brass Pad preset, set arp rate at 16, up/down and shfl at22. The synth is set to poly mode. No other settings needed on the synth on any of the sections (knobs, switches and sliders). The sequencer is not used. The melody is played on the two-octave Roland K-25m keyboard.

Photo: Labyrinth, Milton Keynes, England, UK by Altaf Shah, Pexels License.

Grassy Maze is protected under U.S. Copyright by jtechno. Email jtechnoelectronicmusic@yahoo.com for permission.

Grassy Maze

Concept:  Create a brazenly hardcore eclectic experimental techno work (without percussion) connecting the Bastl Kastle 1.5 synth to the mixer on the Make Noise O-Coast synth. 

Mastered on June 23, 2025 using Bandlab mastering, mastering preset is Tape, intensity is 50 percent, input gain is -4.5. Prior to mastering the effects including gain were re-adjusted on the original mix and a feedback killer effect was added and the Teclab BA-2A compression was removed. 

Signal path:  Kastle to O-Coast to Bastl Dude mixer to USB Audio Adapter to Chromebook to guitar input on Bandlab. 

O-Coast patches:  
Clock to Time
Kastle out to mixer chnl 2 input
PGM A on
PGM B on (arp)
RED light by CV to Multiply
Gate by MIDI B to Slope
Mixer out to Dynmc
Saw to Balance
1/Oct to Decay
EOC by Time to Overtone

Kastle Patches:
OSC out to Waveshape
Waveshape to Stepped

I turned Waveshape on the Kastle throughout the work

Bandlab Effects: 
* Gain is -0.8 dB
* Graphics EQ (7-band EQ) (100 is +5.0 dB, 200 is +2.5 dB, 400 is -1.5 dB, 800 is -1.3 dB, 1.6k is +1.3 dB, 3.2k is +3.2 dB, 6.4k is +3.8 dB, Level is 0.1 dB)
* BL1176 Compressor (Input is 11.9 dB, Output is +3.5 dB, Attack is 0.2, Release is 5.2, Ratio is 4.1)
* Dimension B Chorus (Preset is 01)
* Stereowise (Spread is 2.2, Low is 70%, High is 73%)
* Feedback Killer (Amount is 1.9)

120bpm (sounds like it is running much faster), 4/4 timing

WAV format 16-bit, 44.1kHz

Photo:  Gas Mask in Nightclub by ἐμμανυελ 
Pexels License

"Eclectic Techno" copyright by jtechno electronic music. Email for permission to use.

Eclectic Techno

Concept: Create a 140BPM hardcore, hard pounding, destructive industrial techno work. 

Best on high quality noise cancelling and studio headphones.

Mastered on June 26, 2025 using Bandlab mastering, mastering preset is Tape, intensity is 50 per cent, input gain is -4.5 dB.

Gear and signal path use:  Moffenzeef Modular Sound Generator connected to a Sonuus G2M MIDI Guitar Universal Converter (pitch to MIDI conversion, set to B5) to a Meeblip Geode Monophonic Synthesizer out to Line-in of a USB Audio Adpater connected to a Chromebook. I used the Bandlab DAW to record and add effects. Guitar input was used on Bandlab.

Recorded at 140BPM, 4/4 timing

Bandlab Effects:  
* Gain at -15.7 dB
* Feedback Killer (Amount is 1.8)
* Guitar Amp (Drive is 5.0, Bass is 3.9, Mid is 4.0, Treble is 6.8, Presence is 5.2, Volume is 4.9, Model is Classic Brit)
* Dimension B Chorus (Preset is 01)
* Univerb (Mix is 15%, Type is Innovation Hall)
*EQ3-M (3-band EQ with Mid Sweep) (Low is +5.8 dB, Mid is +8.5 dB, Mid Sweep is 1078 Hz, High is +5.0 dB) 

File format:  WAV 16-bit 44.1kHz

Photo:  "boy is dancing" by Foerder Zone, Pexels License.  

"Deep Scrap" is copyright by jtechno electronic music. Email for permission to use. 

Created in Oct 2023.

Deep Scrap

Concept: Create an edgeplay techno work that's hard pounding, squelchy, and growling. 

Mastered on June 27, 2025 using Bandlab mastering, mastering type is Tape, intensity is 50 percent, input gain is -4.5 dB. Prior to mastering I had to change the mix effects and add some new effects to deal with a gain issue.

Instruments:  Rucci 8-bit Power Synthesizer, Korg NTS-1
Signal Path:  Rucci synth to Korg NTS-1 audio in and out to Bastl Dude Mixer to USB Audio Adapter to Chromebook to Bandlab DAW. Used Audio Input on Bandlab.

Percussion provided by the Rucci Synth drum loop mode. 

Bandlab effects: 
* Feedback Killer set at 3.2
* Gain set at -1.7 dB
* Stereowise (with Spread set at 3.6, Low at 72%, High at 83%)
* 7-band EQ (100Hz at +2.3 dB, 200Hz at -1.0 dB, 400Hz at -2.8 dB, 800 at +0.2 dB, 1.6kHz at +2.0 dB, 3.2kHz at +5.5 dB, 6.4kHz at +4.4 dB)
* EQ3-M 3-band EQ with Mid-Sweep (Low at -1.5 dB, Mid at +2.9 dB, Mid-Sweep at 1495Hz, High at +1.2 dB)
* Teclab BA-2A Compressor (Gain at +52, Squeeze at +36)
* Univerb (type Atrium, mix at 34%) 
* Dimension B Chorus (Preset is 04). 
Changes were primarily made to resolve a gain issue that was originally set at about -18 dB... the goal was to get it -2.0 dB which was achieved. This was done by adding a Compressor, Univerb, and a Chorus, and by tweaking the other effects. The effort improved the dynamics and overall balance of ranges throughout the work.

File format:  WAV 16-bit, 44.1kHz

Photo: "Woman with Blade" by Ivan Babydov, Pexels License. 

"Edgeplay" is copyright by jtechno electronic music. Email for permission to use.

Edgeplay

Concept: Create an industrial noise music work. 

Mastered on June 19, 2025 using Bandlab, mastering preset is Universal, intensity is 50%, input gain is -4.5dB.

Instruments:  Rucci 8-Bit Power Synthesizer, Korg Delay Monotron Analogue Ribbon Synthesizer.

Signal Path:  8-bit power synth to Korg Delay Monotron to Bastl Dude Mixer to Boomstick Psychoacoustic DAC to USB Audio Adapter to Chromebook to Bandlab DAW. Used the Guitar input on Bandlab.

Bandlab Effects: 
* Gain is -6.1 dB
* Feedback Killer set at 3.7
* EQ3-M 3-band EQ with Mid Sweep (Low at +6.6 dB, Mid at +10.3 dB, Mid Sweep at 1531 Hz, High at +9.6 dB)
* House of Metal (distortion at 7.2, volume at 6.4, bass at 7.1, treble at 5.5)
* Space Maker (reverb) (mix at 24%, width at 5.5, size at 5.5, dampening at 1043 Hz, type is Medium Ambience)
* Univerb (mix at 31%, type is Innovation Hall)
* Dimension B chorus (Preset is 01)
* Stereowise (spread is 2.8, low is 74%, high is 77%)

Format:  WAV, 16-bit 44.1kHz

120 bpm, 4/4 time signature

Photo by Mikhail Nilove, Pexels License.

"House of On" is copyright by jtechno electronic music. Email for permission to use.

House Of On

Concept:  Create an experimental progressive trance work using Make Noise O-Coast Synthesizer to explore bass, mid and high pitches as opposed to just bass lines. It is about busting through the norm to a different sound. 

Mastered on June 22, 2025 using Bandlab mastering, mastering preset is Tape, intensity is 50 percent, input gain is +1.2dB. 

O-Coast info and patches:  
PGMA on
PGMB blinking
MIDI B blinking red
CLK to TIME
Triangle to Balance
Chnl 2 Out to DYMNE
CV to Slope

I turned the knobs a lot - mostly the Multply knobs, Pitch and Overtone. 

Signal path:  O-Coast out to Bastl Dude Mixer to USB Audio Adapter connected direct to Chromebook to Bandlab DAW. Used Guitar input. 

Bandlab Effects:  
* Gain Automation was used to adjust sound levels. 
* Gain is -5.2 dB
* Teclab BA-2A (Mode is Limit, Gain is +57, Squeeze is +36)
* Stereowise (Spread is 3.6, Low is 68%, High is 60%)
* Univerb (Mix is 37%, Type is Women's Institute)
* Graphic EQ (7-band) (100 is +1.8 dB, 200 is -0.8 dB, 400 is -3.0, 800 is -1.0, 1.6k is +2.5 dB, 3.2k is +3.9 dB, 6.4k is +2.7 dB, Level is +3.2 dB)
* Feedback Killer (Amount is 3.6)
* Space Maker (reverb) (Type is Long Plate, Mix is 44%, Width is 4.2, Size is 5.8, Dampening is 3221 Hz)
* D-Delay (Time is 0.584 Hz, Feedback is 38%, High Pass is 585 Hz, Low Pass is 5007 Hz, Dry Level is 62, Wet Level is 39, Volume is +1.0)

120-bpm 4/4 timing signature

File Format:  WAV, 16-bit 44.1kHz

Photo "A man with paint on his body holding his ear" by Imustbedead, Pexels License. Perhaps too is also hearing a difference rather than the norm. 

"Breaking Through" is copyright by jtechno electronic music. Email for permission to use.

Breaking Through

Concept: Create an absurd Classical work with a Make Noise O-Coast single voice patchable synthesizer. Best to listen with noise-canceling headphones. 

Mastered on June 22, 2025 using Bandlab mastering, mastering preset is Clarity, intensity is 50 percent, input gain is -4.1dB.

Signal Path:  O-coast to Bastl Dude Mixer to USB Audio Adapter MIC-in  to Chromebook to Bandlab DAW. Use guitar input in the DAW.

O-Coast Patches: 
Tempo to EOC
CLK to Gate
Random to 1/Oct
Chnl 1 to Multipl
CNTR to Overtone
Saw wave to Balance
Sq wave to DCY (decay)
Slope to Dynmc

I turned the Rise Knob and Contour Onset Knob to create the much of the sounds and flow of the work.  Note: PGM A and B off.

Bandlab Effects:  
* Gain is -1.9 dB
* Stereowise (Spread is 3.2, Low is 100%, High is 91%)
* Dimension B Chorus (Preset is 04)
* Studio Reverb (Mix is 26%, Size is 25%, Tone is 80%)
* Univerb (Mix is 42%, Type is Women's Institute)
* Vintage Limiter (Gain is -2.81, Attack is 4.63, Release is 4.36, Knee is -7.08, Enhance is -0.39, Volume is -2.78)
* EQ3-M (3-band EQ with Mid Sweep) (Low is +3.4 dB, Mid is -0.7 dB, Mid Sweep is 406 Hz, High is -2.8 dB)

Timing:  120bpm, 4/4

File format:  WAV 16-bit, 44.1kHz

Photo: "A Person in Long Sleeve T-Shirt Lifting Hands Up" by Alperen Kaan Sahin. Pexels License. |

"The Absurd Classical Encounter" is copyright by jtechno electronic music. Email for permission to use.

The Absurd Classical Encounter

Concept:  Using a Bastl Kastle 1.5 synthesizer to create heavy industry factory noises where robotic arms move large metal shapes to position them for slicing, cutting and deburring. 

Mastered on June 26, 2025 using Bandlab mastering, mastering preset is Tape, intensity is 50 percent, input gain is -4.5 dB. 

Signal path:  Bastl Kastle 1.5 audio out to Bastl Dude Mixer to USB Audio Adapter MIC-in to Chromebook to Bandlab. No passive mixer used to reduce Kastle volume before going to the Dude Mixer... the goal was to get a more raw sound as if recorded in a factory. Guitar input was used on Bandlab.

Bastl Kastle Patches: 
+ to waveshape
- to square LFO
waveshape to triangle LFO
mode to stepped

I adjusted OSC Pitch and Timbre during the recording to create the changes in sounds. 

Bandlab effects: 
* Gain is -6.3 dB
* Stereowise (Spread is 4.5, Low is 100%, High is 78%)
* Vintage Limiter (Gain is +3.74, Attack is 10.00, Release is 5.44, Knee is -8.41, Enhance is +1.78, Volume is +6.86)
* Dimension B Chorus (Preset is 02)
* EQ3-M (3-band EQ with Mid Sweep) (Low is +4.1 dB, Mid is +6.5 dB, Mid Sweep is 2173 Hz, High is +7.3 dB)
* D-Delay (Time is 0.152 Hz, Feedback is 27%, High Pass is 355 Hz, Low Pass is 5477 Hz, Dry Level is 65, Wet Level is 35, Volume -1 dB)
* Noise Gate (Threshold is -51.6 dB, Attack is 4 ms, Release is 395 ms)

126bpm, 4/4 timing

WAV format 16-bit, 44.1kHz

Photo:  "Cut-off Saw Cutting Metal with Sparks" by Anamul Rezman. 
Pexels License. Photo-editing by jtechno electronic music. 

"Slice Factory" is copyright by jtechno electronic music. Email for permission to use.

Slice Factory

Concept:  Create a single track techno numbing work with a Make Noise O-Coast single-voice patchable synthesizer that sounds like multiple tracks. Best to listen with noise cancelling headphones. 

Mastered on June 19, 2025 using Bandlab, mastering type is Tape, intensity is 50%, input gain is -4.5dB.

Signal Path: O-Coast to Bastl Dude mixer to USB Audio Adapter MIC-in to Chromebook to Bandlab DAW. Used guitar input in DAW.

O-Coast Patches: 
CLK to Gate
Chnl 1 out to DYNMC
Cntr to Overtone
Slope to Multiple
Saw Wave to Balance

Other settings not noted. 
Adjusted Overtone and Multiply knobs during recording. 

Bandlab Effects: 
* Gain is -3.9 dB
* Stereowise (spread is 4.5, low is 76%, high is 74%)
* Dimension B Chorus (preset is 04)
* Vintage Limiter (Gain is -2.18 dB, Attack is 2.17, Release is 5.79, Knee is -8.26, Enhance is +0.10, Volume is -1.72)
* D-Delay (Feedback is 42%, Time is 1/8 T Beat, High Pass is 220 Hz, Low Pass is 11731 Hz, Spread is 53.4%, Wet is 44%, Dry is 95%, Volume is +1.0 dB)
* Graphic EQ (7-band) (100 is +4.0 dB, 200 is +1.5 dB, 400 is -2.3 dB, 800 is +1.5 dB, 1.6k is +4.2 dB, 3.2k is +6.1 dB, 6.4k is +4.7 dB, Level is +1 dB)

124bpm, 4/4 Timing

File format: WAV 16-bit 44.1kHz

Photo:  "Intense Horror Portrait With Bloody Hands" 
by Dago Reyes, Pexels License.

"Over Multiply" is copyright by jtechno electronic music. Email for permission to use.

Over Multiply

Concept: Create a trance piece using formant synthesis, track and hold, offsetting modulation signals, random and semi-random patterns created by a Bastl Instruments Kastle 1.5 Mini-Modular Synthesizer. The vision is that a dancer is "taken by the trance music" dancing to it. 

Bastl Kastle 1.5 is running on its own throughout the work without additional adjustments during recording. 

Best to use Noise Cancelling headphones. 

Signal Path:  Kastle to Rucci 4-chnl passive mixer to Bastl Dude Mixer to USB Audio Adapter to Chromebook to Bandlab Guitar Input (tho no guitar used). 

WAV file format, 16-bit 44.1kHz
Timing: 120bpm 4/4

Kastle Patches: 

Waveshape to Stepped
Mode to + (to offset modulation signals to track and hold on OSC out. And to use Formant Synthesis  on Sec OSC.) 
Mode out to LFO Square Wave
Sec OSC to Osc Out
Sec OSC to Bit-in to generate random and semi-random patterns. 
Sec Osc to triangle wave LFO. 
(Sec Osc are all square waves) 

Bandlab effects:  Gain, Gain Automation, EQ3-M EQ, Dimension B Chorus setting 03, Stereowise (spread, low and high), Univerb "Women's Institutue", Noise Gate (threshold -34dB, Attack 50ms, Release 383ms)

Photo by Darya Sannikova, "Man Wearing Gold-colored Chain Necklace), Pexels License. 

"Trance Taken" is copyright by jtechno electronic music. Email for permission to use.

Trance Taken

Concept:  Create a techno storm work using a Bastl Kastle 1.5 mini-modular synthesizer and a Rucci Clock Manipulator. Best to listen with noise-cancelling headphones.

Mastered on August 10, 2025 using Bandlab mastering:  Master Preset is Universal, Intensity is 50%, Input Gain is -4.5 dB. Effects were changed prior to mastering. 

Signal Path:  Rucci Manipulator clock-out into Bastl Kastle synth I/O and Kastle Audio out to Rucci 4-chnl Passive Mixer to Bastl Dude Mixer out to USB Audio Adapter to Chromebook to Bandlab (guitar input - no guitar used tho). 

Kastle Patches: 
L (I/O) to Waveshape
R (I/O) to Waveshape
+ to Rate Mode
Mode to Bit-in
Pitch Mod to Sec Osc Out
Timbre Mod to Stepped
Timbre Mod to LFL Sq Wave
Sec Osc Out to LFO Sq Wave

Turned Timbre and Pitch Mods, Osc Pitch and Osc Timbre knobs and Waveshape Knob during recording. 

Setup the Clock Manipulator to use Humanize that sets the amount of delay randomly applied to clock pulses. Used Swing that delays every other pulse.

Bandlab Effects: 
* 124bpm, 4.4 timing (had started with 120bpm, then stretched to 128bpm, and settled for a better sound at 124 BPM)
* Gain is +0.1 dB
* Graphic EQ (7-band EQ with Level) ( 100 is +6.1 dB, 200 is +4.7 dB, 400 is -1.2 dB, 800 is +1.7 dB, 1.6k is +4.7 dB, 3.2k is +7.9 dB, 6.4k is +7.9 dB, Level is -2.9 dB)
* D-Delay (Feedback is 30%, Time is 1/8 beat, High Pass is 119 Hz, Low Pass is 3796 Hz, Spread is 42.3%, Wet is 79%, Dry is 58%, Volume is +1 dB)
* Vintage Limiter (Gain is -0.74, Attack is 1.63, Release is 2.00, Knee is -6.88, Enhance is -1.23, Volume is -2.52)
* Stereowise (Spread is 4.3, Low is 71%, High is 72%)
* Teclab BA-2A (Gain is +69, Squeeze is +54, Mode is 
Compress)
 
Format: WAV, 16bit, 44.1kHz

Photo of AI-generated wavy mountains by SuttleMedia. Pixabay License. 
"Clock Storm" is copyright by jtechno electronic music. Email for permission to use.

Clock Storm

Concept:  Create a percussive work, using a Rucci 8-bit Power Synthesizer and a Rucci Clock Manipulator, that contains a variety of sounds as if from temple blocks, wooden Guiro scrapers, castanets, electronic ratchet noisemakers, and dampened triple bass drum pedal (for the pitter patter sound in the background throughout the work). 

Mastered on August 13, 2025 using Bandlab mastering: Mastering Preset is Universal, Intensity is 50%, Input Gain is -2.9. Effects were changed prior to mastering.

Instruments: Rucci 8-bit Power Synthesizer, Rucci Clock Manipulator, Dude Mixer. 

Setup:  Clock Manipulator out to Clock-in on 8-bit Power Synthesizer then audio-out to USB Audio Adapter mic-in to Chromebook to Bandlab DAW. I used the drum loop mode on the synthesizer (there are 26 loops selectable with each key). 

On the Clock Manipulator I used the Humanize knob that sets the amount of delay randomly applied to the clock pulses. I used the Swing knob that delays every other pulse to change the feel. I did not use the Improbability knob that would cause a clock pulses to be held back from passing through. I used the Speed knob to set the speed control of the internal clock.

60bpm, 4/4 timing

Bandlab effects: 
* Gain is -3.0 dB
* EQ3-M (3-band EQ with Mid Sweep) (Low is +3.4 dB, Mid is +5.7 dB, High is +4.7 dB, Mid Sweep is 3671 Hz)
* Graphics EQ (7-band EQ with Level) (100 is +4.7 dB, 200 is +3.5 dB, 400 is +0.8 dB, 800 is +1.2 dB, 1.6k is +0.6 dB, 3.2 is +4.8 dB, 6.4k is +5.7 dB, Level is +3.6 dB)
* Guitar Cabinet (Cabinet is Bassman 30)
* Vintage Limiter (Gain is -8.80, Attack is 6.52, Release is 5.69, Knee is -6.35, Enhance is -1.90, Volume is +1.46)
* D-Delay (Feedback is 37%, Time is 1/8T beat, High Pass is 87Hz, Low Pass is 2025 Hz, Spread is 77.6%, Wet is 35%, Dry is 46%, Volume is 0 dB)
*Stereowise (Spread is 3.1, Low is 45%, High is 47%)
* Space Maker Reverb (Mix is 45%, Width is 5.7, Size is 3.9, Dampening is 4592 Hz, Type is Large Hall)

File format: WAV 16-bit, 44.1kHz

Photo "Logs, Groynes, Sea Image" 
Pixabay License. Photo edited by jtechno electronic music.

"Beat Blocks" is copyright by jtechno electronic music. Email for permission to use.

Beat Blocks

Concept:  Create a high resonance, grinding, wrecking, bass pounding, metal pot bottom striking industrial techno work of what a person hears during a high anxiety episode and just wants it to abruptly stop. They don't want suggestions like therapy or calming methods or drugs. 

Mastered on July 25, 2025 using Bandlab Mastering. Master Preset is Tape, Intensity percent is 50, Input Gain is -4.5. Prior to mastering the Bandlab effects were redone for this work. 

Best to listen with wired-in noise cancelling headphones. Bluetooth tho is also good. 

Gear:  Make Noise O-Coast Patchable Semi-modular Synthesizer, Bastl  Instruments Dude 5-chnl Mixer. 

Signal Path:  O-Coast out to Dude mixer out to USB Audio Adapter to Chromebook to Bandlab DAW. Used Guitar Input in Bandlab. 

O-Coast Patches:
EOC out to Chnl-1 input
Chnl-2 out to DYNMC input
Slope out to MLTPL (Multiply)

Bandlab Effects:  
* Gain is -9.9 dB
* Univerb (Mix is 30%, Type is Innovation Hall)
* EQ3-M (3-band EQ with Mid Sweep) (Low is +0.5 dB, Mid is +6.9 dB, Mid Sweep is 670 Hz, High is +5.5 dB)
* Stereowise (Note: I used this twice so you will see two numbers for each part of this effect) (Spread is 4.4 and 3.4, Low is 52% and 71%, High is 54% and 70%) (Using this effect once after adjusting EQ3-M effects and then again after setting the Graphics EQ effects did make a for a a tighter and more definitive spatial sound across the work.)
* Graphics EQ (7-band) (100 is +2.6 dB, 200 is +1.0 dB, 400 is -0.1 dB, 800 is -1.3 dB, 1.6k is -1.2 dB, 3.2k is -0.9 dB, 6.4k is +2.9 dB) (Level is +1.7 dB)
* Vintage Limiter (Gain is -2.96, Attack is 0.97, Release is 2.64, Knee is -2.89, Enhance is +3.77, Volume is +1.4)
* Teclab BA-2A (Gain is +60, Squeeze is +39, Mode is Compress)

Originally recorded at 120bpm and later stretched to 126bpm to improve depth of sounds and clarity. 4/4 timing. 

File format:  WAV 44.1kHz 16-bit

Photo "Stress Depression" (I found it best for high anxiety rattling one's head and having to deal with others making suggestions on how to stop it), by Vegard Henriksen, AI generated image. Pixabay license.

"Coming Down" is copyright by jtechno electronic music. Email for permission to use.

Coming Down

Concept:  Create a soundscape work of a labyrinth membrane of paths, entry, turn-around and exit points. Best to listen to with noise-canceling headphones wired or wireless. 

Mastered on June 22, 2025 using Bandlab, mastering type is Universal, intensity is 70%, input gain is -4.2dB. 

Instruments and Signal Path:  Bastl Kastle 1.5 Mini-Module Synthesizer Audio-out to Rucci 4-chnl Passive Mixer out to audio-in of Korg NTS-1 Programmable Synthesizer headphone-out to Bastl Dude 5-chnl Mixer chnl-1 in and then out to USB Audio Adapter to Chromebook to Bandlab DAW. Used guitar input in the DAW.

Bastl Kastle 1.5 Patches: 
pitch mod to square wave LFO
timbre mod to square wave LFO
wave shape to stepped
- (minus) to waveshape

Made adjustments during to recording to pitch mod, osc pitch, osc timbre, timbre mod and wave shape. 

NTS-1:   used MOD Chorus, Delay Ping Pong, Reverb Riser. Each with specific knob settings. 

Bandlab Effects:  
* Gain is +0.6 dB
* Graphic EQ (7-band) (100 is +0.4 dB, 200 is +2.2 dB, 400 is 0.0 dB, 800 is -0.6 dB, 1.6k is +2.3 dB, 3.2k is +1.0 dB, 6.4k is +3.6 dB, Level is =1.3 dB)
* Dimension B Chorus (preset is 01)
* Vintage Limiter (Gain is -4.81, Attack is 7.41, Release is 4.74, Knee is -6.86, Enhance is +0.10, Volume is +0.75)
* Univerb (Mix is 34%, Type is Women's Institute)
* Stereowise (Spread is 3.8, Low is 63%, High is 48%)
* Filter Echo + (Feedback is 29%, Time is 1/8 beat, Cutoff is 2421 Hz, Mix is 50%)

120bpm, 4/4 timing

Format:  WAV, 16bit, 44.1kHz

Image photo "Connex Labyrinth" by fedecomite (on creativecommons org site (openware) and their Flickr site. CC BY 2.0 license. Image enhanced by jtechno electronic music. 

"Membyrinth" is copyright by jtechno electronic music. Email for permission to use.

Membyrinth

Concept:  Create a narrow gauge train engine sound as it is coming to and passing through a crossing using a Bastl Kastle 1.5 Mini Modular Synthesizer. The work is almost an experimental techno piece but I'll settle with calling it 'electronic'. After a bit of research on what these trains sound like the one sound that is quite accurate is the bell sound. The other running engine sounds are close enough too. 

Mastered on September 7, 2025 using Bandlab Mastering:  Mastering Preset is Universal, Intensity is 50%, Input Gain is -3.8 dB. Effects changed prior to mastering. 

Instrument:  Baslt Kastle 1.5 Mini Modular Synthesizer. 

Signal Path:  Kastle 1.5 Audio-out to Rucci 4-chnl Passive Mixer out to USB Audio Adapter mic/line-in to Chromebook to Bandlab. 

Kastle 1.5 Patches
Waveshape to Stepping

Bandlab Effects: 
* 120bpm, 4.4 Timing
* Guitar Input
* Feedback Killer is 2.2
* EQ3-M (3-band EQ with Mid Sweep) (Low is +2.8 dB, Mid is +6.5 dB, High is +1.6 dB, Mid Sweep is 1776 Hz)
* Gain Automation (fade in at start and fade out at the ending)
* Dimension B Chorus (Preset is 01)
* Multi-Filter (Frequency is 974 Hz, Resonance is 5.8, Gain is +2.7 dB, Filter is Peaking)
* Univerb (Mix is 29%, Type is Innovation Hall)
* Vintage Limiter (Gain is +1.38, Attack is 4.39, Release is 5.74, Knee is =7.49, Enhance is =0.98, Volume is -0.85)

File Format: WAV, 16-bit 44.1kHz

Photo "A Train is Traveling on a Railroad Track" by M. Winkelteir. Pexels License. 

"Narrow Gauge Railroad Crossing" is copyright by jtechno electronic music. Email for permission to use.

Narrow Gauge Train Crossing

Concept:  To create industrial electronic music seemingly crafted in a metal shop out of the sanding, grinding and barrel spinning finishing of  metal parts. 

Mastered on 11-26-2025 using Bandlab Mastering:  Master Preset is Universal, Intensity is 50%, Input Gain is -3.3 dB. Mastering was done after the effects were changed to improve the sound.

Instruments:  Bastl Kastle 1.5 modular patchable synthesizer, Korg NTS-1 Ribbon Synthesizer, Bastl Dude Mixer

Signal path:  Kastle 1.5 synth audio-out to Korg NTS-1 -audio-in,  NTS-1 headphone-out to Dude Mixer Chnl-1 in, Dude Mixer audio-out to mix/line-in of USB Audio Adapter into Chromebook to Bandlab DAW. 

Kastle 1.5  Patches: 

Mode to LFO Rst
Wave shape to Triangle LFO
Wave shape to Osc Out

I turned the following knobs while recording:  Pitch Mod, Wave shape, Osc Pitch, Osc Timbre

Korg NTS-1 Effects section only used:  (adjusted the other knobs for each before recording)

Mod setting:  Chorus
Delay setting:  Stereo
Reverb settings:  Riser

Bandlab Effects: 

- Guitar input, 120 BPM, 4/4 timing
- Gain is +9.3 dB
- Dimension B Chorus is 01
- Graphic EQ:  100 Hz is +6.2 dB, 200 Hz is +1.1 dB, 400 Hz is -5.9 dB, 800 Hz is -8.9 dB, 1.6 kHz is -3.8 dB, 3.2 kHz is +2.9 dB, 6.4 kHz is +4.2 dB
- Vintage Limiter:  Gain is -5.76, Attack is 3.54, Release is 3.28, Knee is -12.80, Enhance is -0.35, Volume is +0.58
- Feedback Killer is 1.0
- Univerb:  Type is Dorm Hall, Mix is 22%

File Format:  WAV, 16-bit, 44.1 kHz 
Photo  "Man, Working, Metal Worker" by unknown, Pixelbay License.  Photo modified by jtechno electronic music.

"Sand Grind Spin It" is copyright by jtechno electronic music.  Email for permission to use.

Sand Grind Spin It

Created with Moffenzeef MSG II Sound Generator, Michael Rucci: Maximal Drone, 8-bit Power Synth, 16-step CV Sequencer. Mixed on Behringer Xenyx 1002B Mixer - while the sound is mono - I used pan each channel to create the mix. Used a variety of effects on Bandlab DAW. Final processing to 320kbps 44.1Khz HQ MP3. Streaming processing by Soundcloud. 

Photo by jtechno - this is the gear used to make this song.

So this is a bit of a rough draft mix really. I was flipping the switches on the drone for each of the oscillators 1 through 6 to result in low range to off to full range. However, in the final mix I couldn't hear it like I could while mixing. So I have to work on that a bit. Also the fader, I think, was too high on the drone so it was overbearing in the final mix. The sequencer is hooked into the 8-bit Power Synth and it worked just fine. 

What I did learn is that next time I can bring out more presence by minor adjustments on the mixer for gain and EQ. I can also switch off instruments and switch back on. This way there will be better presence and better clarity of each instrument.

This song is copyright by jtechno. Ask for permission to use by contacting jtechnoelectronicmusic@yahoo.com

Sputtering About

Created on Teenage Engineering PO-28 Robot Pocket Operator with effects from Bandlab. Mixed on Bandlab to be played LOUD !  Enjoy !!

Used the Guitar input on Bandlab (the effects are often better than voice/mic)
128 bpm on PO-28
120 bpm on Bandlab at 4/4 timing
No added affects after recording (no additional mastering needed)
Played directly from PO-28 OUT to USB Audio Adapter to Chromebook into Bandlab online DAW.

Effects used during the recording:
BL Driver Overdrive
EQ3-M
D-Delay Pro Stereo Delay - more dry than wet
MG-Filter - Lowshelf, hi-freq, mid gain
Space Maker Reverb, basic room size, little more than mid dampening

Mixdown to 192kbps 44.1KHz HQ MP3 optimized best for streaming

Artwork by Little Visuals, (pexels CCO License)
Artwork name:  Red and Blue Digital Wallpaper

This song is copyright by jtechno. Ask for permission to use by contacting jtechnoelectronicmusic@yahoo.

Arc Crossing

Concept: Create experimental tribal techno percussion/drums/beats composition that sounds a bit like a tribal techno work and suggests this couldn't have been done with a Stylophone Beatbox and a Stylophone Gen X-1 Synthesizer. 

Mastered on September 5, 2025 using Bandlab, mastering preset is Universal, intensity is 50%, input gain is -4.5db. Prior to mastering I redid the Bandlab effects in the mix.

Instruments:  Stylophone Beatbox, Stylophone Gen X-1 Synthesizer. Every strike on the Beatbox was done by hand using the Beatbox stylus. Beatbox was set to #3 sound bank.

Signal Path:  Beabox connected to Gen X-1 Audio-in to Chnl-1 Bastl Dude Mixer then out to USB Audio Adapter mic/line-in then the Adapter to USB on Chromebook to Bandlab DAW. (Mogami cable used from Bastl Dude mixer to USB audio adapter. Livewire cable used for gear connections. Better quality cables made a huge difference in cutting down noise from the Stylophone products and improving the overall sound of the work.

Bandlab effects: 
* Feedback Killer (Amount is 1.7)
* ST Chorus (Depth is 54%, Spread is 50.3%)
* Multi Cab Pro (Cabinet is 2X12 Seattle SP, Mic is BL57, Mic Placement is "On Axis")
* Studio Reverb (Mix is 27%, Size is 25%, Tone is 44%)
* Dimension B Chorus (Preset is 01)
* EQ3-M (3 band EQ with Mid Sweep) (Low is -2.8 dB, Mid is +5.7 dB, Mid Sweep is 1558 Hz, High is +3.6 dB)
* Stereowise (Spread is 5.9, Low is 82%, High is 74%)
* Univerb (Mix is 42%, Type is Rhythm Chamber)
* Gain is +2.3 dB

File Format:  WAV 16-bit, 44.1kHz

Photo: "Brown Wooden Percussion Instruments", CCO License, Pixabay

"Capture the Drums" is copyright by jtechno electronic music. Email for permission to use.

Capture The Drums

November 2025 Status:  I was on a hiatus there for a bit but now I am back working on making music and posting it again. Thanks for waiting for me to return. 

I listen to tons of techno, trance and EDM. I grew up tho with 60s and 70s rock and jazz fusion. I took piano for five years. My dad played piano, accordian, xylophone, bongos and little bit of guitar. Mom was an oil and acrylic artist. In college I practiced piano in the listening rooms and hung out in the music degree buildings and went to bunches of concerts in the SF Bay Area. 

In 2018 I landed a writing gig with DJD UK Global Music and wrote 74 listener reviews of songs for their artists. The label owner later retired after a long career in music production and marketing and closed his label.

I released my debut digital album on the DJD UK Global Music label in March 2019 called "Off Grid Analog", 13 tracks, 48:05 minutes of experimental/electronic/noise original music available for just a year on all major online outlets.  It was fun working with a label and to create an album. 

In the past I've created music on a Korg Poly-61, Korg X-50 and an Alesis Micron and mixed on a Mackie 1402-VLZ3 14-channel mixer. Today I've been creating electronic, experimental and noise music with a Teenage Engineering PO-28 Robot Pocket Operator, Stylophone Gen X-1 Analog Synthesizer, Bastl Kastle 1.5 Synth,  Meeblip Geode Synth, Alesis Q25 Controller, Kieth McMillen QuNexus USB MIDI CV Gate Controller, Alesis Micron Synth, Rucci 8-bit Power Synth, Rucci Maximal Drone, Rucci 16-step CV Sequencer,  Moffenzeef Modular MSG II Black, Stylophone Gen R8 Synth, Bastl Dude Mixer, Korg Volca FM Synth, Make Noise O-Coast Synth, Korg Monotron Delay Synth, Korg NTS-1 Synth Benidub Filtro, Arturia Keystep Controller, etc. I got away from melodic pieces to explore music and to dabble in electronic, experimental, noise, drone and experimental techno, ambient, trance styles.

My home studio includes m-Audio BX5 powered monitors and use of Beyerdynamic studio headphones, Sony and Beats phones. I use a Chromebook and the cloud-based in-browser Bandlab DAW and I do my own mastering. I use both a Baslt Dude Mixer and the Behringer Xenyx 1002B 10-chnl mixer. I use Mogami cables, Roland Gold MIDI cable, CV cables, iConnectivity MIDI to USB cable. I use a Boomstick Psychoacoustic DAC for added richness of dynamics. Final signal path output goes through the USB audio adapter into my Chromebook.  I rarely do multitrack preferring a straight signal path from one device to the next till final put goes through a mixer to the audio adapter into the Chromebook. 

I'm active on synth and music groups on Facebook under my name:
John Koudela III.  My music name tho is jtechno on Soundcloud. 

I'm located north of Seattle, WA. Contact me at:  jtechnoelectronicmusic@yahoo.com
All music I create and post are copyright by jtechno electronic music. Email me for permission to use my tracks.

jtechno

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