A Walk in the Park

A quickly arrived at set of patches on the Make Noise O-coast to suggest the setup was a "Walk in the Park" experience to get O-coast to do most of the work in drone mode, create the breathy bass while I turn knobs and press slope on and off. Another effort was to explore the use of the balance CV (Balnc input) use of control voltages "to modulate the Balance between Fundamental and Overtone that is sent to the Dynamics circuit." (as mentioned in the O-coast manual)

O-coast settings:

triangle to overtone
random to linfm
gate to balnc input
mixer chnl-2 out to dynamic 
1V/Oct to DCY
mltpl to slope

Turned the overtone large knob
Turned the multiply large knob
Turned slope cycle on and off

O-coast knobs 
(set at clock positions starting 
from 7 o'clock - all the way to the left)

Pitch set to 10 oclock
LinFM to 2 o'clock
Rise to 12 o'clock
Fall to 12 o'clock
Log to line at 1030 o'clock
Sustain to 230 o'clock
Onset to 1150 o'clock
Decay to 12 o'clock
exp to 1145 o'clock
balance knob to 12 o'clock
(turned this to just past right line and back)


Bandlab effects:
Feedback Killer
Spring Reverb UK
Dimension B Chorus preset 04
BL1176 Compressor ratio 12:1

Post processing:
Adjustments to 7-band EQ to smooth transition to slope on and off, to cause a better layered slope sound both long and short, make the cough/popping sounds more even in length and less interruptive, and increase overall dynamics. The cough/pop sounds are done by the O-coast - and ok to be there. The EQ allows for those wishing to add more dynamics with their gear. 

Setup
O-coast to passive mixer to Baslt Dude Mixer to 
mic/line input on USB Audio Adapter to 
Chromebook to Bandlab Guitar input. 

Dude gain setting just past half
Passive mixer 4 channels at 1/4s setting
and output at 1/4 setting 
(this worked great for overall sound on 
Bandlab.)

Download file format: 320kbps, 44.1kHz, HQ mp3
Photo by Andrea Piacquadio "Cheerful Elderly Man Listening to Music in Headphones"
Pixels License. 

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

A Walk in the Park

Concept:  Create an experimental industrial techno work that causes one to feel as if they are rising further up out of the water by each beat hitting it. 

The work was created using the Make Noise O-coast semi-modular synthesizer. I used a lot of patches, but didn't write them down. The O-coast was connected to a Bastl Instruments Dude Mixer, then to a USB Audio Adapter MIC/LINE-IN, then to a Chromebook, then to Bandlab. 

Bandlab effects:  Gain, Feedback Killer, Stereowise, BL1179 Compressor, EQ3-M. 

120bpm, 4/4 timing. 
File format: WAV, 16-bit, 44.1KHz

Photo: Micro Photography of Body of Water, Pexels and Pixabay License.

This work is copyright by jtechno. Email for permission to use.

See also this work used in a collaborative effort with Melrose Techno Vocal Trance who added vocals to the piece. Many thanks to their label Techno Lab and to Cyrille Poquet for doing the mix and mastering. 
https://soundcloud.com/melrose-207768409/tjhe-dark-rapid-drops-jtechno-feat-melrose

Rapid Drops

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 throughout the work

Bandlab Effects: 
Gain, 7-band EQ, Gain Automation, BL-1176 Compressor, Dimension B Chorus Preset 01, Stereowise, Feedback Killer.

120bpm (obviously 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. Ask 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. 

Bandlab Effects:  Guitar input (tho no guitar used), feedback killer, gain, Classic Brit Guitar Amp (drive, bass, mid, treble, presence, volume), dimension B chorus modulation and stereo spread - selected 01, univerb - selected Innovation Hall, EQ3-M. 

File format:  WAV 16-bit 44.1kHz
Recorded at 140BPM, 4/4 timing

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

This work 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, 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 for recording and effects. 

Percussion provided by Rucci Synth drum loop mode. 

Bandlab effects: (Used audio input) 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 and 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 also improved the dynamics and overall balance of ranges. 

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.

Bandlab Effects: Input Guitar (tho no guitar used), Gain, Gain Automation, Feedback Killer, EQ3-M, House of Metal pedal (distortion, volume, bass, treble), Space Maker Reverb - Medium Ambience, Univerb - Innovation Hall, Dimension B 01 (chorus, stereo spread), Stereowise.

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 a work about a Punk guitarist held in a noise prison. 

Instrument:  Make Noise O-Coast Semi-modular Synthesizer
Signal Path: O-Coast to Bastl Dude Mixer to USB Audio Adapter to Chromebook to Bandlab DAW.
File Format: WAV, 16-bit 44.1kHz

128bpm, 4/4 timing signature

O-Coast Patches: 
Sq wave to balance (attenuator)
CLK to Delay
Stepped Random out to Chnl 1
Chnl 1 out to Overtone (CV IN)
Slope to Multiply (CV IN)
Contour GATE IN to Slope: Rise/Fall Time (CV IN)
Headphone out to Chnl 1 Bastl Dude Mixer

Bandlab:  Used Audio Input
Bandlab Effects:  Gain, D-Delay, Multi Filter (freq, resonance, high pass), Stereowise (spread), Valve Screamer (drive, volume, tone), 7-band Graphic EQ, Filter Echo (56% feedback, Time 1/4T beat, 10581 Hz Cutoff, Mix 46%)

Photo:  The following photos were merged by jtechno electronic music:  
"Guitarist in a Dark Corridor" by Volker Thimm, Pexels License.
"Interior of a Jail" by Xiaoyl, Pexels License. 

"Captive Punk" is copyright by jechno electronic music. Email for permission to use.

Captive Punk

Concept: Create experimental Techno work using Bastl Kastle 1.5 Synthesizer with 16-step CV Sequencer connected to the I/O of the Kastle. Parts of the work include what would sound like high pitch fast shining and buffing of shoes. 

Gear:  Bastl Kastle 1.5 synth, Rucci 16-step CV Sequencer, Rucci 4-channel passive mixer, Bastl 5-channel Dude Mixer. (Mixer-out to Chromebook Mic-in to Guitar input on Bandlab DAW.)

Bastl Kastle patches:  I/O left and right to Waveshape, LFO square to Timbre Mod. Background artifacts created with Kastle synth. 

All 16 blocks or sliders are used on the sequencer.... there are 8 blocks in one column plus 8 more in a second column.  The sliders were arranged like pairs of switchbacks and the mode dial is set to run each column down and then back up before switching to the next column. This helped to create the techno effect.

Bandlab effects:  Gain, feedback killer, guitar amp (Cali Cab), EQ3-M (3-band, with midrange sweep), Dimension B 01 (chorus and stereo spread), Univerb (Women's Institute), Vintage Limiter (gain, attack, release, volume). 

Photo:  Black and Red Shiny Shoes, by Jose Martin Segura Benites, Pixels License. 

Format:  WAV, 16-bit, 44.1kHz

"Shiny Techno Shoes" is copyright by jtechno electronic music. Email for permission.

Shiny Techno Shoes

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. 

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:  Guitar input (tho no guitar used or keyboard or controller), Gain, Stereo wise, Dimension B Chorus 04, Studio Reverb, Univerb - Women's Institute, Vintage Limiter, EQ3-M 3-band EQ with MID/sweep. 

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

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. 

126bpm, 4/4 timing
WAV format 16-bit, 44.1kHz

Bandlab effects: 
Guitar input (tho no guitar used)
Gain, Stereo wise, Vintage Limiter, Dimension B Chorus 02, Univerb type Innovation Hall, EQ3-M 3-band EQ with mid sweep, D-Delay, Noise Gate (4ms attack, 359ms release, threshold at -56.1 dB)

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. 

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. 

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: 
- Guitar Input (tho no guitar used)
- Gain, Stereowise, Dimension B Chorus 04, Vintage Limiter, 7-band EQ
- D-Delay+
(Time: 1/8T beat, High Pass 220Hz, Low Pass 11731Hz, Spread 53.4%, Wet 44%, Dry 95%, Volume +1dB)

124bpm, 4/4 Timing
File format: WAV 16-bit 44.1kHz
Best to listen with noise cancelling headphones. 
Photo:  "Intense Horror Protrait 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.

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 .... I had setup various effects to use and did recording with them. I started with 120bpm 4/4 timing, then changed it to 128 but did't like that, then changed it to 124bpm and that sounded best. During post-processing I tried a number of effects, saved the recording with them and then tried other effects and saving the recording each time, and finally removed effects to attempt to see how it would change the work. The last round proved to be the best sound. This was an interesting and different way of post-processing. Next time I might save what effects I used each time.

Format: WAV, 16bit, 44.1kHz
Photo of AI-igenerated 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). 

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.

120bpm, 4/4 timing

Bandlab effects: gain, gain automation, EQ3-M 3-band EQ with mid-sweep, 7-band graphic EQ, Univerb (Women's Institute), Guitar Cab (Bassman 30 Cabinet). I used a Guitar Input (but did not use a guitar). 

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. 

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 (to add effects to the work). 

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

Bandlab Effects:  
Gain, Univerb (Innovation Hall), EQ3-M 3-band EQ with mid-sweep, Stereowise (left, right and spread), Dimension B Chorus 04 setting, 7-band EQ with overall level setting. Guitar input used but no guitar was used in the work. 

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

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

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. 

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

Best to listen to with noise-canceling headphones wired or wireless. 

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. 

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:  
Guitar Input (tho no guitar used), Gain, 7-band EQ with overall level, Dimension B Chorus 01 preset, Vintage Limiter (gain, attack, release, knee, enhance, volume settings), Univerb (type is Women's Institution, Mix at about 11 0'clock), Stereowise (spread, low, high settings), Filter Echo+ (set to 29% feedback, time set at 1/8 beat, cutoff set to 2421 Hz, Mix set at 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

Created this multitrack using an Alesis Micron, sounds from a real alarm clock, "Wake the Hell Up" vocals by jtechno using a Chromebook mic and Bandlab effects, loops from Bandlab, other vocals and sounds from and owned by Incredibox (find them online, sounds I used have been cleared for use in this mix by Incredibox). Mixdown by Bandlab to HQ mp3 for streaming. Final processing by Soundcloud. Song length 4:31. Runs at 128bpm. It's in G-major. And in 4/4. For non-commercial use only. Artwork: 12 Pilings of Florence, taken by jtechno in Florence, OR. Artwork created using Pixlr Editor. Ask for permission to use strictly for private or non-commercial use:  jtechnoelectronicmusic@yahoo.com

Incredibox Sizzler

This is just a test of my bandlab effects setup and setup on my Stylophone Gen X-1 in the effort to create and play an electric guitar sound.  I have some further work to do on overdrive, echo, gain and delay. Mixdown to 320Kbps HQ mp3. None of this is an electric guitar. It's all played on my Gen X-1. Image from Pexels  - photo by Suvan Chowdhury, CCO license with added layer of custom text using Pixlr Editor. Monitoring done only using headphones. This was created while in a Starbucks in Snohomish, WA in the morning of Sept. 2nd, 2018. Bandlab effects include Echo FD, BL30 high gain, Cab Pro BL87 2x2 J-Std, EQ3-M, Spring Pro Reverb and BL Driver Overdrive. Gen X-1 settings: delay off, envelope off, used the triangle wave, rate off, depth off, filter: cutoff 4.3, resonance 3.1.

Update 9-4-18:  When I did this recording I had it set up such that the Gen X-1 was connected from LIne OUT to Mic IN to Bandlab Guitar IN. That's a bit noisy, tho the sound grindy and dirty which has its value. However, some experimenting proved Bandlab Mic INPUT isn't as noisy - in fact, quite clean - and yet produces a better sounding electric guitar sound. Adjustments to effects in the Guitar IN didn't do much, but there was a big difference when connected to Mic IN on Bandlab.

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

Electric Guitar on a Stylophone Gen X-1

Concept to create repetitive manufacturing typical of a cannery as if a pendulum is swinging between operations and where loud percussive interruptions are heard between them.

Created with a Teenage Engineering PO-28 Robot Pocket Operator patched into AUX-IN of a Stylophone Gen X-1 Analog Synthesizer to add effects to PO-28 output.  On PO-28 used sound banks 1 and 2 both number 5 (one octave), percussion sequence 2, 7, 6, 11. 

Mastered on June 25, 2025 using Bandlab mastering, mastering preset is Universal, intensity is 50 percent, input gain is +1.2dB. Prior to mastering Bandlab effects were changed in the mix. 

Bandlab effects:  EQ3-M 3-band with Mid Sweep, Gain with Automation is at +1.3, ST Chorus (Depth 25%, Speed 45.4%), Studio Reverb (Mix 36%, Size 25%, Tone 59%), Multi Cab Pro (Cabinet:  4x12 Brit XXL, Mic is Austrian 414, Mic Placement is "On Axis"), Univerb type is Union Stairwell, Dimension B Chorus is 03 Preset.

File format: WAV 16-bit 44.1kHz 

Images: CCO license from Pexels (for the pendulum) and Pixabay (for the cannery image). Image overlays and editing using Pixlr Express

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

Pendulum Cannery

Experimental tribal techno percussion/drums/beats composition created with Stylophone Beatbox connected to Stylophone Gen X-1 Synthesizer. Every strike done on Beatbox by hand using the stylus. Beatbox #3 sound bank. 

Concept: Create percussive techno piece that sounds a bit tribal and suggests this couldn't have been done on the beatbox and synth I used to make it. My goal was to make it a dance trance piece that sounds like rim strike sounds, hardened bass sound, a flair of sticks hitting cut bamboo. 

Mastered on June 25, 2025 using Bandlab, mastering preset is Tape, intensity is 50%, input gain is -4.5db. Prior to mastering I redid the Bandlab effects in the mix.

Recorded using cloud-based Bandlab DAW on a Chromebook. 
File Format:  WAV 16-bit, 44.1kHz
Bandlab effects used:  Feedback Killer, ST Chorus (depth 54%, Speed 50.3%), Multi Cabinet Pro (Cabinet is 2x12 Seattle SP, Mic is BL57, Mic Placement is "on axis"), Studio Reverb (Mix 27%, Size 25%, Tone 44%), Dimension B Chorus (01 Preset), EQ3-M 3-band EQ with Mid Sweep, Stereowise, Univerb Rhythm Chamber, Gain +2.3 dB. 
Used Bass Guitar input on Bandlab. 

Bastl Dude Mixer used. Also Mogami cable from mixer to USB audio adapter to Chromebook. Livewire cable used for other connections. Better quality cables and use of Noise Gate made a huge difference in cutting down noise. The cables really improved the sound. 

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

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

Capture The Drums

June 2025 - Not posting new songs for a bit as I am applying mastering to the current songs here. I am also redoing some of the effects for certain mixes so mastering comes out better. I'll announce when that is complete and return to creating new songs to add. 

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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