Water falling in a metal bucket with a nice circular reverberation.

#soundeffects #soundeffect #fieldrecording #sounddesign #sfx #soundfx #sounddesigner #water

Water falling in a metal bucket (circular reverberation)

I was born in 1979 in Karditsa, a small city of Central Greece. I studied Economics in Rethymno and have a MSc in Business Economics & Management. Somewhere in 2011, the opportunity of composing music for a film arose and my journey in this world began. I love composing music!

Kostas Loukovikas a.k.a MAHINDRA WAVES creates electronic ambient music laced with field recording and salient themes. His first album, Morphogenesis, comprises 6 deep space beatless atmospheric tracks where lo-frequency “seismic” textures combined with obsessive loop themes and hypnotic atmospheres.

Το listen to or buy:
https://mahindrawaves.bandcamp.com

Radio shows, soundscapes and DJ sets:
https://www.mixcloud.com/loukovikas-kostas

Short Bio:

Kostas grew up in a musical family, so the journey to sound started since he was a kid. He co-formed rock groups and later turned to electronic ambient music, with some works being released on labels such as Plusquam and Uxmal Records. Apart from music composition he also worked as a sound engineer in cultural and conference centers as well as P.A companies where he became more and more familiar with new media and sound. Much later, he got into sound design and field recording creating audio for a wide assortment of things, everywhere from short films and animation to sound logos, to art exhibitions - always with electronic flair to it.

In 2012 he founded his own studio, Sound Ex Machina, to specialize in sound effects libraries and to work with creatives (sound designers, editors, filmmakers, developers) who need high quality, storytelling sound for their project - either this is motion picture, game, mobile, desktop and web application, audio book/drama or theater play plays.
More to come.

I take fieldrecordings to show what I hear around me. Sounds have a wonderful gift to stimulate your imagination in a unique way. I want to share my sounds with you in order to share this gift with you. Enjoy

Biog
Righteous Reprobates are a four piece Indie Rock Band based in London and Kent. 
Rob White - Vocals/Guitar/Songwriter  
Jack Griffiths - Vocals/Guitar
Jack Collier - Bass
Charlie Kenny - Drums
Citing major influences such as Oasis, Arctic Monkeys, Kasabian, Nirvana, The Beatles and Led Zeppelin, what makes this band stand out from the crowd is that all four of them are impressive musicians, and are armed with great songs that cry out to be sung in stadiums and festival the world over. 
The band have already had some strong reviews and radio play - Pure M stating ‘This is a band with plenty of potential’. The band has been making a buzz on the live circuit too, with promoters & bookers frequently putting forward dates and offering them the headline slot on their bills. 
Righteous Reprobates seem to be emphatically heading towards being one of the best  bands on the British music scene today: great tunes delivered by a band that truly impresses and cries out to be heard.

I am those of whom are habituating the giving frontways
    anticlinally between those of whom are able to lean 
    the strongly overstretching ladders of their regulatable lives 
    hereditarily towards those fashionable curved clients
    of whom are going to spread the climes 
    
    that their sprouting manners further offtakes 
    from where
    any regionally landing staircase are bothways bond too indebted
    by inclining out what the naturally determinable grassiness universally owns

    its originally growing qualities 

    from rebounding its epiclinally waving worlds
    discursively redefinable towards the characteristically overtwisting clinic facades
    of those capricious and humorously deformed faces 
    of whose receptively disfiguring curlinesses are apparently awaking
    rebelliously 

    havable whereabout the hilly shapes travails
    that heedily devouring dispositions of these attendant consumers 
    of who is only weaving the darkly swallowing gulfs 
    of their bodily looms

    overwillingly devisable in-between those stringily alert watchtowers
    of which green humid columns are drawn climatically forward
    devicefully by the slippery wet slopes of those disciplined abusers 

    of that which lively learns
    to take advantage of what limit is left lately behind
 
    between the sidely detained moles of those who are falling massively overweight
    occasionally debitable from the mountainously edged roofs 
    of these sharp dropsy buildings 
    of those obliquely blooming possessors 
    of which dank earthling steps splits 
    the askew cross-paths 
    of their loftily dripping cords
    anticlimactically retransplantable overdue 
    the twiggy crumbling corpusses 
    of those snaky pinnacles whose steeply acclivous bowls 

    of which intestinally gifted stomachs where disorderedly blown an abdominal outfit 
    of which gustily grinding gutters was swelled gluttonously too overhigh 
    from fattest low

    of which seabeds hangs greedily elevated within the deep raising limps
    of those tally gnashing hillocks
    of which (milky) lard plots of meadow grounds are seen pliantly 
    when it leniently crashes its hungrily levelled off toothinesses displayable together
    to conflatable patch the deviously redeploying pieces
    of its corpulent tripes
    delicately edible upon these sausagey lyrebirds of whose stringily brought cliffs blindly strangles
    the clearest light to the muddiest and gravelliest soils 
    of which small wheaten baseboards are brilliantly blended
    explicitly apportionable within a bright roaring rapture 
   
    of which delightly shining tortoiseshells
    of any of those so-called beasts
    of whose alluringly goaded distinctions may be carried off accountable as chicken feed
    to calmly dim the thirstiest fires 
    of these tasty bakers
    of whose oily black-pudding beam corners burns lightly dry from stimulatingly lifting 
    the fleshy hornpipes
    of their terrestrially gnawing ligatures 
    gradually detractable from the softest undisciplined opaqueness
    of which coolest mires are easily obscured and seized disparagingly from desingularization 
    to desingularization among those tallowy yarnwindles
    of which dishevelledly veined decorations are sparklingly gulping through 
    the uncuttable nakedness
    of which sweaty bare impossibilities must boil
    its frostiest laziness merely up or down
    purely unadulterable but unsteadily through the destitutely overcladded olive trees 
    of those bleared-eyed minglers 
    of which dissimilarly decreeing submarines 

    are unclearly overmixing
    the murkiest and lucidest anomality fiercely beyond 
    the sunnily but shadily revealing denouncements 
    of which glassily veiled smoke signals
    are otherly summoned a mortally informing and efforming mesh again 
    upon that nebulously smouldering burial-places over yon
    where the unflatteringly mounded bowels are fumingly laking
    the feebly leaking wine cuppiness 
    seepingly through those ultraobscure but ultraportable funeral-goers
    of which irregularly overdeclared meddlements 
    are weakly change any foggily weeping midsummers and midwinters
    
    of which promiscuously illuminating but endarking surroundings are successively alternating     
    any periodical roadway yearly further 
    superdeformable from the multitudinously trickling billows 
    of those semitransparent sailers 
    whose vaingloriously shaped looking-glass are distinctly magnifying 
    a grand numerosity
    ritely resourcefully fromwards the very overcrowd slots
    of which semivacant thoroughpasses ceremonially contains the untrustworthy naughtiness 
    of which unhealable nullity are devastatingly renowned
    a deadly famous no
    delusively renamable by those instinctually extolled kickboxers 
    of whose wordily big datasheets are antinomically delating
    the playfully distending vicissitudes
    of these traditionally denumerating curveballs of whom are barterable bending backwards
    to treely rebind
    its trickily gambling entertainments
    evidently oppressible within the experientially observing indications 

    of which damp points are kept solemnly in-service
    by initially exchanging the discerning circuits 
    of each others fare-reaching besideness
    of which vaporous punctualities are slaving 
    wherearound whoever guards the showily pricking ambiance
    of whose circumlocuitously honourable lifetimes are both reciprocally nearing its march-wards
    obituarily discoverable one after one 
    to-come religiously pairable withgo the eternally retranslating heredities
    of whom initially walks their stingily noticeable steamrollers nighabouts 

    what is going to be whethersoever is bonding every beginning or end 
    sempiternally answerable atween what's not all even or empty 
    when either 

    bandages symbolically between-steps the absurdly dissimilar awryness 
    of somewhere when no ones unwholesomeness is necessarily beshared 
    with its several decompounding parts all looking like the same windowfronts
    of which ballistically seceding brows of themselves seeks
    to equally alienate 
    the somewhat open parabolas of whose bodily makings are almightily piercing
    its atomically adulterating surface-to-surface missiles
    allergically overthrowable 

    fromwards those wash-and-wear workers     
    whose blow-organs are hitting it off diabolically together 
    to perplexly rebuild 
    the communal mislikeness
    of their irksomely ballading antennas
    aliasable through one anothers measurable advicelines 
    of whomever accidentally continues to meet missionarily halfways
    synallagmatically through the orgasmically mainstreaming travesties
    of which antediluvially 

    cross-dressing organicities are permeable undulating 
    its clothy neighbourliness
    enduringly establishable throughway 
    these clinimetrically dancing bosks
    of those viny burrowers 
    of which bushily honorable bulkiness are biocombinatorially fistfighting forthward 

    the next beburying levels 
    of which humpy farmyards ones companionable dependabilities are perennially balancing
 
    the particularly traversing resemblances
    of those oaky wayfaring peasants 
    of whose provincially diversified paganism are experimentally re-encountering 
    but reinducible enclosing 

    the seemingly contradicting qualities
    of whom else are appropriating what else are suburbanly describing
    the devil's proof
    of one's farthest co-owned offsides 

    withsay what counterly plates
    the constitution of how-to sort what syndically regenerates another parable symbiostasis
    of which otherly transcribing and readdicting volleyballs are futuristically retiring
    every previously emplanting effortposts
    of its scratchily wedge-writing forestations
    upstandingly seducible against
    the semiautobiographically deserializing stagedoors 
    of those woodlanders who are serially hatching
    the grammatically crossbarring and bolting dissertations 

    of their germ-ridden chainsaws 
    restitutively reprovable but disprovable through
    the debatably interweaving alphabets
    of which throughly dissecting letterboxes these ox headhouses are forensically carving
    intertwiningly with the pervasively inserting and exerting web-pages 
    of their athletically word-wheeling propagations    
    twiningly assertable through 
    the highest and lowest braided sonoporations
    of which rhetorically resounding passageways are the haughtily first and (restily) last ferry swan 
    to voguishly waddle
    its foremostly 

    and tiredly ringfencing shackles
    bone-shakingly protrusible back and forth
    to pace what
    
    primitively hastes and languorously pauses
    what beforely angers and faintly stops 
    what anxiously fronts and 

    ceases reconfigurable after

    the cutting and thrusting (coilability) 
    of whose angsty doughiness are absently rearing and pertinently toing and froing 
    its existentially retrodisplacing ontologies
    expandingly deferrable but essentially deformable
    into the misshapenly distracted and contoured faces
    of those bullish chiefs

    of whose flatulently offshooting sprigs are fluxionally bowling

    the book-bosomed chapters 
    of their capitally snorting balloon heads
    of which artily drawing blendshapes are advantageously bulging 
    the anciently lapping knapsacks
    of its leathery antedependent apoforms
    literally redescribe but rediscountable at the 

    epistolarily redelineating but readily mistranslating forums
    of which coarsely clothed public squares are commonplacely misrepresenting
    its raggy and skinnily semiclad remarketability 
    commissively trafficable within 
    the four-dimensionally cross-trading merchandises
    of those beechy interest-bearing transvestites

sculptures sonores
Le fil du temps se remplit à l'infini d'instants... Mon souhait serait d'habiller ces tout petits moments comme on costume un petit théâtre : les vêtir d'un rien, d'un silence, d'une chaise vide, d'un coussin tendre, d'un son soyeux, d'un plein et d'un délié, du son d'un mouvement du corps en action, d'un geste de la voix, de l'harmonie qui se compose entre tout ça, d'une construction de l'espace objet et de l'espace sonore, d'une composition qui se déploie à la minute qui passe... mon souhait serait d'habiter un moment du présent qui se donne. 

Pour d'écrire mon travail créatif : il se construit sur deux axes de réflexion : le premier prend toujours en considération la relation à autrui, tandis que le second souligne et dénote les gestes qui opèrent alors en corrélation. L'autre être qui peut nous écouter, nous voir, nous sentir, nous parler, nous recevoir, nous montrer, nous donner... et à chaque fois je note, dénote, transcris les gestes, les actions... et finalement les histoires qui se construisent entre nous... pour ce faire mon travail s'appuie sur une production plastique, musicale, écrite, où la performance de l'instant présent livre aux souvenirs des traces aussi précieuses que les objets qui sont échangés. D'une simple conversation du regard, au partage d'une bulle de savon, d'un poème de la vie courante écrit sur les lignes de la main (ou le contraire d'un poème de la main écrit sur les lignes de la vie courante) à une parole en l'air, d'un prospectus à une mise en question taggée, d'un rêve illustré à une réalité décrite, je suis tour à tour Marchand d'idées, Marchand de sables, directeur du musée de la mémoire et de l'oubli, chercheur au centre de découverte des gestes inutiles et des actes sans conséquences, fonctionnaire au centre administratif de la vie par voix thérapeutique, démonstrateur au centre de soin esthétique, acteur avec la compagnie du temps, donneur de voix, prêteur de geste, poète des présents que l'on fait.



Field recordist, sound effects creator, founder at Sound Ex Machina - an SFX design studio producing context-based sound effects for motion picture, games, apps, audio drama and theater plays.

I've worked with clients and studios to craft audio storytelling experiences across a range of audiovisual projects such as short films, animation, mobile apps, sound logos and art exhibitions.

When I am not creating audio for media I produce ambient electronic music under the names @mahindrawaves and @innersonar.

SOUND DESIGNER: Portfolio
http://behance.net/loukovikas

SOUND EX MACHINA: Sound Effect Libraries
http://soundexmachina.com

COMPOSER / PRODUCER
http://innersonar.bandcamp.com
https://mahindrawaves.bandcamp.com

Thanks for taking the time to check out my site. Feel free to contact me with your suggestions, ideas, comments or business inquiries.