Playing with the elasticity of the pulse...Kronos, OB6, Argon8.

KELEMENOPY

Jayms Joyce is an independent electronic musician from Philadelphia. New to the electronic music scene, Jayms Joyce released a four-song EP titled Budump on June 16th, 2023. While new to electronic music production, Jayms Joyce is not new to music. He first gained exposure to music as a classical pianist and grew up competing in classical piano competitions. Jayms Joyce released an indie rock album in 2010 and played in a small band in Philadelphia for almost 3 years before taking a hiatus from recording and performing to focus on developing his career outside of music. Like many other musicians, the pandemic inspired Jayms Joyce to begin pursuing his passion for music again, this time developing his unique electronic sound and honing his live act, in which he performs live synthesizer parts alongside his produced tracks. Jayms Joyce has since performed his live electronic set to electronic music appreciators at events like Dancing on the Charles in Boston and is working on new releases through collaborations with other developing Philadelphia musicians.

PLEASE STOP SENDING ME OFFERS OF MUSIC PROMOTION.
 
AI is not an option I use or intend to in the future. All of my music is composed, played and produced using the following equipment:
Cubase 14 Pro on Windows PC
Arturia instruments (full suite) some FX
Native Instruments - Instruments and FX
Toontracks -Superior Drummer 3 and Percussion
Korg Triton Synth
Roland RD800 Piano
Native Instruments - Komplete Control S49 and S61 keyboards
Icon Mixing desk
Yamaha & KRK active monitors
Congas and various  LA percussion instruments.
Various String libraries including: Spitfire/ IK Multimedia/labs/Orchestral Tools and The Crowhill Co.
Orange Tree Samples - Guitars and Flute
Musiclabs Guitars
Spectrasonics Trilian Basses
Soundpaint: Strings/Brass/Wind/Guitars/Percussion/ and a multitude of other things.
Various FX from a multitude of companies.
Various Programs from the Spitfire Original range
My trusted "Drum Stool"
Fridge (for Guinness)!!!!



Now retired from a life 'on the road' as a freelance keyboard player, I compose and record in my home studio, situated in the Carrick Hills in Southern Scotland. My music is mainly instrumental in nature and is a reflection of my life experience, sometimes real and sometimes imagined.
My influences are many and I have quite probably been shaped by listening to the very many "giants" of music, both players and composers. From classical to contemporary jazz and everything in between. My main instrument is the keyboard, whether that be piano, organ or synth. But I also play banjo, flute and percussion. I have a special relationship'with bass, whether upright or electric and use virtual and synth basses from numerous sources, but mainly Trilian by Spectrasonics.


https://music.apple.com/us/artist/alan-hamilton/119498445/see-all?section=full-albums
https://open.spotify.com/artist/2j38dJ8YVPX2nVQcUjaAYx
https://music.apple.com/us/album/time-travel-and-other-journeys/1651782098

Grooveclowd is a Band from Australia. Kimberley Galpin Keys/Synths Mixing, Nathan Good Keys/Bass and Vocals and Eleyan Di Palma Vocals Keys/Synths / Venus Abalero Guitars/ Bass Mixing-- Grooveclowd wanders in and out of Genres.Trax avaiable for
purchase on Bandcamp.  Now Trax available on Spotify Deezer and Apple 
Grooveclowd uses Magix.
Grooveclowd email grooveclowd@gmail.com
Facebook page Grooveclowd

Gil Gámez : producción.
Mía León : diseño y edición.
Diógenes Tacuara : letra y arreglos.

Proyecto5813 pertenece al laboratorio audiovisual de CERCo21 (Centro de Estudios y Revisión Conrinuum). Un espacio que investiga lo que tienen en común una torre eléctrica y una palmera, los andes y los rascacielos, un microchips y una hélice de ADN. P5813 es un sintetizador que sondea las proporciones para orquestar sonidos, esculpir piedra, edificar ciudades y construir herramientas. Alquimia de Valores. No hay lugar para el arte por el arte mismo sino como producción estética. No es un deleite a los sentidos sino un choque psicológico que utiliza los sentidos como medio. Música para la vista. P5813 es la armonía entre la arquitectura de frecuencias  y un oscilador de punto-línea.
El ruido de la tecnología. Música hecha con los deshechos del capitalismo.

I like to compose in different styles, deeply influenced by classical music, especially Baroque. I love soul, funk, jazzy rock and pop.

I DO NOT ACCEPT REPOST COMMUNITY REQUESTS, PLEASE DON’T WASTE MY TIME

Music composer and Soundscape designer.

Heavily influenced by Beaumont Hannant, Autechre, Brian Eno and a wealth of styles ranging from classical music through to DC Hardcore.
I love the organic feel of music and the creation of warmth within patterns.
Trying to create soundtracks to everyday life and images.


Tracks available on my YouTube channel
https://www.youtube.com/channel/UC29fEzmTPEV69UKepjsDHxQ?view_as=subscriber

New EP available on Open Case Recordings https://www.facebook.com/1683424458553112/posts/2506179442944272/

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
------------------------------------------
I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Auteur Compositeur 
 multi-instrumentiste, 432 hz
Violoncelle, Piano, basse,  batterie, Percussion  etc

Composed, produced & performed Srouly Frank
Nothing liberates more than joy!
About: Pianist-composer. SACEM member.

Lifelong keyboard player and composer and synth programmer. Perhaps, I hear things just a little differently...

KELEMENOPY

Bobby Nelson