Here's a new composition constructed with the MICROSPERE sound library by glitchmachines

Nivritti Marga

down tempo beat featuring more sounds from the Glitchmachines MICROSPERE sound library.

If They Could Only See

After taking a hiatus I'd like to turn your attention to this latest upload of mine, featuring samples of the oud, a stringed instrument common to the Middle East. Please bear in mind that I didn't play the oud; sadly, I am not such a virtuoso. However, I am getting quite experienced in choosing samples that fit my jam sessions, and using this exotic instrument yielded quite enthralling results in my humble opinion.

In this particular session I was experimenting with G minor, which took me outside of my usual comfort zone of C minor. As so often the case, I used a combination of Eurorack modules, the Arturia MircroBrute, and some pre-prepared drum and drone pad samples. These sounds were looped on the Boss RC-300 loop station. 

After setting up the sound frame using Eurorack and the Arturia MicroBrute, I played back a couple of Youtube videos together with my sounds; something that I have been practicing for a quite a while now. At the end I settled for following two videos:
- G minor oud Improvisation (https://youtu.be/vIBjXLFv1vE)
- Emotional Gm (G minor) CHORD - Ambient Backing Track #13 (https://youtu.be/PLqvVSGuRlI)

The jam session was recorded in Audacity. In post-production I used the best parts from the jam session to create this track. As I already expected, I had some trouble with playing back the oud sounds in such a manner that they fit the track and especially its tempo. So I had to heavily edit these samples in post production and put them back together with my sounds in order for them to sound as desired. While doing so, I also employed some reverb, high pass filters and a limiter within Audacity, albeit very sparingly. Other than that, no elaborate effects or mastering techniques were used, you basically listening to a short and condensed version of the jam session.

As always, the result is highly dynamic, so headphones are recommended. Also, please turn up that volume knob because Loudness War is for losers!

MAB logo by @maxim-lichtenwald, check him out!

I hope you enjoy!

Oud Dub [Jam session sections: RAW2022 - 2]

A song about the dying planet.

____________________

Lyrics
Noah’s ark, on a collision course
Adrift through unknown space
We might have caused the flooded lands
No one truly cared for this place

Are we still here to see the day
when the ship arrives back home
Will there be singing birds in Eden
Or have they gone extinct

Drifting beyond the event horizon
Where it all comes to an end
The memory slowly fading
With every new born child

Are we still here to see the day
when the ship arrives back home
Will there still be an Eden
Or did we dim the light

The ship
Lost in space
Adrift

Lost, lost in space

____________________

Instruments
• Guitars: Les Paul
• Bass guitar: Cort fretless
• Rhodes: M-tron pro
• Trombone: M-tron pro
• Space synth: Microbrute
• Drums: AD2
• Shaker: Skaka
• Gong: Chau
• Birds (start of song): Quick sounds
• Spaceship (end of song): original Arp Odyssey 1978

____________________

Disclaimer
Dorian Urac is the artist name of a real human being with a pulse. Dorian sings, composes, mixes, writes his own lyrics, creates his own artwork and he plays several acoustic, electric and digital instruments.

Support musicians & creative human beings, instead of soulless AI algorithms that steal our art.

© Dorian Urac 2022 (remixed Oct. 2024)

The ark (lost in space)

The Ark (lost In Space)

This is a recording of my live set as MAREK BOIS at the I LOVE VINYL Wintersession in Wolke, Wolkramshausen (2014-12-20).
The live set was played without the use of a laptop computer. It was performed with: Elektron Rytm, Elektron Octatrack, Elektron Analog 4, Pioneer Rmx 1000, Mackie DL1608, SND Acme, Arturia Microbrute

Marek at Beatport

Marek Bois Live @ I LOVE VINYL Wintersession, Wolke, Wolkramshausen Dec,20th

Good for falling asleep...or starting a pagan space cult.  Whichever floats your boat.

Sitar Trek

Duck and Cover

A song I wrote to Mae Borowski's monologue in the indie game Night in the Woods.

Mastering Engineer: Cain German (@cainkong)
Artwork: Jorge Amunatigui

I Want It to Hurt (Lyrics by Mae Borowski)

As already done previously, in this particular jam session I again experimented with something I would call "time-synchronized sampling of percussive sounds". I played back a list of pre-recorded Hip Hop drum breaks at 100 BPM through my humble Eurorack which was also set to 100 BPM. The next step was feeding the drum sounds through the Make Noise LxD module (which is a dual low pass gate that can function as a filter, and also be pinged to produce percussive sounds) and modulating it by a collection of different Eurorack modules. Due to the imperfections in the synchronising, the already percussive sound was "forced" into a slightly skewed percussive structure which results in these intricate glitchy raw rhythms in the first part of the track, and also towards the end. Additionally, an LFO at audio rates in conjunction with the LxD, and also the Beat Thang were used to create auxiliary drum and percussive sounds.

I often end up playing back a Youtube video during my jam sessions, which may or may not fit the session's narrative. This time, I settled on a lecture by Karlheinz Stockhausen, who is considered to be influential but also somewhat controversial composer. Additionally, he is known as one of the pioneers of electronic music. Some of the samples, I was not able to playback in a proper synchtonised fashion, so I added these samples in post-production. For example at 2:03, Stockhausen's voice is imitating electric pulses. Curiously enough, the percussive rhythm that is heard from 0:50 onwards was produced randomly by my humble Eurorack, and it is only when I played back Stockhausen's sample, I realised that his voice matches my electric pulses rhythmically. However, I simply could not play back the sample so that his and my rhythm are perfectly in agreement, even after several attempts; so I had to "fake" it in post. 

As so often the case, this jam session took a couple of hours, and I experimented with a vast amount of sounds, settings and samples, and recorded the result in stereo in Audacity, which I used in post-production to extract the best parts from that jam session in order to create this track. As always, I only used basic audio editing techniques like simple crossfades. Only a touch of soft limiting was applied, no elaborate approaches like mastering were used whatsoever. Thus, the result is raw and highly dynamic in nature, so put on your favourite headphones and turn up that volume knob, because the Loudness War is for losers!

Samples from the following material were used:
- 100 Classic Hip Hop Drum Breaks At 100 BPM FL Studio (Product Of Tha 90s) [www.youtube.com/watch?v=vxLURvusYD4]
- Lecture 5 - (Part 1/3) Karlheinz Stockhausen - Four Criteria of Electronic Music [https://www.youtube.com/watch?v=7xyGtI7KKIY]
- Several videos from the "Worship Pads" series 
[For example: https://www.youtube.com/watch?v=nRf0KcTScKI]

MAB logo by @maxim-lichtenwald, check him out!

I would like to thank you very much for coming to listen!

Organised Sounds [Jam session sections: RAW2020 - 7]

This is the result of yet another jam session with Maxim Lichtenwald (@maxim-lichtenwald) and Leo Cuznetov. As per usual, the jam session took several hours, and we experimented with many sounds, settings and ideas. This time, we used several pre-recorded samples by ourselves and also two jam sessions by other artists, which we incorporated into our jam session and can be heard in the second half of this track:

1) Development in C minor 76 BPM  by Federico Marchionda, https://youtu.be/FJAyveFgzz4
2) C Minor again... Drum Machine, Drone, Bass, Guitar & Sequenced Synths by Nigel Honney-Bayes (@mr-honney-bayes), https://youtu.be/dajflYp26HE

We recorded the result of this jam session in Audacity, which was used in post-production to extract the best parts from that jam session in order to create this track. As always, only basic audio editing techniques like simple crossfades were used. Only a touch of soft limiting was applied, no elaborate approaches like mastering were used whatsoever. Thus, the result is raw and highly dynamic in nature, so put on your favourite headphones and turn up that volume knob, because the Loudness War is for losers!

MAB logo by @maxim-lichtenwald, check him out!

We hope you enjoy!

- Boss RC-300
- Korg R3
- Arturia Microbrute
- Korg Kaossilator Pro+
- Eurorack
- Various guitar pedals
- Various samples

Day By Day [Jam session sections: RAW2021 - 2]

Dorian Urac composes, writes lyrics, sings, mixes, creates his own artwork and he plays several musical instruments. No AI. 

Inspiration: 70s to 90s altrock, 80s new wave, nostalgic lofi recordings and cheesy outdated music from the 50s and 60s.

Dorian's first and only gig took place at a closed playground, where a shady intergalactic convention of evil overlords took place. (True story, obviously they were not quite right in the head.) Ever since, Dorian decided to remain a cozy stay-at-home rock star.

Mrs. Audio Boy is a proud member of Project:Music (@projectmusicsounds) and MintFam (@mintfam), and is a German-based project, which creates experimental electronic music by the process of conducting jam sessions, improvising during these sessions, recording them, and then using best parts from those sessions to create so called "Jam session sections" (manually, no AI whatsoever). These are generally raw sound clips that are mostly left unprocessed apart from using a simple cross-fade in order to tie two or more clips together. Only very rarely some simple effects like filters, compressors or noise reduction are applied. 

In doing so, the special one-of-a-kind moment is pursued; thus, the created sound is highly inimitable and unreproducible. Most of the tracks can be downloaded. If you use them, please give a shout-out to Mrs. Audio Boy!

MAB logo by @maxim-lichtenwald, check him out!

Los Angeles born and raised happa native (African+Japanese)  Shiro Fujioka, VoltageCtrlr aka The FrequenSeer, One who sees alternative realms through sound and vibration. Ohm

Analog modular synth composer.



Dapayk, Dapayk solo, Dapayk & Padberg, Marek Bois, Dredl Kibosh, Flake Eigenbroed, Niklas Worgt, Siggy Vintage... whatever!

Booking Contact: Karsten > booking@paracou.de

Every song I post will likely be played and home-recorded (on Garageband, Logic Pro X, or Ableton Live) by myself.   I will leave the music I record with various bands to sites dedicated to those bands and that music.

Personally; I am a Canadian living in Istanbul, Turkey and have been working here with both Turks and foreigners for many years. I am influenced mostly by recording projects consisting of studio musicians whom most people have never heard of.  douglasvegas@hotmail.com

I welcome any thoughts, suggestions, further over-tracking, remixing, and ideas you might have.

🦇🖤 Electro-Acoustic, Apocalypse-Core Musician 🖤 🦇
🦇🖤 Music for the Final Act 🖤 🦇
🐀 🖤 Transmasc they/he 🖤🐀

I don't update my Soundcloud very often. For my most recent tracks, click one of the links below!

Popular tracks tagged #arturia microbrute