Sanse

music composed by frank mehl :)
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Italo Disco is a style of electronic dance music whose producers, composers and, in some cases, performers come from Italy. The term originated as early as the 1970s, and Italo Disco had its heyday in the 1980s. The prototype of this style is considered to be the song Self Control, published in 1983 by the Italian singer Raf. Italo disco has produced a large number of one-hit wonders.

The term "Italo Disco" is attributed to German Bernhard Mikulski (founder of ZYX Music), who used it in the late 1970s to distinguish Italian disco performers regionally from other countries. Disco as a musical genre began to develop in Italy in the early 1970s; Martinelli cites Nessuno mai by Marcella Bella (1974) as probably the first Italian disco song. Boosted by the film Saturday Night Fever (1977), disco music also boomed in Italy, with early representatives including Alan Sorrenti with Figli delle stelle (1977) and Francesca Aliotta. In the late 1970s, bands such as La Bionda with One for You, One for Me, Barbados Climax with California U.S.A. and Gepy & Gepy with Body to Body released English-language disco songs, but established artists such as Giorgio Moroder and Umberto Tozzi also released disco versions of older tracks.
But it was not until the early 1980s, with performers such as Baltimora, Righeira and Gazebo, that Italo Disco began to develop beyond its mere significance as a regional demarcation criterion into a musically independent genre. This was reflected in 1983 in the compilation The Best of Italo Disco Vol. 1 published by ZYX Music. Since then, the genre was no longer limited to Italy; performers such as Mike Mareen (Germany) also released music in the Italo Disco style in other European countries. Furthermore, Italo Disco is considered to be an important initiator of Chicago House. From the mid/late 1980s, Italo Disco evolved into genres such as Italo House and Italo Techno. In mid-2003, the group Master Blaster revived the genre with their album We Love Italo Disco. Many old tracks such as Happy Children, Another Life and Hypnotic Tango were covered, and the album We Love Italo Disco achieved great success. How Old R U by Mike Mission became a summer hit and stayed in the charts for weeks.

CHARACTERISTICS
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According to Martinelli, Italo Disco is characterized by a stringently maintained 4/4 time with a bass drum on the downbeat and snare and handclap on the upbeat, with a constantly repeating bass line above. The melodies are simple and catchy, with vocals mixed into the foreground. The musicians used the most modern instruments and technologies: synthesizers (including Sequential Circuits Prophet-5, Roland JP-8) and drum computers (e.g. LinnDrum LM-2, Oberheim DMX) dominate the pieces, rarely paired with acoustic musical instruments. The lyric concept of Italo Disco is mostly self-referential.

Artists:
Alba, Aleph, Baby's Gang, Baltimora, Band Aid, La Bionda, Alberto Camerini, Canton, Carrara, Nadia Cassini, Claudio Cecchetto, Max Coveri, Pino D'Angiò, Danuta, Tullio De Piscopo, Doctor's Cat, Tony Esposito, Fake, Fancy, Mike Francis, Fun Fun, Gazebo, Gepy & Gepy
Valerie Dore, The Flirts, Den Harrow, Jock Hattle, Tom Hooker (auch als Lou Sern), Eddy Huntington, Hypnosis (oder Hipnosis), Kano
Klein + M.B.O., Koto, Ken Laszlo, P. Lion, Gary Low, Mauro Malavasi
Mike Mareen, Martinelli, Sandy Marton, Max-Him, Miko Mission, Monte Kristo, Moon Ray (a.k.a. Raggio Di Luna), Giorgio Moroder, Mr. Zivago, My Mine, Novecento, Albert One, Ryan Paris, Silver Pozzoli, Pink Project, Radiorama, Raf, Righeira, Linda Jo Rizzo, Alexander Robotnick, Sabrina, Savage, Scotch, Claudio Simonetti, Gino Soccio, Spagna, Tracy Spencer, Taffy, Topo & Roby, Celso Valli, Vivien Vee, Via Verdi ... and many more

Humanoid Conclusion

9 demo sounds of our new sound bank Analog wonders that are used in our review: https://solidtrax.nl/behringer-pro-800-review/


Also very soon available at https://www.solidtrax.nl/shop

B - 23 KY Subtetly ST

For all those girls that put my pot smoking to shame.....

Kush Cutie

Now available for download https://dzod.bandcamp.com/track/power-strangers-feat-jj-mist

Power Strangers With JJ Mist

The Jones Girls | Nights Over Egypt (Change Request ReVision)

For this ReVision, I recreated my favorite song from this Detroit-based trio of sisters who were backup singers for many years for artists such as Aretha Franklin, Lou Rawls, and Diana Ross, before breaking out on their own to form The Jones Girls. 

Written by Kenneth Gamble and Leon Huff protege, Dexter Wansel, this song, and arrangement are quintessential Philadelphia music mastery. Dexter, along with Cynthia Biggs, wrote many hits for other artists, including Yellow Sunshine, Instant Funk, Phyllis Hyman, The Jacksons, MFSB, Teddy Pendergrass, Patti Labelle, Evelyn "Champagne" King, Grover Washington Jr., Lou Rawls, and of course, The Jones Girls. 

“Nights Over Egypt” was the second single from their studio album, 1981’s Get as Much Love as You Can, released on Philadelphia International Records. Most songs on this third studio album of theirs are written by TSOP kingpins, Kenneth Gamble and Leon Huff, and the album reached number twenty-five on the Top Soul Albums Chart in the US. 

For this version, I recreated this R&B Classic with Roland’s Jupiter-8, Sequential Circuits Prophet-5, Live Bass and drums, and the best instrument ever created, the 73 Suitcase Fender Rhodes Electric Piano.

Buy ReVision

The Jones Girls | Nights Over Egypt (Change Request ReVision)

Hall & Oates | I Can’t Go For That (No Can Do)(Change Request ReVision)

For this ReVision, I took on this classic by a duo who needs no introduction. Dropped right in the middle of their seemingly endless hit factory streak, this song was the second single from their tenth studio album, 1981's Private Eyes.

Landing them their fourth number-one hit single and the second from the same album, this song was written quickly in-between recording sessions for Private Eyes. 

This song makes iconic of the fairly new Roland CR-78 CompuRhythm at the centerpiece rhythm section. The CR-78 was Roland's first microchip-based programmable drum machine. This machine this song marked the beginning of what would become the golden era of synthetic drums taking over the airwaves. 

Released in March of 1981, “I Can’t Go For That (No Can Do)” along with Phil Collins' January 1981 single, “In The Air Tonight”—which also prominently featured the Roland CR-78—would make this first programmable machine from Roland an icon overnight. 

This song also features the state of the art Dave Smith Sequential Circuits Prophet-5, a Korg organ baseline, Fender Rhodes, and simple, but effective guitar motifs. I recreated this song with a Roland CR-78, Prophet 5, Fender Rhodes, Vox Continental Organ, and Live Bass. 

Enjoy!

Hall & Oates | I Can't Go For That (No Can Do)(Change Request ReVision)

Features a Sequential Six-Trak borrowed from Audioconfusion. 

Sequential020109

Vingt regards sur l'enfant-Jésus | Olivier Messiaen-SCI Prophet T8

Live recording of Fartbarf - Master of the 5 Count at 88.9 KXLU 2/27/13

Master of the 5 Count (Live)

linktr.ee/teuteulevrai

Teuteu is a french producer living in Montréal, Canada. He strives to create unique tracks that blend elements of electronic music and jazz. Band leader of Fusion Affair, he continues to develop his skills as a composer and keyboard player on his solo project.

Passionate about synthesizers, jazz fusion, and house music, Teuteu tries to skillfully blend these influences to offer music that is accessible, rich, and complex while giving significant space to improvisation.

Solidtrax - sound design, composing, mixing, mastering and mentorship. 

On this profile you find songs that are made for contests and also demos for certain pieces of software and hardware and  our own music!

https://soundcloud.com/stratfordct
i like synths and beats :)
to contact me with any inquiries/questions/comments, I usually try to respond to soundcloud messages as soon as possible

Been producing for a very long time. I'm a hardware freak but have adopted a hybrid approach in my modern studio. Currently writing Spacesynth, Italo Disco, Synthwave and 80s retro styles.  I'm available for collaborations, ghost writing, transcribing, replicating samples (aka replays), tuition, midi design and other pro audio consultation.

Andrew Emil // Change Request 

A preeminent artist of Chicago's 3rd wave, Andrew Emil is one of house music’s most staunch stalwarts. A concert-trained percussionist since age 11, he earned a chair in his native Kansas City Symphony before eventually moving to Chicago. 

As a traditional musician, Andrew Emil has worked as a keyboardist, arranger, and an orchestrator on recording sessions and productions, cutting his teeth at the former Chicago Trax Recording Studios. 

Credited on over 200+ recordings, his composition and studio productions have ranged from concert works and sound design to film scoring stages and hundreds of releases of electronic music productions. 

After a life in live music performance, from orchestra percussion sections to punk rock ensembles, he crafted a reputation for House Music productions in Chicago under his own name, as well as Broadway & Wilson, and Uptown Tones. 

One of the earlier innovators of the “Jackin House” genre under the Broadway & Wilson moniker with Jeff Bloom, Andrew is never content to stay in one place or style of musical thought for very long. 

He is the only recording artist to do production work simultaneously for Derrick Carter’s Classic Music Company, Mark Farina’s Great Lakes Audio, Gene Farris’ Farris Wheel Recordings, and four-time GRAMMY nominee Steve “Silk” Hurley’s S&S Records.

A string of double-digit singles for prominent labels, including remixes for artists such as Common, Kanye West, Little Louie Vega, Jamie Principle, Steve "Silk" Hurley, Iz & Diz, Fast Eddie, Shalamar, Roland Clark, David Morales, Colette, Amp Fiddler, JT Donaldson, and Gene Farris, to name a few. 

2012 saw the emergence of his epithet, Change Request, with the Change Theory EP on four play music. This new persona allowed the freedom to explore hybrids of mid-tempo live instrument focused jazz-dance-fusion. 

Following this release was “After All” on Seasons Recordings, with another single thereafter featuring house music icon, Chez Damier, “I Wanna Go Back”, including a remarkable rework from Glenn Underground, on Glenview Records. 

The ever-growing collection of songs and musical dialogue eventually led to the conceptual album series from Change Request. Each full-length effort containing a completely separate story and scored via its own unique incidental subtext. 

Emil created AstraVox Music with the award-winning Los Angeles-based composer, Mr. Nathaniel, as a home for his increasing catalog of incidental dramatic musical compositions. 

www.andrewemil.com

A small note on my own behalf: I have noticed that my playback figures have dropped dramatically. The statistics show that the number of playbacks has dropped from 2000 per week to just under 200.
On the one hand, this is frustrating, as everyone sees this as an indicator and confirmation of their work. On the other hand, figures are not particularly important, but one wonders what is wrong. In my opinion, SC has changed a lot, uploading tracks has become more complicated and constant security queries are annoying.
In addition, great artists are disappearing from the platform, partly by their own choice, partly because they have been banned, the algorithm has “recognized” them as spam and mercilessly deleted their account. I'm still a paying member, but my attitude towards this has changed...

Please let me know your experiences and impressions.

😮‍💨😔


When I don't have the time to actively listen to my favorite artists on soundcloud, I just leave the stream running...while washing up in the kitchen, for example 😆

By the way: this user-92853963 was my old link address and leads to the empty.... I AM NOT A ROBOT!

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A long, long time ago, there was an organ in the Christmas-decorated living room in his parents' house, where Frank grew up. Originally bought by his father for his two older siblings, they showed no interest in playing the organ. Frank, however, did. White and black keys and giving off strange sounds. 

So at the age of 9 he began to let his fingers circle on this instrument, searching for the right keys like on a typewriter. And another 9 years would pass before he could buy his first own instrument. Already at the age of 13 he made notes about the then current synthesizers, bought one magazine after the other and visited music fairs in Frankfurt, Germany.

His first keyboard was the Yamaha DSR-2000, which he bought in a music store near his hometown Biebertal. In installments! Finally he could develop himself further - away from the limited tonality of the small organ. The built-in 8-track sequencer helped him to reach unimagined heights. 
Little by little his equipment expanded and his ambition to create music like that of Jean-Michel Jarres came closer. Influenced by this and countless other musicians of the time, his interest grew, but he taught himself everything. Not even having attended a music school or being able to read music at all, he wrote one song after another and recorded them on the only medium available to him at the time: audio cassettes.
Many of these recordings are unfortunately lost forever, because cassettes are and were not the best recording medium. He has to try to play many of his songs from memory. 

In 2007, he fulfilled a long-awaited wish: to buy a KORG. He had always wanted to own one, but with the latest synthesizers at the time of their release having a purchase price of over 6000 D-marks (the currency of the time in the 1980s and 1990s), that dream of owning one was far away. So in 2007 he bought a used KORG 01W/FD at ebay. And as before with the purchase of the Yamaha keyboard, a completely new world opened up to him.

In addition, there were expanders and sound modules from Kawai, Roland and Yamaha (K1m, SC-55, QY10). Six years later his enthusiasm for making music ebbed and rediscovered his hobby (which it always was and still is). In 2018 in April he decided to present his music to a wider audience and uploaded his first song on the platform soundcloud. Since that time, thanks also to the ever-evolving software, he continues to evolve, experiment and relive his times through music.

We begin in the year 2008 with Josh, Dan and Brian. Three unassuming, well mannered and fun-loving fellows from a town near the sea. Regressed, mutated and collectively known as Fartbarf, they somehow bring us all into the future, captivating audiences with relentless melodies, robotically tight rhythms, and danceable beats by use of a strict limitation of tools at hand; vintage analog synthesizers, vocoders, drum machines, analog modular systems, and live drums.

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