If you ever read one of my descriptions, you know the drill: I conducted a jam session in which I used a vast amount of sounds, settings and samples, and recorded the 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!

This particular jam session was quite extensive, so that I decided to create three tracks from it, so this is the first one. In this particular part of the jam session, I was heavily relying on the Eurorack modules Radio Music and Turing Machine, both designed by the amazing Tom Whitwell. As always, Radio Music provided most of the samples, while the Turing Machine provided most of triggering and modulation of several modules; just to name a few: the aforementioned Radio Music, Basimilus Iteritas Alter, Mordax DATA, Doepfer A-147, Make Noise LxD and the still superb Mutable Instruments Clouds. Especially the interaction between the BIA, the A-147, the LxD and the Turing Machine created that distinct "broken" abstract rhythm that drives this whole soundscape. Additionally, I employed several guitar pedals to add flavour to the synth sounds; most prominently the Boss ML-2 Metal Core, that really makes the Arturia MicroBrute sound almost like an electric guitar.

During post-production when listening through the recording and picking the best parts to create this track, a civil defense sirene test took place in my region and the siren nearby my flat was very audible. Funnily enough, it was quite in tune with the track and in my opinion really matched the oveall sound structure. As I mentioned previously, working with a modular synth system often brings something extraordinary into being by means of those happy little accidents. This time, not only my gear surprisesd me, but also this siren test. 

Unfortunately, I couldn't record this siren sound at that time on the fly, so I decided to use a sample from one of the numerous free sample online sources to recreate that surreal feeling I had during the jam session. So I placed the sample roughly at the same position as it occured during the post-production.

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

I hope you enjoy!

Roger (First Transmission) [Jam session sections: RAW2021 - 3]

As somebody who is fascinated by auditory illusions, I have been toying with the Shepard Tone for a long time. As a bit of acoustic delicacy I included the Shepard–Risset glissando in this jam session by simply playing it back during a pivotal section; you can hear it starting at approximately 1:20. In fact, I could manage to make things right only after the third or fourth attempt, so either I am getting better at jamming or I simply got lucky because you really can't do much wrong due to the inherent nature of the Shepard Tone: you can stop it at any point and basically get the same result.

Also, this is a bit a homage to Nine Inch Nails as I've been trying to emulate that simple and steady but extremely hypnotic beat from Closer in the second half of this track.

As so often  the case, this track resulted from a jam session which was so extensive, that I split it into a total of three tracks, and here is the second one. Here, I was not so much relying on the Eurorack modules Radio Music and Turing Machine, as I did concentrate on the Korg R3 for the lead melody and percussive elements. Eurorack modules used in the first track, the Beatkangz Beat Thang and the Boss RC-300 are supporting the R3 and contributung to the whole sound structure, which is more four-to-the-floor as with the first track. I used a vast amount of sounds, settings and samples and recorded the 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!

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

I hope you enjoy!

Roger (Second Transmission) [Jam session sections: RAW2021 - 4]

I've lately been listening a lot to Industrial Ambient and Dark Ambient, like the freakishly amazing compilations by Cryo Chamber,  and also to the early albums by the one and only Jean Michel Jarre; so this part of the jam session was inspired by those musical compositions. To tie in with the previous two parts, this part three consists of several motifs, both measured and calm, and also impulsive and throbbing.

I used a vast amount of sounds, settings and samples and recorded the 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!

Most of my tracks can be downloaded for free, and I encourage you to use them in your jam sessions and live sets. If you use any of my material, I really would like to know what you could come up with. So drop me a message and please give a shout-out to Mrs. Audio Boy!

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

I hope you enjoy!

Roger (Third Transmission) [Jam session sections: RAW2021 - 5]

Inspired by the Dark Ambient live mixes by Neon Rhythms (https://www.youtube.com/channel/UCyP_7g2xV8YUTR47aPiTl0w) I'd like to bring to your attention yet another jam session where I tried to emulate this intricate genre. 

Once again, the speech samples came from the stock audio library for the Eurorack module "Radio Music". Other than that, I used my humble Eurorack and my loop station to layer my sounds and the samples and mangle them in various ways. Also, I used quite a compilation of guitar pedals. 

I incorporated the samples and a vast amount of sounds and settings, and recorded the 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!

Most of my tracks can be downloaded for free, and I encourage you to use them in your jam sessions and live sets. If you use any of my material, I really would like to know what you could come up with. So drop me a message and please give a shout-out to Mrs. Audio Boy! 

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

I hope you enjoy!

Bleak Soundscapes [Jam session sections: RAW2021 - 7]

To begin with I would like to thank you for coming to listen to what I have presented you today. Staying true to my motto of creating experimental electronic music that results from unscripted jam sessions, here comes my latest upload which features plenty of quirky sounds and curious samples.

As always, the Boss RC-300 loop station is the MIDI clock master to which I sync my humble Eurporack. As an inspiration for the whole session, I played back the Youtube video "Minimal Glitch - Modular Improv" by Modular Cult (@user-451526715), just to start things going, and then I added my sounds on top of his experiment and also modulated his original soundscape in order to put my spin on the whole affair. To spice things up, I decided to employ yet another Youtube video, "Saraz Handpan F Harmonic Minor 9" by Saraz Handpan. Since I love the intricate but calming timbre of handpans, I employed sounds of this lovely handpan playing F Harmonic Minor, that I put through the Mutable Instruments Clouds which was heavily modulated, again, to put my spin on it.

As you might have read in one of my previous write-ups, I love to include speech samples, especially by narrators who talk about music, 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, and one of the pioneers of electronic music. His explanations of changing musical moments really matched my approach, since I love to change up the flow of my jam sessions to keep things interesting. Additionally, to emphasize the transition from one particular segment of this track to another I used a famous Monty Python catchphrase.

During the course of this particular session I heavily relied on a combination of several modules, most prominently the Turing Machine with its expander Pulses, the LxD, the A-147, and the Radio Music. This setting ended up creating some glitchy rhythms, which very much reminded me of the track "Vertical Invader" by Frank Bretschneider & Taylor Deupree (@frankbretschneiderofficial, @taylordeupree). I decided so sample this track directly onto the loop station and after adjusting the tempo to my session's original tempo of 112 BPM, I was able to quite successfully incorporate this amazing minimalist track into my musical flow. 

Interestingly enough, the harmony of Vertical Invader went really well together with the sound snippets that came from the Radio Music module at this stage of the jam session. Also, the conglomeration of all these sounds matched the E Phrygian scale that I have been toying with for the last couple of weeks on my guitar and my synths. Since I am not much of a player, I decided to play back a couple of related Youtube videos and see if anything comes up that really fits the whole narrative. Indeed, in her Klezmer lessons, Robin Seletsky usually plays in E Freygish (which basically corresponds to the E Phrygian Dominant scale) and her clarinet's timbre tied the whole picture together. However, I mostly wasn't able to play back her videos in a rhythmically meaningful way, so I put many of the samples in post production.

Most of my tracks can be downloaded for free, and I encourage you to use them in your jam sessions and live sets. If you use any of my material, I really would like to know what you could come up with. So drop me a message and please give a shout-out to Mrs. Audio Boy!

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

I hope you enjoy this one!


Samples from the following material were used:
* https://youtu.be/MFvynwLkGco
* Frank Bretschneider & Taylor Deupree - Vertical Invader
* https://youtu.be/NOSGbVNYFq8
* https://youtu.be/B83Iu_4FIIU
* https://youtu.be/M6hT2mGIlKo
* https://youtu.be/fK8nyiolmas
* https://youtu.be/7ZuAH-6E2vk

Electroacoustic Moments [Jam session sections: RAW2021 - 8]

You guessed it: I conducted a jam session, recorded everything and then used Audacity to put the best parts from this sesson together to one single track using only basic audio editing techniques. 

During this particular jam session I used my humble Eurorack together with the Arturia MicroBrute and a ton of modulation. Additionally, I employed a collection of guitar pedals to bring in some effects. The squeeking noises heard throughout the track is the MicroBrute's filter in self-resonance.

The speech sample comes from the stock audio library of the Eurorack module Radio Music and is the voice of Kurt Waldheim, an Austrian diplomat. This greeting was featured on the Voyager Golden Records, two gold plated records which were included aboard both Voyager spacecraft that were launched in 1977.

As so often the case, I additionally used a sample of another artist, this time it's the awesome, the magnificent, the one and only The Hybrid Drummer: https://youtu.be/KXhUwzdRD34


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

I hope you enjoy!

Humility And Hope [Jam session sections: RAW2022 - 1]

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]

Korg R3,
Korg Kaossilator Pro+,
Boss RC-300,
Boss ML-2,
Fender Delay Pedal,
100 BMP,
Excerpt from a jam session.

REUPLOAD: Jam session section - RAW2016 - 94 - Inscrutable Drone

Korg R3,
Korg Kaossilator Pro+,
Boss RC-300,
Boss ML-2,
Fender Delay Pedal,
Excerpt from a jam session.

REUPLOAD: Jam session sections - RAW2018 - 126 - Emergency Alert Broadcast

This is my take on a remix of the outstanding track "Slowly But Strong, Part I" by the awesome fellow artist Tuh Pa Warez. One of the requirements by medienwerkstatt.eu for a remix was that the original soul of the track will still be recognizable. Hence I concentrated on the psychodelic ostinato pattern which was featured prominently in the original track, which can be listened to here: https://soundcloud.com/tuhpawarez/slowly-but-strong-pt1

Additionally, I put my spin on it, including several samples which I took from the following YouTube videos:

- Watch a prodigy create - from four notes in a hat, narration by Alma Deutscher 
  [https://www.youtube.com/watch?v=hvECZ_ZXGqs]

- Faded - Alan Walker (acapella) by Emelyn Lisseth Espitia 
  [https://www.youtube.com/watch?v=Ls0YEBKD-rk]

- Free Jazz in Eb Minor by CarlWagnerMusic 
  [https://www.youtube.com/watch?v=rw4aVSL5Gmw]

Big thanks and kudos to Medienwerkstatt und especially to Tuh Pa Wares for letting me do this remix, which I had very much fun creating. Since the oridingal track is free for download, I will make downloads for this remix available as well.

Tuh Pa Warez - Slowly But Strong, Part I [MAB Remix]

This is my remix of the amazing track "Zeitschleife" (https://soundcloud.com/tonimaterne/zeitschleife-original) by my friend and great musical mind @tonimaterne

After listening to "Zeitschleife" years ago, I always wanted to remix this track and put my spin on it. Toni was very kind and let me have the stems for this awesome track. As so often the case, I took several samples and looped them on my Boss RC-300 loop station. I also recorded dozens of voice samples by my lovely wife and by myself, and put them on a micro SD card in order to use them via the Eurorack module "Radio Music". 

Then, I played back the loops on the loop station which was acting as MIDI clock master to the Arturia MicroBrute, the Beatkangz Beat Thang and my humble Eurorack. During the jam session, the Radio Music module was heavily modulated by several other Eurorack modules, like the Turing Machine with its expanders Volts and Pulses, the ModSeq, the A-147 and the Clouds. The MicroBrute was also modulated by these exact modules. The beats come from the Beat Thang.

After a lot of improvisation and recording this whole session on Audacity, I picked as always the best parts and put them together, which resulted in this track. Only a touch of soft limiting and high pass filter was used, you're basically listening to the original jam session. Bear in mind, I don't know anything about mixing and mastering, so this remix has this distinctive Lo-Fi feel to it. As always, the result is highly dynamic in nature, so use your headphones and turn up that volume knob!

Big kudos to Toni for letting me remix his awesome track! Du bist Zucker, mein Alter! ;)

Toni Materne - Zeitschleife [MAB Remix]

While working on the remix of the amazing track "Zeitschleife" (https://soundcloud.com/tonimaterne/zeitschleife-original) by my friend and great musical mind @tonimaterne, I was using several Eurorack modules to mangle his original stems and additional samples. 

When jamming around, I drifted off from the main concept that was the remix of Punchogrande's Zeitschleife, but I still wanted to put the results to use, so this second part of Zeitschleife was born.

Zeitschleife, Teil Zwei [Jam session sections: RAW2019 - 72]

As so often the case, I conducted a jam session which took approximately four hours, and in which I experimented with a vast amount of sounds, settings and samples, and recorded the result in stereo in Audacity, which I used in posts-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!

In this particular jam session, I experimented with something I would describe as "time-synchronized sampling of percussive sounds". I played back a list of prerecorded 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 synchronizing, the already percussive sound was "forced" into a slightly skewed percussive structure which results in these intricate glitchy raw rhythms.

Again, I made use of the outstanding Radio Music module, which is a sample player with a twist. From this module came the sermon speech samples, and that organ sample from the first section of this track (which I was able to loop on the Boss RC-300 loop station, albeit after dozens of takes).  

Additionally, I used the Arturia MocroBrute, that provides that arpeggiated metallic acidy synth voice in the second section of the track. The descreet bass kick in the second section was created using an LFO at audio rates, fed through one of the channels of the aforementioned LxD module.

Samples from the following material were used:
- 100 Classic Hip Hop Drum Breaks At 100 BPM FL Studio (Product Of Tha 90s) [https://www.youtube.com/watch?v=vxLURvusYD4]



The following hardware was used:
- Arturia MicroBrute
- Boss RC-300
- Various Eurorack modules

Please bear in mind that this track doesn't reflect my ability to create live music on the fly in one go, like many great artists can do. As most of my tracks, this one is free for download. If you use it in one of your projects, let me know what you can come up with and give Mrs. Audio Boy a shout-out!

Lo-Fi Sermon [Jam session sections: RAW2020 - 2]

As per usual, I conducted a jam session that took several hours, during which I experimented with a vast amount of sounds, settings and samples, and recorded the stereo result in Audacity. In a posts-production step within Audacity, I extracted 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!

This particular jam session is dedicated to the sometimes longsome and somewhat tedious process of creating (electronic) music. I was inspired by the Youtube video "Music Software & Bad Interface Design: Avid’s Sibelius" by Tantacrul, who took a detailed look at the design of the popular music notation application Sibelius (youtu.be/dKx1wnXClcI). It is a very entertaining video and being a computer scientist and a hobbyist musician, I could very much comprehend and sympathise with his demonstration in particular, and the usage of flawed tools for music production in general. It is this very video that inspired me to create these two tracks in the first place, since Tantacruls chant "Something something - Sibelius crashed" was so rhythmic and captivating; so I ended up using his voice as a couple of samples. Unfortunately, I wasn't able to capture his voice in the right rhythmic way during the jam session, so I added it in post-production. 

Additionally, I used a sample from the Youtube video "Moog Subsequent 37 - jam no.1 in C-minor" by  ollilaboratories (https://youtu.be/bUMwSp86a9c) which I indeed was able to capture in the right way during the jam session, albeit after several attempts.  

One particularly interesting aspect of this track's sound for me is amplitude modulation in conjunction with filter modulation. I fed the output of the Mordax DATA (using the oscillator mode) through one of the inputs of the Make Noise LxD, which is a low-pass gate. Then, I fed the sine output of the Doepfer A-147 into LxD's CV input and wiggled the A-147's frequency knob. This resulted in an interesting interaction with the Arturia MicroBrute's tone. Also, ollilaboratories's amazing playing of the Moog Subsequent 37 (which I high passed in order to not interact too much with the already quite bassy sound and not to let the result become all too muddy) contributed to the peculiar timbre.  

Since I had so much audio material to work with, I decided to split this one into two parts. I hope you'll enjoy this homage to the labrious endeavours through the intricate realm of music making and the multilayered challenges we as aspiring musicians can encounter. Please bear in mind that this track doesn't reflect my ability to create live music on the fly in one go, like many great artists can do. As most of my tracks, this one is free for download. If you use it in one of your projects, let me know what you can come up with and give Mrs. Audio Boy a shout-out!

Beat Thang And Sibelius Crashed, Part II [Jam session sections: RAW2020 - 5]

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]

- Third collaboration between ubiq (@ubqbuq) and Mrs. Audio Boy, featuring the voice of the Hindustani classical singer and writer Vidya Rao, and some addiotional pre-recorded samples.
- Cover art by massacra: www.instagram.com/psykosh/
- Preliminary sounds and sketch ideas by Mrs. Audio Boy
- Additional sounds, voice sample ideas, finalisation and mixing by ubiq

This track is free for download. If you're going to use it, please give a shout-out to ubiq and Mrs. Audio Boy!

Ubiq x Mrs. Audio Boy - Stretch

After quite a while, in this particular jam session I again experimented with playing back vocals which come from tracks that are at certain BPM. One of my favourite tempos is 100 BPM, which can include various genres of Electronic Music but also Hip-Hop, which I am quite fond of. And in the world of Hip-Hip, in my humble opinion, nobody comes close to the limber, laid-back low-rider style of Snoop Dogg, fo shizzle! So this time, I tried to incorporate the acapella version of his song "Back Up" into my jam session. 

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!

Mic Check, One, Two [Jam session sections: RAW2020 - 8]

This is the result of one of the jam sessions 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. Since I've been listening a lot to Dark Ambient lately, I kinda steered the jam session in a more industrial setting and incorporated some glitch elements and several pre-recorded samples.

We hope you enjoy!

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

The Machinist's Dream [Jam session sections: RAW2020 - 10]

As I already have done so previously, during this jam session I again experimented with a vast amount of different samples and employed a technique which I like to call "time-synchronized sampling of percussive sounds". I played back a drum and percussion sample at 100 BPM through my humble Eurorack which was also set to 100 BPM. The next step was feeding the sample 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. Additionally, an LFO at audio rates in conjunction with the LxD were used to create auxiliary drum and percussive sounds.

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. Unfortunately, I didn't make a note what samples exactly I was using here. The only thing I clearly can remember is that I took one of the rather rare interviews by Aphex Twin and played it back in order for his narration to fit the rhythm of my jam session, which is heard in the second half of the track. Also, at the beginning, samples from the 2007 documentary "What The Future Sounded Like" can be heard.

Again, I recorded the result of this jam session 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 and a high pass filter at 30 Hz 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!

Glitchy Technoid [Jam session sections: RAW2021 - 1]

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]

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!

Mrs. Audio Boy

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