My first modular generative track. Modular and 0-coast is sequenced by a randomized hexagon sequencer from PC, heavy modulation from Quadrax function generator.

Hexagon (95 BPM D Min Master)

A basic generative patch, using only Plaits, Stages and Marbles. Recorded three stems (hence the name) and send into FX.

Triplett (112 Mix)

Back to Ableton, just a little improv based on a melody fragment by SM.

Improvisation

It took a while until I could really appreciate Zebra 2, a VST synth first published in 2007 (!). Or rather, it took the Massive Modular skin, which instantly brings Zebra into 2016. Anyway, this track was made only with Zebra and a few mastering plugins. The presets, over 100 of them, are available from Audiobombs and the UHE website.

Try: https://www.audiobombs.com/items/1357/zabong%27s-zebra-2-soundset

Black And White (Demo for Free Zebra 2 Soundset)

"Feed your Rytm" is a collection of sounds I created in the last few weeks to learn how to program the Analog Rytm, as well as a sample set consisting of sample chains which the Rytm can use to create many different sounds.

I will be giving this away for free as soon, only some last checks to be made.

The patterns here demonstrate what's in the project.



Feed Your Analog Rytm

Written while under the influence of a cold outbreak, this is my first track mixed and mastered using the LUFS loudness metering. That is, mastered at -16 LUFS, way below what used to be considered a loud track and even less loud than standard for CD mastering. 

Finally, shitty overcompressed audio (my own attempts included) should be a thing of the past, or at last it will be once all producers adopt the LUFS metering.
 
With streaming services simply lowering the loudness of audio in exceed of their own loudness criteria (-16 LUFS for iTunes), it simply does not make sense to make everything as loud as possible at any price - it will, in the end, not actually be louder, it will just lose quality.

I am very happy about this development, R.I.P loudness wars, you will not be missed.

38 Degrees - The End of Loudness Wars

All synth sounds, except drums, made with Avenger.

Part of the free "ZaBong One" Soundset for Avenger.

Dark Side (Made with VPS Avenger)

No, this is not my take on minimal techno.

This is a demo for NAAR (Not An Analog Rytm), an Ableton rack that I build using samples from my Rytm.

While not a real Rytm, the rack has some pretty good tricks in its sleeves, such as blendable clicks for the base drum, >30 variants for the hats, global saturation and parallel compression etc.

The Ableton rack is free and can be found on Audio Bombs.

NAAR Drum Machine for Ableton Live (Not An Analog Rytm)

Test driving the excellent Thorn synthesizer by Dimitry Sches.

Raum Und Zeit

Playing with the sequencer of a monophonic synth.

Mehr Bewegung

This is a demo for my free sample pack "ZaBong's Extracted Sounds". Over 800Mb with 600 hits, ambient textures and loops.

Download: http://www.audiobombs.com/items/1586/zabong%27s-extracted-sounds-sample-pack

Extracted Sounds Demo

This is my first try at using the Octatrack as a DJ mixing tool. It is quite capable to do so, as you can play long stems from CF cards and blend them via the fader.

This track consists of 28 stems, all rendered at 123 BPM in Ableton. On odd numbered patterns, track 1 and 5 are started using a trig, while on even numbered ones, track 2 and 6 have trigs with stems for a track, such as drums and harmonic content.

The crossfader is set up so that I can blend from tracks 1+2 to tracks 2+6. Whenever I want, I start a next pattern, from odd to even or vice versa. The current running stems still run, but so do two new ones where I can blend into at any time.

That's it. Stressfull though. The result is over 40 minutes long, and any mistake that I made (and I did make some, like having the wrong kind of trigs active when going into the next pattern) did have to stay as it was recorded one-shot live. I have some respect for DJs.

Moebius Conspiracy Mix

This is my entry to the 1 year science lab "Earworm" challenge.

I basically took the original sample almost in in its original form, and used two tracks at -12 notes below original tuning with slightly different settings. The second track has a comb filter on it to give ot some unnerving high end. A third track, detuned, provides a longer tail. Each note has its own filter settings. The master track has a compressor on it.

My aim was to create something like an OS startup jingle of just four notes, in an early 90s low-fi kind of way (Microsoft still has some system sounds that sound pretty shitty in the same way).

The Octatrack can sound much nicer than this if it wants to. It didn't here.

Earworm

"To me, my music looks like a sea of static with transdimensional, transtemporal visualizations drifting in and out as sounds come and go. It looks like dark, rich, flickering colors being projected on the wall of a dark room. I always see my stuff being deep reds and dark purple or green. I never see bright colors. Always at night time. I rarely see daylight in my music. I like music that smears time and space. You don’t know if ten minutes or an hour passed since you started the recording." (Rod Model)

ZaBong

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