I got obsessed with sound, way before I had to attend school. I learnt how to use a sequencer, before learning how to write. No one taught me how to make music, or how to approach it, so my understanding of music as a language is dictated by my own perception.

I made hundreds of tracks, before I wrote some circles on lines in school. After I did, I continued to focus on producing music with a computer instead, because they wouldn’t allow me to play my own music with the flute.

Here’s a secret – most of my childhood music has already been restored, remastered and will be released as „Joy of Creation” somewhere around 2024 Q4.

My obsession was with the sound itself, rather than music on it’s own.

That has taught me sound design and audio engineering, because I spent thousands of hours tweaking and creating my own sound designs, patchers, effect chains and all sorts of ridiculous.

I was inspired by all the possible creative ideas people would develop in music, which prompted me to resuscitate an electronic music label, which is known as Electron Emitter and start organizing a local event series known as Advanced Electronics which lasted three seasons, hosting two live performances every Sunday evening.

On stage I’m known as Number Eleven.

After I moved into my own house outside of town, I replaced the bed with a mattress and converted it into a studio with my own hands. For several years I worked as an audio engineer in all sorts of projects of different scales and have extended my expertise beyond EQ’ing snares.

All of that has led into this – Electron Transition, which is what I offer for those, who like it when the engineer is inspired by You.

Looking forward to hearing from You!

Here’s what the offer is made out of:

I know what mistakes people will be doing.

I haven’t been thrown into a big studio, with professional equipment. I spent my days in a bedroom, with a pair of Logitech shitboxes, learning how to make things and then correcting them, every step of the way towards having a no-compromise studio.

That has taught me how to do things in the worst conditions possible and I know what mistakes happen in the given environments and I have spent enough time correcting every each of them to know exactly what to do.

I have deep understanding of everything that is wrong.

My career as an audio engineer started in audio books and audio restoration. Having worked with massive lengths and large amounts of problems, I learnt the most efficient ways how to automate detection and correction of said issues.

My biggest experience comes from restorative processes and advanced methods to extract things, in order to correct or enhance.

The best example of that is Maddest Sanity and that is why you have Restorative Reconstruction service available.

I am not bound by how things „should” be done.

Working with Electron Emitter, led to integration into our local event scene, gaining experience in live sound and the insane artistry that came with experimental music oriented events.

Working with and for people who made experimental music, taught me that there is no technique that fits everything and shaped my engineering or creative decisions to be as flexible as possible.

I tailor an approach towards the objective.

The latter is also one of the reasons why most of my work stays inside the box and I don’t rely on any outboard equipment.

Most of the outboard is limited by itself, introduces inefficiencies towards a questionable advantage and is usually designed to work with “most of the usual cases”.

I need flexibility.

I’m usually found tangled inside Patcher, making contraptions that are borderline conscious, in order to craft the feeling of your work.

My strength is transparency.

This may not come off as a good thing in the world that pursues coloration, but it means that I’m able to extract the things the creations have inscribed inside them, rather than smearing them with things that don’t fit every time.

I have worked on a lot of music and material, that has seen the worst and the weirdest decisions made, which required to retain what made them sound the way they did, rather than making them completely different.

I am a conceptual artist.

I have no problem speaking in space vibrations. You need ghostly sounding deep tropical trance trap with a sense of relief?

Seriously, I already have a Patcher in my head on how I’d process the drums.

Load me with your artistic inspirations, I will load some industry secrets into the Patcher. Some of them are free, meaning you might get to keep them to explore.

Read about my colleague Marius here.

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