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Make a Harmony Track to showcase your music, help charity and enter our prize draw for studio monitors!
Participation for 2024 Harmony Tracks has ended - we will announce the winners soon!
Your music has the power to help unite and inspire the world, and Harmony Tracks can amplify that power!
By creating a short piece of music in your own unique way, you'll join our diverse global patchwork of sounds and get a chance of winning big prizes – plus, we'll make a 10€ donation to Music Fund on your behalf.
At the end of 2024, we'll have a randomised prize draw to determine our lucky grand prize winner and two runners-up.
Grand prize: A pair of Genelec RAW 8330As with GLM Calibration Kit, packed in a rugged Peli Case.
Runner-up prizes: A choice of either 8010A monitors or G One loudspeakers.
Using your own style and culture, create original music – from 30 seconds to 3 minutes long – in any scale or chord progression rooted in the note G.
Example Harmony Tracks ›
Download our 2024 Harmony Pack containing all you need to enter our prize draw. Provide your email address so we can update you with Harmony Tracks news!
Download the Harmony Pack ›
Put your Harmony Track in a video file that starts with our animation (in Harmony Pack) and continues with your images and/or videos. Make it 'Public' on your YouTube channel!
Alternatively, make your Harmony Track 'Public' on Soundcloud using our artwork (in Harmony Pack).
Whether using YouTube or Soundcloud, please include your short interview answers in the description and use the hashtags #GenelecHarmonyTracks and #GenelecHT24 (details in Harmony Pack).
View the full rules ›Submit
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Be a part of helping global charity Music Fund to provide musical instruments and support for communities in developing countries and conflict zones.
For every rules-compliant Harmony Track submitted, we'll donate €10 to Music Fund, brightening futures across the globe with the gift of music.
If you're living in or visiting Europe, you can also help by donating instruments, music books and studio equipment. Any suitable, working items you have could make a huge difference to a musician in need!
I’m a performer-composer who makes experimental, semi-improvised music with trumpet, modular synthesizer and other electronic instruments that I design and build myself. I am also an educator in synthesis and sound design, and I work as a creative coach helping other musicians clarify their creative process and unlock their voice. My musical journey started pretty traditionally: I was a classically trained pianist and trumpet player, doing the whole orchestra thing, chamber music, session work, you name it. But then something magical happened in my mid-20s when I stumbled into the world of free improvisation, performance art, and electroacoustic music... and wow, did that change everything! These days, my music is a mix of contemporary classical, experimental improv, free jazz, noise music, and interactive electronics all playing together.
My process is typically very improvisatory. I often begin by creating a “sound world” that has a lot of expressive and musical range, and then I’ll improvise with it for a long time, to see what emerges. From those improvisations, certain ideas and structural elements will start to form, and I’ll continue to investigate, play with, and refine those until a piece comes together.
There were a couple of instruments I knew I wanted to use for this project (specifically, my Buchla 200e system and my piccolo trumpet), so I started with those. I made a patch on the Buchla that would respond to my input, but always with unpredictable and surprising gestures. I’m very interested in collaborating with my instruments rather than simply “controlling” them. Working with chaos and unpredictability is a way to get to know my instruments and their unique tendencies. This process is about giving them a bit of input or a nudge in one direction, and then listening carefully to what they have to say in response.
After improvising with them for a while, I had the idea to add in some live processing in Max/MSP and some percussive / noisy sounds using the Digitone II. I did a number of improvisations with these instruments, exploring different arrangement, density, and pacing of sounds until I found something that felt right.
These days, I love working with chaotic, noisy, unpredictable sound material. I love to be surprised by my instruments, and to discover entirely new sounds in the course of an improvisation. It's funny, because in my classical training days, everything was about "right" and "wrong" sounds, "good" and "bad" technique. But some of my favorite sounds were the "wrong" ones—like blowing air through a trumpet without producing a tone, or playing split tones and multiphonics where you hear two notes at once. When I decided to pivot away from strictly classical music to a more experimental music-making approach, a big part of that was a burning curiosity to embrace and explore sound itself. I granted myself permission to explore this whole universe of sound that had been previously labeled "off limits." It was incredibly liberating!
Follow the sounds that light you up, and make the kind of music you love—even if no one else is doing it. There is no wrong way to do music. The more of YOU that you bring into your music, the better it will be.
I recently upgraded my studio with a new quadraphonic Genelec setup, and they sound amazing. I was in the middle of rehearsing for a tour when I got them installed, and my first rehearsal in the space with the new speakers was like night and day. So much clarity, such a great sounding low end—it’s a quality of sound I had previously only been able to experience at venues or professional recording studios, and I’m SO happy to have it in my home studio now.
Apple Music ›
Tidal ›
Spotify ›
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
Copyright © 2024 Manuel Rosales
I am Manuel Rosales, a composer, producer, musician, and teacher. While my main project is the composition of songs with influences from traditional music, I am passionate about working with music from multiple roles. I also compose music for films, and I produce and arrange works for other professional musicians.
I have collaborated on numerous projects and presented my two albums, 'Estrada' and 'Cuerpo Aldea', during tours in Europe and South America. I developed much of my musicality through traveling, and beyond having an academic background, my greatest creative inspiration has come from connecting with others and being in nature.
I was born and raised in Buenos Aires, Argentina, where I began my training as a composer, guitarist, and singer. I am currently pursuing a master’s degree at the Sibelius Academy, University of the Arts Helsinki.
My creative process has evolved as life has progressed. I’ve had many periods of intense composition, dedicating a lot of time to creating. During those times, most of my compositions emerged in the midst of tours, in brief pauses, inspired by encounters with new musicians, traditions, and places.
Currently, I find myself very busy, which has sparked my interest in “how to create creative spaces” within a pace of life that doesn’t seem to leave much room for creativity. I could say that I am rediscovering my creative process.
I believe that, in some sense, what remains constant is the awareness that the creative act cannot be forced – it is akin to gazing at the sky, waiting to see a shooting star. I believe in seeking out the work of creation and finding peace in coming back empty-handed, ready to try again next time.
As I mentioned, my primary focus is on songwriting. However, in this challenge of bringing a new piece of music, I felt the desire to step out of my usual comfort zone and develop an instrumental idea that has been lingering in my mind for some time.
A compositional approach that has helped me with this music is as simple as holding the basslines steady while singing the melodies I imagine. The next challenge is then playing both things at the same time.
This piece of music is called Ronda, which in English means Round. It evokes inside me an image of a circle of people. In this case, that image of enjoyment and joy has been the inspiration for this music. Usually through my work with songs, I often find it important to talk about topics that are challenging to deal with, related to the different crisis humanity is facing and reflections on personal processes. But in this case, it’s the complete opposite! Enjoyment, joy, playfulness – all of these feel indispensable to me for moving forward.
I can also share that this music is, somehow, the result of my first trip to Brazil, where I made great friendships and was generously taught much about their music. The baião (a popular genre and dance from northeastern Brazil) served as a starting point for this composition. While I wouldn’t say this is a baião, it is certainly a product of my encounter with that world.
Enjoy the process! And, as I mentioned earlier, I believe this is a great opportunity to reflect on your relationship with your own creativity; how to make a space in our daily lives that helps make creativity possible.
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
I'm Melisa Yıldırım, improviser, composer, musician and teacher. I'm a passionate person trying to find the meaning of my own life in sound, silence and contemplation. I have participated in numerous projects, and I have toured and worked with artists from many different cultures and music genres around the world. Sometimes I do solo improvisational performances. I have learned music from nature and people as well as in conservatory. I was born and grew up in Istanbul, lived in London for a while, and now I'm in Helsinki.
These days I mostly play the five-string Anatolian Kamancha, which is a new design. For many years I played the four-stringed Kemane from the Teke region of Turkey. They are both versions of an authentic stringed instrument that can be encountered in many cultures in Central Asia and the Middle East. The instrument has a history of around three thousand years, maybe more... The name varies in different regions due to language and material differences.
Before I start working, I stop and do a kind of meditation, having little contact with the outside world, so I can be free from the rush and stress of everyday life. I remember the transience of life, make a delicious Turkish coffee and enjoy improvising. Music comes spontaneously from my inner world; I don't force myself to be creative. Sometimes I cannot create anything and try to just enjoy the moment. Being creative is not always easy and joyful, but I try to love every stage of the process.
I was feeling curious about the process. I usually create music while improvising, and this was the case too. 'Velvet' is a composition I composed in Nikriz Makam, which can convey different feelings. Sometimes Nikriz Makam is joyful, and sometimes it can make you feel heavy emotions or make you dance in a neutral place between emotions. With this composition, I felt a velvety texture and a joyful mystery, it's completely personal.
The earth and the cosmos feed my inspiration in every sense. I love listening to birds and watching the colours of the world! Although I play a cultural instrument, I'm an artist who does not like to label myself and my creativity as a product of a single culture.
To me, culture is human-made knowledge, and it is best to try and be free from all learned knowledge and to simply observe it.
Musically, Anatolian folk music and classical Turkish music have various microtones and scales consisting of tetrachords and pentachords called Makam. I like using and hearing microtones, and it is easy to express them with a fretless instrument.
Whatever style of music you make, express yourself as you are, remember that the sounds of your imagination are your most powerful personal expression. There is no right, wrong or perfect – just try it, and have fun with the process.
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
Photography by Nilay İşlek.
I’m Lisa Murray and I’m a London-based artist and music producer from Ireland! I make electronic pop music inspired by artists like Taylor Swift, Sigrid and Maisie Peters. I graduated my master’s in music production, technology and innovation at Berklee College of Music back in 2020. While at Berklee, I was awarded their Outstanding Woman Scholarship and mentored by superstar audio engineer Sylvia Massy. I started releasing music during the pandemic, including the single ‘i unfollowed u’. I play piano, guitar, ukulele and tin whistle - but I’ve always considered my voice to be my main instrument! I also "play the laptop", producing in DAWs, including Ableton Live, Pro Tools and Logic.
My creative process varies, but mostly I get song ideas popping into my head at random moments of the day. I like to call these “AirDrops from the universe”, because it feels like the way you use AirDrop to send files from one device to another! I usually receive song ideas as fully fledged lyric and melody ideas that tell stories of my life or things I’m going through. Other times, I’ll play a melody or hear a loop that inspires me to write over the top of it and develop ideas that way. And sometimes I start in production mode and the song unfolds as I make it.
My creative process for the Harmony Tracks challenge was quite interesting. I was setting up a live session for a show I was going to play, and I wrote a little hook with a Rhodes sound using my launchpad. As soon as I stumbled on that hook, I got a lot of ideas for lyrics and melodies I could layer on top of it. I opened a vocal channel, added a tape saturation and started writing over the top of the keys loop. I don’t usually record or write through heavily distorted or saturated vocal chains, but I really enjoyed doing so for this song! The first part I wrote was the line that goes, “I don’t want to feel like this”. I then added some drum programming – as well as some samples and vocal harmonies – and built it into the track it is now!
I’ve always written in a very conversational style and focussed on telling stories in my music about things that have happened in my life or feelings that I’ve had at different points in time. I think being Irish feeds into the way I write, because we’re known for our storytelling and our turn of phrase. A lot of my songwriting is quite tongue-in-cheek and offers a little glimpse into the thoughts and feelings I’ve had surrounding different things. My production influences have always been centred around pop music. My favourite thing about pop is that anything goes, you can manipulate and place interesting sounds and ear candy all around the place and it feels great. I really look up to producers like Jack Antonoff, Charlie Puth and Finneas in their use of such techniques.
Have fun! It’s easy to get caught up in perfectionism and tiny details. Challenge yourself to go with the flow and make whatever feels natural without overthinking your creative process!
There are so many great memories to choose from! My favourite day was the day my 8010As arrived! It was during the pandemic when I was first starting to set up my home studio. When I got my Genelecs I started to feel like I was a real producer, as they were my first set of monitors! That day, I posted a photo of myself with my new 8010As and Genelec reposted it on Instagram. The response was amazing, I had so many fellow producers, artists and engineers reach out to me online who I’m still friends with today! Being part of the Genelec Moments Calendar was also really fun!
Lisa's music links:
Youtube ›
Spotify ›
Instagram ›
Facebook ›
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
Hi all! I’m Stephen, and I’m a singer and guitarist who’s originally from the UK, although Finland has been my home for years! Happily, I’m employed as a creative at Genelec, where I focus on copywriting; a job I’ve wanted for a long time. It’s an honour to contribute to the uplifting and community-driven energy burst that is Genelec Harmony Tracks. It's also a delight to cross my work over into the realm of music making – which has been a passion of mine since my teens. To hear more music from me, you can check out Frozen Factory, where I’m co-writer and lead vocalist.
I usually start my creative process by finding a theme that interests me and a decent metaphor for that theme. I mostly get those from having conversations, reading news articles or listening to demo music. After that, if the song didn't already have music, I’ll get myself to a guitar! With a little improvisation and imagination, the basis will usually come together. For finalising lyrics, I’ll often shut myself away in a quiet room and re-work my ideas until I’m completely happy.
This was a classic case of me running to the guitar and playing it out. Actually, ’The Peak’ is a song that’s lived with me for some years already – with various details coming and going – yet I never finalised it or shared it beyond a few friends, until now. For Harmony Tracks, I decided to re-focus on this song, and I found the missing pieces by sitting with my guitar and working with the lyrics in peace – the usual thing!
Because of the way I create music, and my limited production skills, I felt that sticking to vocals accompanied by acoustic guitar would result in the most honest form of music I could make. I took a somewhat playful approach to singing the song, adding non-lexical vocables (nonsense sounds) to the chorus, which is something I like to do here and there. I also did some basic claps, clicks and taps with my hands. I remember the day I wrote the first parts of ‘The Peak’; I was thinking about how young people always face an uncertain future and how important it is to show them encouragement and build their self-esteem right from the start.
At first, I thought "I want to make a big production for this.", but I soon realised that’s not really me. I’m extremely happy that I decided to do what comes more naturally to me instead. So, I would say that, for Harmony Tracks, it’s good to be comfortable with the essence of your sound and not to try and reach for what you always wished you could record. What you can do already is more than enough! We want to hear how you sound today!
Genelec has been my workplace for nearly three years, and when I started it really opened up my eyes to see how a global business can be successfully run on passion, expertise and kindness, with genuine respect for the environment and wider community. That’s been a comforting thing to learn, and I hope more businesses will adopt this way of doing things.
Frozen Factory's music links:
Streaming ›
Instagram ›
Facebook ›
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
I'm tamiX, and I'm an electronic music performer who engages in live improvisational composition. I refuse to rely on computers and software, instead utilising independent hardware devices and pure natural physical forms. Based on live atmospheres, I improvise my performances, creating an experimental and unique musical style with the minimalistic Buchla 200e modular synthesiser.
I'm also the founder of Midifan, a music technology website that guides musicians into the music profession, a visual artist engaging in live improvisational creation using natural objects, liquids, feedback and handmade devices, and I'm a part-time skateboarding coach!
The "controllable unpredictability" of the modular synthesiser serves as my usual source of inspiration. Within the boundaries of your designed parameters, it provides a plethora of randomised surprises. I have consistently used the Buchla system, which is the sole instrument I employ in my performances. The excellently designed instrument and high-quality sound offer me extra inspiration, allowing me to immerse myself in the world of my musical creations. At times, even during performances, I find myself pleasantly surprised 🤯 – the sound effects can turn out to be so unexpectedly fascinating!
My Harmony Tracks performance, titled 'tamiX in the Blind G', deliberately utilises the G minor key (G for Genelec). All the sounds are generated from the Buchla 200e modular synthesiser system. It's noteworthy that the entire performance is remotely controlled using the Buchla 223e Multi-Dimensional Kinesthetic touchpad and two Koma Elektronik Kommander infrared sensors.
The meticulously designed tactile touchpad and infrared controllers allow the manipulation of the Buchla modular synthesiser's nine voices based on gestures, influencing both the sound and algorithmic changes in my Eventide H90 effects processor.
The realm of the modular synthesiser is very magical indeed! It enables the realisation of imaginative ideas and playing styles through over 100 carefully connected patching cables, which takes over an hour to set up!
I chose to cover my eyes, so I couldn't see any components of the synthesiser. Because of this, my interaction with the synthesiser is more about precisely manipulating the synthesiser's sounds through the aural feedback from my Genelec monitors! My ears then guided my hands to create various enchanting sounds, ultimately forming this G minor musical composition.
Just have fun with your creativity!
Enjoying the sound of Genelec loudspeakers used in my performances has been the most delightful experience! Especially in August 2023, during my Buchla modular synthesiser improvisational concert, 'tamiX in Atmos', I was surrounded by an immersive 7.1.4 system composed of Genelec S360s and a 7380 subwoofer – creating an exhilarating performance.
And even more impressive was the sound during my opening performance at the Hangzhou International Electronic Music Festival in October 2023. On the large stage, I felt, for the first time, a clarity of sound that I had never experienced before, immersing me in the performance so much that I wished it wouldn't end. As I reluctantly stepped down from the stage, I noticed that the monitors on stage were Genelecs!
tamiX's music links:
Homepage ›
Instagram ›
YouTube ›
Visual arts ›
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
I am a UK-based Software Engineer with over a decade in the industry. I have only recently moved into production this year, after spending the past 18+ years as a multi-instrumentalist who was originally self taught.
Typically, I will start a piece of music by tracking out a motif on my guitar (instrument of choice). This gives me a bedrock from where I can start working out the movements of the piece. Once I have a series of motifs down, I will then try to determine how I want the track to evolve, usually going from a dark to light or light to dark theme. This then allows me to better pick the modes or chordal structures I want to develop across the track.
I wanted to try various layering techniques and plucks to keep the track quite "open". As such, there is a constant percussive sound along with a heat-beat effect that runs throughout the track to give the feeling of movement – and all the while the synths gradually change in their texture as the track develops. Everything has a form of echo that I've tried to ensure fills the space of the previous instrument to keep a constant organic flowing feeling.
I've had melody in mind for a while that I didn't know how I wanted to expand upon. I decided to go for something that felt like a journey through an unknown world – something along the lines of Alice in Wonderland. I wanted the track to evolve from a mysterious feel to a more emotive feel half way through.
I always try to start with a motif, and slowly build layers upon it. I've found this allows for a more natural progression allowing for a much more chill vibe. I'd say if you're struggling to come up with a melody, the best thing you can do is walk away, have a coffee and come back. This always seems to give me a new lens to look through things. On top of that, a reference track or video playing in the background definitely helps.
I was always having issues trying to find my tonal centre in my music, and it wasn't until I picked up my 8030s that my whole viewpoint and understanding of why a good set of monitors really helps changed. As a result, I can only thank Genelec for the non-stop late nights composing and the inability to shake the music production bug.
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
I'm Mehrnoosh Zolfaghari, a highly accomplished musician, composer, and santoor player based in Finland. With over 20 years of experience playing the traditional Persian dulcimer, santoor, I have established myself as a respected figure in the world of music. I hold bachelor's and master's degrees in music performance from the University of Tehran, College of Fine Arts, where I was recognized as the class valedictorian. Currently, I'm pursuing my second master's degree in the Global Music department at the Sibelius Academy in Finland, focusing on promoting Iranian music and its cultural heritage to a wider global audience. I am deeply passionate about blending traditional sounds with contemporary influences, creating a unique sound that is both authentic and innovative.
My creative process typically begins with research and exploration of diverse musical traditions. I draw inspiration from different cultures and genres, seeking to incorporate their essence into my compositions. As a santoor player, I often start by experimenting with different melodies, exploring the capabilities of the instrument and its rich repertoire of folk modes and "Dastgâhs". I also collaborate with other musicians, exchanging ideas and incorporating their input into my creative process. Additionally, I enjoy experimenting with electronic sounds and merging them with the traditional santoor, bringing a contemporary twist to my compositions.
For Harmony Tracks, I was invited to play by Genelec Managing Director Siamäk Naghian, and I have played a composition called 'Roaring waves'.
My choice of sound is deeply rooted in my cultural background and experiences as an Iranian musician. Growing up in Iran and being exposed to the rich traditions of Persian music have had a profound impact on my musical journey. The santoor, being a traditional Persian instrument, holds a special place in my heart. Its unique timbre and ability to convey a wide range of emotions have shaped my musical identity. Additionally, my interest in blending traditional sounds with contemporary influences stems from my desire to introduce Iranian music to a global audience and bridge cultural gaps through music. I draw inspiration from the diverse cultural heritage of Iran as well as my interactions with musicians from different backgrounds, which continually fuel my creativity.
My advice for the community embarking on their own Harmony Tracks journey is to embrace their cultural heritage and unique musical identity. Explore the musical traditions that resonate with you and incorporate elements of those traditions into your compositions. Experiment with different sounds, instruments and genres to create a fusion that reflects your artistic vision. Collaboration with other musicians can bring fresh perspectives and enrich the creative process. Finally, don't be afraid to take risks and think outside the box. Creating Harmony Tracks is an opportunity to showcase your creativity and share your musical voice with the world.
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
I’m a full-time professional music producer, musician, live performer and content creator. I create music under the artist name LNA, and I run a YouTube channel called LNA Does Audio Stuff. I’m originally from Finland, but I’ve been living in the UK for the past 10 years. This is why my music is both a reflection of two cultures and of my journey through classical music into electronic dance music. I have a classical background from playing violin and piano, doing choirs, orchestras and classical singing throughout my childhood and teenage years. At 21, I moved to the UK and got into music production, which led me to study it all the way up to a master's degree in music production at the University of York.
My creative process is problem solving. It can start from almost anywhere, any instrument or vocals. After the initial inspiration, I try to define my goal and get into it so I can make a track I truly love. So, the aim is never to try to make “technically correct” tracks, but to find something in them that makes my heart and head feel something.
With this track, I originally worked on another version, which was nice and sounded good, but I felt it was missing something. This led me to a journey of creating around four different project files of it, which all sounded different. I added and removed things and truly crafted the track for about a month, until I found the essence of the track. I wanted it to make me feel things. After the main production was ready, I transferred it into a live performance. The live set is bit different – it doesn’t have saxophone – but I feel like it still kept its vibe and feel. I recommend anyone to listen to both and see how interesting it is to hear the same track improvised/performed live versus the fully produced track, comparing the feel of them. You can listen to the fully produced track from my YouTube channel or streaming services under my artist name LNA.
The fully produced track has five main elements: drums/bass, saxophone, strings, synth and vocals. All of these come from different cultures and genres, and I love how they blend into this one track. The drums and bass create the EDM low end, bringing a Deep House vibe. They are strong and sharp, full of rhythm and groove. The saxophone was played by my friend Sophie Russell, bringing her own expression to the song. Strings are something I always add to my tracks. As a violinist, the sound of strings reminds me of my homeland Finland and the culture of classical music. The synth on this track is from my Roland Juno, with a little pitch bending modulation, giving a hard hitting 80s vibe. Usually in Deep House vocals are heavily processed and pitch shifted. For me, it’s important to keep them natural, deep, soft, round and atmospheric. Often, I do bilingual lyrics, but this time I felt like I wanted to say this in English. I like to make the words mean something, and this track is about masking your true self, social hangovers and being appreciated for your true self.
Use this as an opportunity to find something you love. Try not to focus on expectations for yourself or others. What is it that brings you joy in music and what makes you truly feel something?
The first day I received my Genelec monitors, I cried. I made a YouTube video of the day so you can see for yourself. It was an emotional moment for me, as I felt like I was stepping up into new level of professionality in my career – big moment! Now I have created my latest four singles using these monitors (including this one), and I feel like this is a new era for me as an artist and producer.
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
My name is Daniel, and I make weird music! I’m behind Scorsi and also another project called C.A.B.L.E. I do Djing, producing and engineering, mostly for dance music. I started on the drum n’ bass scene about 25 years ago, and a little bit after that I started producing. I've played guitar since I was 12 years old, and I've always had a curious mind about how music is made. That drove me find out by myself how to write, create and produce music.
I have a vast catalogue of releases in the drum n’ bass genre, and most recently, as Scorsi, I’ve done collaborations, co-production and remixes with big local artists like Alok, Tropkillaz, Anitta and Mc Lan, alongside international artists like Nghtmre and Autograf. And I’m 10x platinum for engineering on Halsey’s big hit 'Without Me'.
As a touring artist, I’ve done some of the biggest festivals and clubs in Brazil, such as Rock in Rio, Laroc Club, and Green Valley with artists like Alesso, Tiësto, Major Lazer, Diplo, Nervo and Alok. I've also had several international tours as C.A.B.L.E.
Oh, and it’s important to mention… I love food and traveling… a LOT!
I don’t have a specific routine, except for locking myself in the studio every day. What happens after that is never the same. Sometimes I’m writing melodies or just creating beats as a starter, or then I'm doing sound design and that sparks an idea. It really depends on what I’m working on, if it’s a blank canvas or if I already have vocals to work with, or even making remixes. I just look for that jump start somehow.
I wanted to try and showcase all the sides of my identity. I wanted melodies, an impactful drop, creative editing on drums and a bit of Brazilian flavour in the groove. And that is really hard to accomplish in just one piece. I started with the piano riff and began building things around that at first. Then I looked for a mood contrast to use on the drop that would still connect with the initial melody. It was definitely a challenge!!!
I went after my usual palette of sounds – what I like to use generally, the kind of textures and contracts, and different bass sounds. I then added some modern Brazilian sounds to the percussions and fills. I come from a lot of different backgrounds. I’m a metal head but also, I listened to a lot of hip hop growing up and different sub-genres of dance music. So, there’s a lot of different flavours to be mixed when it comes to using my musical inspiration, and I am Brazilian, so it’s natural to use some elements of our culture too.
Be yourself! Go after your sound, your identity. It could be with sound design or arrangement style for instance. Sometimes it might be hard to find, but it’s there. Everything you’ve done, listened to, it’s what makes you who you are, and nobody else can copy that. So trust your instincts!
I remember when I got my first pair of 8020s, around 2009. I saved up a lot, and at the time it was a big upgrade for me. I'd never used them before that. I'd seen a lot of big names and big studios using Genelecs, and I went after them because of that. The first time I plugged them in my bedroom and hit play on one of my tracks, I remember thinking "Oh God, I have to fix everything in all my songs!".
To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
Hi! I’m Josh Cumbee - artist/producer/songwriter out of Los Angeles. I grew up here in the US listening to everything from 80s music to gospel, and the musical breadth has certainly stuck for me - I’m now lucky to work in a bunch of different genres with unbelievably brilliant humans around the world. I grew up playing keys but can usually hack through enough guitar/bass/drums/the occasional trumpet to put a record together.
Every day is different! I’m always looking for that thread of “dang I haven’t done this before” - whatever that might be. Sometimes it starts with a concept I feel like no one has tackled/done justice, working with someone who comes from a totally different background than me, or totally changing up my production/creative workflow and starting with a weird sound or instrument. No matter what, the goal for me musically is to be constantly challenged and always feeling like the dumbest one in the room!
I decided to play on the idea of “harmony” and thought about how cool it would be just to start with a vocal doing a 3rd interval rhythmically. I did a voice memo of just that, then played the first chords I could think of on my beloved Yamaha U1 directly into the phone. I decided to make those imperfect sounds the base of the track, then built around it in Studio One with more harmonic parts, which only left a bit of a song to write. Topically, I went to both the feeling I get traveling around working with humans from radically different cultures - and set that back against the personal side of when you feel like you’re in disharmony with someone and trying to bridge the gap. “Not So Different” was an interesting phrase to sing, and I kinda built around that.
I think we could all say a lot about the US, but I will say that on its absolute best days I think it is an absolute melting pot of culture and experience. Musically that is very much what I aspire to - a world without genre or predefined lines, in which influences from all over come together regardless of if it’s technically “right”. The acapella harmonic bits brought me back to some of the gospel harmony structure I loved; the drums remind me of some of the work I’ve done with artists from places like the Dominican Republic/Argentina; the piano is just everything I’ve loved about film music boiled down into something pop-forward.
Get messy! I think we can get obsessed with getting “the perfect take” or “the perfect sound” - sometimes the best thing you can do for your process is force yourself to use something suboptimal. That piano distorted on the way in? Try to keep it and embrace the vibe. That rattle from the dog shaking its head during your vocal? Maybe it’s the new snare/perc for the song. Some of my favorite sounds in songs have just been things I’ve captured on my room mic or voice memo - your creativity really is the limit if you just give yourself the freedom to “start with dumb”.
Oh yeah. I think I’ve been in love with Genelecs since my second job ever in music, which was assisting (and eventually being mentored by) the brilliant Toby Gad. He had a gigantic pair of 1038s in his studio with matched subs, when I heard one demo on those I felt like I had been missing things in music my whole life! I worked for years on other monitors with the goal of one day getting to that place, and eventually was lucky enough to finally buy my own pair of 8351’s (which I now cannot live without). I have a lot of fun toys in my studio, but those monitors probably bring me more joy than anything else!
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Hi gang, I'm TJ Dumser! I'm an award-winning sound designer, mix engineer and composer who also writes and performs original music for film, tv and inner journeying as Six Missing. I'm originally from NYC but have been spending some time in Austin over the past few years.
I love taking the pressure off whenever possible, so whenever I sit down, I press record first and then start experimenting and playing. I don't try to make anything happen just yet, I just let the fun happen as I turn off my "thinking mind" and let it all flow. Once something starts to feel good, I may go back to listen and see what happened, then check if it’s worth exploring deeper. For better or worse, I have a lot of gear, both vintage and new, as well as software instruments and effects. I love working with effects as they are little idea machines; they take input in, churn it around and toss out something different, which really sparks my creative mind and lets me go places I may never have explored in the traditional sense. I also really love working with semi-generative modular synths wherein they take simple commands and run with them, allowing me time to search for the next piece. The beautiful thing about working with vintage gear is also the difficult thing about working with vintage gear – it decides how it wants to behave that day, which to me is so incredibly human. As a solo artist, I love having a “writing partner” like the Moog Minimoog or the Korg PS3100. They are sometimes at odds with what I set out to do, but often times that’s a gift as my original idea probably needed some holes poked in it, ha ha!
For this Harmony Track, I decided I wanted to start with the Korg PS3100 so I started by sending it some MIDI (Thanks Rosen Sound + Tubbutec!), and once I got that sequence rolling, I could hear the rest of the piece coming together around me. So, I then raced around my room attempting to catch the magic as quickly as I could. I utilized my stereo space echos as well as my vintage Moog Minimoog Model D. I like to record with headphones because it makes things feel more intimate, but as soon as something special starts happening, I turn on my Genelec 8330As to check things in the room. There’s no point in going down a path of sound design that won’t translate to the finished product and the Genelec’s tell me how I'm doing with that instantly.
As Six Missing, I make meditative music to help people relax or find a place of calm during their days. In fact, I have a full-length LP entitled Here For Now, released December 15th 2023, which is exactly this type of music! So, for me, I attempt to create from that meditative place to begin with. It's my way of knowing if the magic is happening or not. I'm letting the moment inform my choices and just allowing it all to happen. I love letting the machines tell me what they do or don't want to do as well. For instance, I had tried putting certain Minimoog lines down that just didn't fit, so I had to quickly change direction. The beautiful thing about music and writing is that every moment is different, and you just have to be open to it long enough to sense what it is that this moment needs to be. If you can stay open, then you can tune in. And if you tune in, you can’t lose.
My advice to those creating a Harmony Track is to just have fun and don't force anything, don't feel the pressure to do something cool just for the sake of doing it. Honor your own sound and enjoy the process! See where it leads you! Or perhaps try playing an instrument you don’t normally play or grab for first. Or better yet, try doing something that surprises you! But again, above all else, have fun.
I've been using Genelec from the very start of my career. I've run three different studios in NYC as Senior Sound Designer, I've mixed a few handfuls of National Super Bowl Ads, countless short films and documentaries, and hundreds of commercials as well as mixing every piece of music I've ever released and Genelec has always been there with me for it all. I've learned how to listen on Genelecs. And better than anything, I know that when I walk into a studio and see a pair (or array) of Genelecs, that I'll be able to confidently translate my work on them with very little effort. I'm lucky enough to work on a 5.1 setup for my commercial work, and any time I check mixes on the tv soundbar, my phone, or in the car, everything is seated exactly where I want it to be all thanks to Genelec. So, I suppose my nice memory is just that I feel more comfortable and confident in my mixes if I know I’m working on them with Genelecs. In the past few years, GLM software has been a game changer. I finally feel like I’m hearing just my work, the room vanished. It’s really some sort of sorcery!
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I’m Juho Martikainen, Genelec's Brand Art Producer. Additionally, my two siblings and I represent the second generation of family entrepreneurship at Genelec, which was founded by our father in 1978.
At age 9, I started to play classical double bass, and later in life, I began playing and teaching double bass as a profession. My formal education in music is mostly classical, however, I've always enjoyed playing in bands of various genres, and recently I've been making and releasing my own solo music.
My second main instrument is electric bass, and I mess around with guitar and other stringed instruments, which I can play well enough to get my ideas flowing.
I love tweaking different sounds and effects, so usually, I find an inspiring sound that I start to experiment with. Most of the time, I have a certain visual image or emotional feeling in mind that I'll try to capture musically.
Sometimes melodies just seem to appear, and sometimes I need to work hard to create them. I use a lot of live looping techniques, which has a significant effect on the way I construct my music. I'm a big fan of minimalism – Philip Glass is a great example – so that also guides my approach to music.
I wanted to create something that connects to Genelec’s name, so I started to think about chord progressions including G, C and E chords. To make the progression more natural, I added a D chord to those three. So, the progression is G-D-e-C. To celebrate our 45th anniversary, my Harmony Track is 45 bars long for the 45 years of Genelec, and the tempo is 78 BPM, which refers to our founding year.
I would say my roots are deep in Finland's folk music, and in our national epic, the story of Kalevala. On the other hand, I believe that music is a universal thing, which to me means that there actually is no need to be cultural boundaries and limitations between us human beings. When it comes to music, we all share the same language!
Playing and especially double bass as an instrument is the most natural way for me to express my feelings and emotions.
Just let go and see where the music takes you! Be free!
I remember how nice it was to listen to music at my childhood home, where my father had designed the living room to be a perfect listening environment. I especially remember how Dire Straits' song Telegraph Road made a huge impact on me - not to mention Iron Maiden! We had Genelec’s 1022As and then later 1022Bs at our home, so in that sense, I realise I've been spoiled from the start regarding the quality of sound reproduction!
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