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In 2023 we invited you to showcase your personal sound, help charity and enter our prize draw. Thank you for your great response! Submissions for Harmony Tracks '23 are now closed. Stay tuned for news!
View submitted tracksTo take part, make a short, new and unique piece of music in any scale or chord progression that's rooted in the note G. Whatever you create, it's important to be yourself! Illuminating diverse styles, cultures and instruments is what Harmony Tracks is all about.
Your Harmony Track can be from thirty seconds to three minutes in length. Here's an example entry from Genelec's Juho Martikainen to help inspire you.
Make sure to download our Harmony Pack, which contains the brief interview questions and Harmony Tracks animation file you'll need to successfully enter our prize draw.
Download the Harmony Pack (.zip) ›Use your Harmony Track to soundtrack a video starting with the downloaded animation and concluding with photo or video material of you and your creative space.
Then, take a moment to admire your work.
Upload your Harmony Tracks video to your YouTube channel, with your interview answers, #GenelecHarmonyTracks and #Genelec45 in the description. Please check our full rules before submitting.
View the full rules ›Submit
↓Participation for Harmony Tracks '23 has ended.
At the end of 2023, we'll have a randomised lottery to select one lucky creative to win our Harmony Tracks grand prize: a pair of Genelec RAW 8330As with GLM Kit, packed in a rugged Peli Case.
Additionally, two further winners will be drawn to receive special runner-up prizes, details of which will be announced later!
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 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
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
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
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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To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
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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To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
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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To join in with Harmony Tracks, visit https://genelec.com/harmony-tracks
Explore our ever-expanding patchwork of community Harmony Tracks.
