Holy Bot

Bedroom music production, gaming and random shit

Sound Monitoring on Different Systems

While I think it’s important to be monitoring music productions on several systems, this time it has become more of a biproduct of premisses in the making of my new recording.

Now my main monitors are the Genelec 8030A which sounds clear but lacks a little bass. And because the home studio is located in the bedroom (not acoustically treated) I also listen on headphones a lot. I use Sennheiser HD 25-1 II which sounds pretty balanced and good, although not too comfortable.

Sometimes I must to shift place (to the dinner table) and work solely in the box (meaning Ableton Live), and sometimes I mix, mala fide, on the classic Koss Porta Pro on ear headphones.

I’m playing the music on a smaller hi-fi home system (NAD C 320BEE amplifier and DALI Concept 2 speakers with 6.5” woofer/midrange) to get more bass, and to add a larger room ambience and noise to the experience.

I also listen to bounces of the mix on Apple’s muffled EarPods, extensively, because I want the music to sound okay there too. And when outdoors I listen on the wireless Bose SportSound (that aren’t noise cancelling).

I’ve also listen on the shitty laptop speakers of my MacBook Pro and on speakers of the iPhone, just do hear which frequencies are coming through hard and how the sub translate on tiny speakers.

And lastly, I try to listen not only focused, but also in the background with people talking, while cooking and such. This is not very scientific, but I sometimes hear annoying frequencies or other things in the music that I normally wouldn’t recognize.

All this monitoring aims to find a mastering sweet spot for music to sound as intend. That means, perhaps not the “best” from a technical point of view, but from at sound, mood and feel perspective. In music, I’m trying to communicate and achieve something that has not necessarily to do with audiophile correctness or fine sound reproduction. Controlled and uncontrolled dirt and noise are most welcome in my music.


In the Thick of It

I’m in the middle of making a new recording. Right in the thick of it. It has been a journey of doubts. I’ve killed so many darlings.

First it was going to be an EP of six tracks. Now I don’t know. Two tracks were discarded, and another, new one is beginning to take form. Anyway, it has been a new experience for me to make so many tracks at the same time. To jump back and forth between them – almost working on them simultaneously.

I’ve strived for a coherent theme and sound throughout all tracks. I’ve had some kind of concept and worked by rules and variations (although these have been somewhat bent). Scale, tempo and sound design bear a relationship. 

The earliest versions of the track were quite mathematical, whereas repetition was a choice, and method. But it was a bit boring, no fun to listen to. I’ve tried to keep the core approach intact, like probability and randomization, but reworked other details. I’ve abandoned complex beats and polyrhythyms for a more minimal presentation that I think carry the musical ideas clearer.

The EP is electronic, instrumentals. I’ve used my vintage gear and modular system for sound sources. Sequenced it in Ableton Live and audio processing where mostly done using modern plugins, but I’ve also used and old tape recorder to get some saturation and lo-fi feel.

I’m not sure when the EP is done, but I think four out of five tracks are ready.

I like this drum machine, I use it all the time.

Sorry for keep you waiting, we’re busy with new recordings. In the meanwhile, some Monopolx artwork.

Monopolx releases debut EP “Debris” digitally.


Music video by Monopolx performing Pynk. Shot from European route E4 north of Jönköping, Sweden.

Monopolx – Rules (Audio). Taken from Debris.

My YouTube Channel

I’ve had several idle YouTube channels for years, but never officially introduced any of them on this blog. I’ve though of them merely as hosts of my occasional video clips.

But now I present to you Do visit, and I promise I will try to publish more videos in the future.

If you like this blog, you should be able to enjoy that channel.

There hasn’t been any time for composing “real” tracks lately. I only had time to doddle on this Eurorack modular system on the dinner table. And drinking coffee. But let me tell you a little (not all!) of what’s going on on this patch:

A triangle wave is modulated by a variable shape through linear FM. A digital phase distortion is gently being folded before going to the mixer. A sub also appears there.

A couple of cycling CV curves are generated in a semi-random fashion and feed into a quantizer set to C harmonic minor scale. This is routed as 1 V/octave to the oscillators.

The filter is self-oscillating and tracks the same pitch.

The tempo is set to 90 BPM and triggers straight eights on the quantizer and envelope.

Now this is only a snapshot of a patch in progress. All those patches will be lost in time, like tears in rain.

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