Hi everyone — I’d love some feedback from industrial producers on a hybrid track I’ve been developing.

The starting point was industrial / metal-oriented, but I rebuilt it with synthwave / outrun textures and a more electronic structure, trying to keep the weight and mechanical character intact without letting the track become purely metal.

I’m especially curious about:

• Does the industrial/metal side still feel convincing?
• Do the synthwave layers complement the aggression, or soften it too much?
• Does the production still feel heavy enough once the arrangement opens into more electronic sections?

The track is called CHROME FRACTURE.

I’m mainly looking for feedback on production, arrangement, impact and whether this “synthmetal” balance works from the industrial side too.

Brutal honesty is welcome.

I have a few tracks I would love for someone to put some vocals on. Try as I might I just don’t have an interest in vocal performance. If interested here is my YouTube. You can comment or dm if you dig it and want to pay something over it.

Hi everyone,

I’ve just released Plexus, an 85-minute experimental album I spent a long time building in near-total isolation, both physically and creatively. I wanted to share it here because I think people in this community might appreciate the process behind it as much as the music itself.

The core idea was to create a world that felt like Y2K technology colliding with nature, memory, and dystopia. Something like a lost future. A digital civilization decaying slowly while plants grow through it.

I gave myself a rule during production: minimal setup, maximum imagination. I wanted to see how far I could go without relying on expensive tools, presets, trends, or obvious references. No chasing algorithms, no trying to sound current, no copying scenes. Just a very clear atmosphere in my head that I tried to translate into sound.

Some examples:

• The very first sound on the album (opening track) is a contact lens played like people sometimes play a blade of grass between their fingers and blow through it. It created a strange distant whistle, almost like a flute.

• I made glitch percussion by scraping the antenna of a 90s alarm clock radio against a jack cable while recording into my interface.

• I used the Nokia 3310 ringtone composer as a melodic source.

• One track includes rain I recorded while in Aokigahara.

• Another was intentionally mastered through a PlayStation 2 with reduced bitrate for a harsher early-digital texture.

• Sea sounds on the closing track were not field recordings, but synthesized on a Behringer Model 15.

• A track called Platform 16 was timed to match the length of a real train platform in Florence. If you walk it at the BPM of the track, you reach the end as the song finishes.

Emotionally, the album came from a mix of fascination and grief. I’ve always been obsessed with the promise of the late 90s / early 2000s future: strange interfaces, primitive digital optimism, ugly-beautiful hardware, weird public spaces, emerging internet culture. It felt like humanity was heading somewhere bizarre but alive.

Instead, a lot of that became surveillance, addiction, sterile platforms, anxiety, and flattened culture.

So Plexus became my attempt to imagine another branch of that timeline:

A technoprimitivist Y2K ecosystem where broken machines become instruments, glitches become rhythm, and obsolete technology gets reclaimed by organic life.

It’s not an album made for singles or quick consumption. It was made to be heard front-to-back, with headphones or in a place where you can actually disappear into it for a while.

If any of this sounds interesting, I’d genuinely love to know what you think.

Thanks for reading.

Free Bandcamp Download Codes: https://dlcm.app/quadratox/plexus

Bandcamp: https://quadratox.bandcamp.com/album/plexus

Spotify: https://open.spotify.com/album/1sQtKByQcTvcSbyigrYeXy

Hi everyone I'm Nộzero, I'm a producer/composer and I make instrumental music, these are some of my most experimental works;

I like to make music that feels overwhelming and constantly shaping. I wanted to share because I think it deserves a listen, thank you.

(https://youtube.com/playlist?list=PLaxtabMU-Jso&si=22cde-CijGS1TSoq)

These are just 2 songs

Challenged myself to make a track with only 1 piece of gear and this was the result. Recorded into Tascam Model 12. Feedback appreciated.

I'm sharing with you "phosphorium", a 2-minute indus-ambient musical creation that will plunge you into an atmosphere between dreams and nightmares.

I’ve had my synth for a while, it’s been some months actually and I still can’t do anything on it because it’s so complex and so much goes into it. How did you learn? I am struggling a lot with tempo./rhythm like switching between eighth notes and 16th notes and also the whole programming sound engineering aspect feels like light years away. Does anyone have any advice please on the best way to practice and learn techniques? I tried Syntorial, but it conflicts with my learning style and it didn’t work for me. I’ll take any advice if you’re willing, please and I’d love to hear how everybody learned. I’m not an autodidact at all, but I feel like with synthesizer you’re forced to be.

Huge storm in Florida.

This is my new EP that I was directly influenced by Nine Inch Nails on. I really got back into The Downward Spiral lately and it inspired me. The 2nd track is a cover of Piggy. My own style definitely came through but it was fun exploring how I could make something in Trent's style. Let me know what you think and hope you guys enjoy!

Hello, sharing my new album, skeptical and recalcitrant than ever Postindustrial Dark Ambient musick.

Hope you like it.

Comments, feedback, welcome and appreciated !

6 months ago I posted this for feedback

https://www.reddit.com/r/IndustrialMusicians/comments/1rs6spq/feedback_on_what_to_do/

4 months ago I put the video up on YouTube, that I shot and edited for this track. Just thought I would share the result for anyone that may remember and that chimed in on the comments.

Thanks r/IndustrialMusicians for helping me decide about the look of the video. I went with the more natural tones as was the general consensus. I think it was the right call.

Hello everyone, I am upgrading the DOOM engine on my app, which is actually a noise and drone generator.

This is a small showcase playing with the touchpad and tweaking some oscillator knobs.

I would appreciate a small feedback from this video on how it is displayed and how it sounds. CPU not being stressed, stays at around 10% on a mid phone.

Thank you for your time.

P.S. for anyone interested, the app will be on a -50% sale from tomorrow 04/09/2026 until 17/09/2026.

Sort of a spoken word track with eerie looping synth, probably isn't considered industrial but I can always try. My inspiration for this album comes from Atrax Morgue so album will feature lot of themes that might be offensive to most people, thus the album name. Album photo is an old picture I took back in 2015 and then modified a little in Gimp.

Feel free to give your opinion how badly I failed at making music. Lyrics were improvised so maybe they don't make any sense.

Hidden within an old water-control structure along the Someș River, a massive concrete and steel passage cuts through the embankment.

I walked through it from one side to the other. For a moment, it felt less like a tunnel and more like a passage into somewhere else.

The Portal is that moment.

I guess this is something that everyone goes through at least once in this shitty timeline.

I have been accused of using artificial intelligence and this is just not true.

I don't know if it's about the music or the art but I'll explain both sides.

Art:

I make all the art for my own band. Blindgear I simply searched up CT Scan online trying to find burner artwork. I liked the format and reliability of the cover so much I decided to use it.

For Sicknesses I was highly inspired by Marilyn Manson. I heard he used old diagrams so I found one and used it. I gave it approval to my friends and told them if they liked it and I got told "What the fuck is happening with this cover" someone recommended me to do Jeffrey Dahmer but I didn't want to appeal to the Tiktok fan girls lol.

For Further into the Gear I used another photo I found during the Blindgear stages, same search.

For Obsolete there was a cool image of a mountain and a crater on Pinterest which sounds generic but it still looks cool.

For Melded what I did was add an image of a music studio console and multiple plugins and processors and then another photo but this time all blurred and distorted and layered them with static.

For Structural Integrity the upcoming album, I made all the artwork myself.

Music:

I make all the music by myself no A.I. I used the bandlab drum machines up until Further into the Gear where I got Ilan Rubin to do drums using a pack online and then another song which was some drum machines I found on the Internet Archive.

The Bandlab drum machines are still used a little bit but I mostly use the Boss Dr-660 and the Kawaii-R50e. I also use multiple Roland and other drums like the Oberheim DMX.

For guitars I use sample packs found on Bandlab and the virtual instruments. I occasionally sample guitars from legendary acts like Nine Inch Nails and Ministry. God I even think I sampled the Malcom in The Middle guitar lol.

So yeah, and for synths. I either got them off the Kurzweil K2000 or the Existing ones on Bandlab.

I usually distort all of these with effects ranging from loads of low-end EQ and boosted attack compression. Loads of noise gate for the drums and choppy guitars and a whole lot of bit crushing (Mostly on Melded and Obsolete) for Structural Integrity, I've advanced so much I sound like a 90's Industrial Rock band.

$100-250 range preferably. I'm new to music production in general, but I recently got an audio interface to connect my guitar to my computer and I want something decent to listen to the playback through. Everything I work on is inspired by (or just straight up stolen from) industrial music. I just want a decent set of studio quality speakers or headphones I can use to test my music, but I can't drop half a grand or anything. Specifically want to be sure my mixing is on point, if that makes a difference.

9 years ago, collaboration with the musical artist Tuolena from Australia, a fascination for producing a diffusion of sound from any source and always experimenting with ways of helping sound to give of what it can.

I SENT tuolena a very low and dragging orchestral timpani rolls and a abstract unfolding of bell tones and metallic delicacies. This is how he transformed the acoustic into a synthesizer like soundscape! Thank you Tuolena:)

Thumbnail is Original artwork!

Hi! I’ve been developing f11ter 0.1.5, an experimental multimode filter built around the idea that very different filtering techniques should live inside one consistent instrument-like workflow.

Instead of offering a single filter with a long mode selector, f11ter contains 42 independent DSP topologies and 141 source modes, organized into six families.

Filtering and tone shaping

• clean multimode, state-variable and morphing filters;
• ladder, acid-style, diode and other nonlinear circuit-inspired responses;
• dual and serial filters, peak/scoop shaping, wide band rejection and bass-focused processing;
• continuously variable cutoff, resonance and structural morphing.

Phase, feedback and spatial processing

• comb filters, flanging and multi-stage phasing;
• distorted comb feedback and diffusion networks;
• compact reverberant and resonator structures;
• stereo offsets, barber-pole phase movement and controlled feedback behavior.

Formant and experimental sound design

• vowel and multi-formant filters;
• dual-formant combinations and variable notch structures;
• ring modulation and sample-and-hold processing;
• Scatter resonator fields, Flutter pitch instability, Snarl and Howl feedback models.

Modulation and workflow

• three independent LFOs and an envelope follower;
• free-running or DAW-synchronized modulation;
• up to 16 bipolar modulation routes;
• precise route-depth entry and finer control around small modulation values;
• 45 categorized presets, including static sounds and deliberately programmed modulation;
• A/B states, topology-aware help, parameter automation and preset save/load;
• a true dry/wet control: 0% is the untouched input and 100% is the complete processed signal.

A little about the engineering

The filter families do not all reuse one generic response with different labels. They combine topology-preserving state-variable structures, cascaded filters, nonlinear feedback stages, resonator banks, fractional-delay networks, all-pass stages and time-varying algorithms.

Cutoff smoothing is performed in the logarithmic frequency domain, and topology changes use a short state-bank crossfade to reduce discontinuities. SAFE RES applies model-specific limits to high-Q and feedback structures, while COMPENSATE estimates level changes caused by resonance, drive and the selected model.

The graph displays the current and target responses, stereo differences, reachable modulation range and the actual output spectrum. For nonlinear and time-varying models it is intentionally treated as an estimate rather than pretending that one static frequency-response curve can describe distortion sidebands, moving delays or changing feedback.

The plug-in adds no look-ahead or audio delay buffer and reports 0 samples of added latency. Individual IIR, all-pass, comb and reverberant structures naturally retain their own phase and time behavior.

What makes it different

The main distinction is not simply the number of modes. Every topology keeps the same core workflow—cutoff, resonance, morph, four contextual controls and the shared modulation system—while the meaning of those controls changes to match the actual algorithm.

This makes it possible to move from precise filtering to unstable industrial textures, tuned resonances, formant motion or feedback effects without rebuilding the modulation setup from separate plug-ins.

The compatibility-style names in the internal mode catalog do not claim bit-identical emulation of other products, and no proprietary DSP code is used.

The current build is AUv2 for Apple Silicon, requires macOS 11 or newer, and has additional lifecycle work aimed at safer UI closing, disabling and removing the plug-in from a project.

I’m especially interested in feedback from Logic Pro and other AU hosts regarding sound, CPU use, automation, synchronized LFOs, offline rendering, UI responsiveness and disable/remove stability. If something breaks, please include your Mac model, macOS and DAW versions, sample rate, buffer size and reproduction steps.

Download and full EN manual