Artist description My name is Marco Carag. I'm a third-year graphic design student at the Pratt Institute. I've been interested in digital music for...hmm...maybe five years now, but never really considered reaching the MP3 masses until now.

Music Style Atmospheric, sophisticated

Musical Influences Robert Miles, John Williams, Chopin, Bill Evans...uh...many, many more

Similar Artists Hmmm...I have no idea at all

Artist History I reached a decent audience over the past half a decade by sequencing MIDIs of familiar themes, and occasionally my own composition. If you ever find yourself wandering into the track names of all those MIDIs you downloaded, I usually signed my MIDI as "Motorman" or "MadMC." Before any of that, though, I took violin lessons from 4th grade 'till the end of high school. From then until now, I took in a lot of musical influence; classical, jazz, rock, hip hop, pop, electronica... In the end (meaning now), only a couple musical genres manage to stick around - namely, classical, jazz, soul, and electronica. Fast forward to 1996... My Dad purchased a brand new Pentium 166 with 16mb RAM and the life-changing SB AWE 32. In a matter of months, I had downloaded a copy of my lifeblood, NoteWorthy Software's "NoteWorthy Composer." Joined with WinJammer Shareware, and Music Sculptor (a simplistic sequencer that turns your computer keyboard into a MIDI keyboard controller), I spent the latter half of the 90's producing MIDI for Internet release. In 1997, I was introduced to the concept of software synthesizers. In 1998, I came across a "soft synth" by the name of "Audio Compositor" by Scott Mitchell that allowed me to render wave files from MIDI files using whatever samples I wished - namely, those in the format by EMU of "SoundFonts." I never really took advantage of the program until 1999, when I assembled a soundfont of high-quality orchestral instruments I found around the web. I then composed a couple symphonic MIDIs which eventually found their way as MP3s on MP3.com. For a good many months, under the name of "emonaznes" (don't ask), I watched the tunes peak at somewhere in the 40s for, oh, maybe a day or two in the symphonic genre. Then, I started my first year of college at Pratt, and never returned as emonaznes on MP3.com again. Fast forward a final time to May, 2001. By this point, I had used Audio Compositor to render fantastic wave files of a bunch of well-sequenced classical MIDI files (mostly Chopin). I had a fairly advanced grasp on the program's capabilities, and had learned a ton about digital audio in the process. Then one day, I explored a brand new copy of Cool Edit Pro, 1.2A, and discover something very interesting: it has a multitracker in it. It didn't take too long for me to put numbers together and turn NoteWorthy-made-MIDIs into Audio Compositor-made waves that I added effects to and mixed in Cool Edit. Evolution continued for the next few months. I felt myself limited without access to a good MIDI keyboard. Re-enter Music Sculptor. I now use it as a MIDI controller, tapping out satisfying melodies and harmonies on my computer keyboard. Add to the mix a 1GHz Duron, 256MB RAM, and a Turtle Beach Santa Cruz (a sight less noisy than the AWE 32), and I'm finally pretty comfortable with making digital music. I'd still like to add a nice keyboard, maybe a good external synth here and there. But then I remember I'm still on a college kid budget - more specifically, a college design student budget (those printshops ain't cheap). So hopefully, I'll get some attention here on MP3.com, and maybe even earn a little extra coin. Who knows... Maybe I'll even inch onto the first page of MP3.com's ranking lists. OK, bit too hopeful there... Happy listening!

Group Members Just me, Marco.

Instruments 1 GHz Duron w/256MB RAM, Turtle Beach Santa Cruz, NoteWorthy Composer, Music Sculptor, Audio Compositor, Cool Edit Pro, tons of samples...violin

Location Brooklyn, New York - USA

Copyright notice. All material on MP3.com is protected by copyright law and by international treaties. You may download this material and make reasonable number of copies of this material only for your own personal use. You may not otherwise reproduce, distribute, publicly perform, publicly display, or create derivative works of this material, unless authorized by the appropriate copyright owner(s).