About Laffik

Laffick, whose real name is Paweł Niejadlik, was born in 1982 in Poland. There he began his digital music adventure in 1995 with Amiga 500 and Protracker, creating first compositions on second Kiwi album "Graffiti", containing rythmic and melodic sequences made of loops taken from cheap keyboard and one-shot samples taken from other composers compositions. After Kiwi breakdown Laffick focused absolutely on creating new modules for future fame. Eleven part "Srechnho" collection was a contest against hardcore, rave and dance scene evolving at that time. "Srechnho" was even harder in sound distortion and rapidness and less repeatable, monothonic, very unpredictable. This collection was a music parody and the aim was to make listener laugh only with sounds.

Laffick started exploring Amiga demoscene. With many different technical and mood influences he composed "In the Forest" collection in 1996. Five melodic rather than rythmic tracks inspired with compositions of Jean-Michel Jarre, Vangelis and Vollenweider and Amiga demoscene composers like 4-Mat, Dreamer and XTD, containing many samples taken from many demoscene modules. He was continuing this collection until 2001, on Amiga 1200 and Digi-Booster - multitrack tracker bought in 1997. Since then his compositions became multichannel.

In 1998 he composed short three part collection called "Music for the Ninth Sense". Third part "Walking Outside with Personal Hypnotyzer" was contribution to the music competition in Magazyn Amiga - polish Amiga magazine. Composition took 13th out of 30 positions in the chart and Laffick did not win any prize. However Laffick considered himself as winner of place in first half, which meant his music was a bit better than average.

At the end of 1998 and along 1999, Laffik done remixes of few tracks by JACA's band LPOD - Liquid Power Of Death. Remixed tracks were: Seconds (to beginning), Electro and Stronghold Turbines.

In 2000 he began few month long cooperation with Jaca of Dreamolers and they together created album called "Tryin' to Understand the Machine". There was only rule during sequencing - no rules. The theme for this album are machines and it's sounds. Cars, washing machine, VCR engine, trains and other, nonacoustic generated "mechanical" sounds: text files loaded as a sound files and samples of drums generated using geometric and trigonometric strings, in software synthesizer which they specially programed for this ocassion, called "D-CAPS Stopmer". After that Laffick returned to his solo sequencing and created about 60 multichannel modules in period from 2000 - 2003.

In 2001 he composed short sentimental track about leaving home looking for a knowledge and moved to Łódź for studies.

Of notable works made in 2002 Laffick done backgrounds for Jaca's poems Filantropia and Nasz Świat. That year he joined Żak student's radio in Technical University of Łódź, to gain some practice in audio production.

In 2003 his father gave him his PC as an education accessory, as the PC was urgently needed during studies on technical university. Laffick began creating music in another dimension. 16-64 bit sound, realtime effects and HD recording made his new sound professional, first time during his adventure. Laffick prepared Anita Ward, Francis Goya and Missy Eliot unofficial remixes and composed few tracks on samples and virtual synthesizers, with old, unfinished sequences from Amiga. He also collaborated with CJ Reign and formed a band Damn Fast Turtles with Mr. Q. 
In 2004 Laffick finished school with total result of 3/4 of higher education and for this occasion changed his nickname to Laffik. Laffick completed courses of Maths, Physics, IT and English on three stages of education - elementary, secondary and university. Gained no diploma for uni, still having Secondary Education Certificate.

In 2005 he discovered automatic full-spectrum equalization which added some brightness and accuracy to sound and assembled "d(-_-)b Adventure". Later that year Laffik began experiments with random note generating algorythms and composed "Not Random Nor Regular" collection, produced three times in different way. This same year he developed chord matching method and method for matching chords to randomly generated notes and released many tracks, including "Angel" and "Whistler", using his new techniques.

In 2006 Laffik discovered proper, digital sound finetuning techniques, far more accurate than human hearing and began experiments with dynamically expanded and finetuned sounds. Later that year he developed application generating fractal note patterns and composed "Fractas", collection of 21 tracks, using this new, unique tool. Using all techniques joint together with multitimbrial, polyphonic sound of drums, he released album "Finetuned Pitch Numbers", that contains twelve, recursive structured tracks on finetuned and expanded drums, including new sound textures and old synth backgrounds from Amiga.

In the end of 2006 and the beginning 2007 Laffik recorded electro-jazz collection called “Weird Things”, using overdub, together with himself, many times... Later that year he composed two, longest ever tracks: "The Plot" (75:33) and "The Squot" (121:31), and series of thirteen pieces with samples taken from sample library sold with keyboard, called “Correction”.

At the end of 2007 Laffik done Army Service and moved to England.

He spent 2008 producing arrays for harmonizing melodies in Equal Temperament system, which together with experiments on chords from 2005 gave foundation for future built of Progressor.

In 2009 Laffik signed up to Zimbalam - internet MP3 distributor and began publishing two albums per year - one current and one archival.

In 2010 Laffik composed 15 tracks on virtual synthesizers simulating vibrations of string and membranes. The collection is called "Digital Simulations" and is available for download on ‘Releases’ page.

In 2011 Laffik published continuation of "d(-_-)b Adventure" collection made in 2005. This time Laffik is taking the listener for a trip into louder, expanded and layered sounds.

Year 2012 is giving two releases. Fractas compiled in 2006, described above and Numeric Nature. Numeric Nature is contemporary classical, instrumental album being musical illustration of nature. This album is built of three parts. First part is pure contemporary classical sound. It is made on modern virtual instruments emulating existing analog circuitry as well as exploring new unopened design possibilities and physical emulation of acoustic instruments - piano, violin, contrabass and marimba. Second part contains two rythmic passages with analog instruments and samples of nature. Third part is first time published multichannel version of "In the Forest" collection with some samples manually resynthesized to imitate the original ones from the 90's. This album and the next ones are published through iMusician, where Laffik signed to this year.

In 2013 Laffik published compilation of tracks produced in 2005 called Angel. Compilation contains melodies composed when he developed application for matching chords to the leading tune. Album contains previously composed and yet never published tracks like Angel and Whistler composed by whistling and gathering notes through wav to midi converter. On the same album are also available other melodies composed in that period performed on many VST instruments and sequenced in FLStudio and Renoise. Second album forthcoming in 2013 is Key To My Realm formerly called Songs for Convolver. It contains 14 melodic tracks performed on convolver similar to the one that Laffik developed in 1997. Convolver was fed with acoustic sounds of noises and oscilations and digitally generated basic oscillator sounds. Some of sounds were used as resonator other as an exciter making true physical emulation of violin, brass, guitars and drums sounding very closely to original acoustic equivalents. Throughout all album melodies and chord progressions switch themselves in roles of leading making dynamic set of compositions. Later in 2013, in September Laffik published archival album called Rock Classical Middle Ages containing revamped tracks composed in 2006 and before. Tracks are containing sequenced classical and jazz melodies arranged in digital manner in style of dance, and contemporary classical electronic music.

2014 gave release of "Four Corners of the World". Album dedicated to global migration of people around the Earth. The album is made with VST synthesizers, ROMplers and Physical Modelling virtual synthesizers. It is kept in various scales in key of B. It is composed of harmonized melodies and chords flicking the role of leading between each other. Bright and loud bassy mastering sectioned with gentle and subtle classical tracks makes workpiece sounding good on loudspeakers as well as on earbuds, clear in a car and in the living room.

In 2015 Laffik released single, EP, and album. Single called "Rob Underground Rattler" was three piece collection of drum and bass tracks with spectrally smooth drum samples and bass - his new development reaching works of A. Kolmogorov and B.P. Bogert. The clue of their works is cepstrum - spectrum of a spectrum. In special case of Laffik's work, drums were equalized into sine waves on spectrum, that are peaks on cepstrum, which sound really well. Melody of track 'Jumpup Rattler' is oniric - Laffik composed it while being asleep. EP 'Richmond Delight' is melody whistled off spointainously at work and recorded for further digital edit on a computer. Track is made 12 times in different version composing whole EP. Album 'Protected' is album composed of melodies with harmonic accompaniament, ambient sounds and cepstral beats. It's idea are issues linked with protection and lack of protection.
In 2016 Laffik is celebrating 20 years of solo music production.
All the best!

Obviously, or not so obviously Laffik hadn't been staying under the ice all year round. Our busy producer had been gathering drumset, audio monitors and recording equipment for next decade and new chapter in his studio lifeline: Electroacoustic Chapter.

At the time Brits, Cameron and May started shitstorm about Brexit. Laffik's favourite artists beeing quiet for years (Jarre, Vangelis, K44) eventually published albums, so even though new Laffik's productions appeared in June, the album was still proceeding at the end of the year - delayed.

Also, good to mension that someone bluescreened Laffik's computer out of the blue while Extradimensional Divergency has been composed, causing some poppycocks with HDMI support, which miracolously returned to normal after some time.

God bless Samsung - manufacturers of the one and only hackproof computer in the world.

God bless data backups.
So, the 2017 unveiled new album named "Surplus Dimension" inspired with many cases of extradimensional ocurrences happening in UK. Album contains six tracks and it's remixes made in electro-acoustic domain with acoustic drumset edited digitally. Postprocessing included expansion, cepstral edit of boosting raptials and spectral smoothing of acoustic sounds captured with Zoom recorder, Sony camcorder and Roland binaural headphones. Laffik's evolving developments in field of musical harmony brang discovery of qualitative intervals gradation. Tracks on this album contain melodies composed with evolving tension of intervals using this new development. Melodies are harmonized by accompaniment of chords. Apart from the album Laffik composed set of several piano inventions having harmonized raising interval pressure.

In 2018 Laffik published second part of the "Surplus Dimension" album, produced within the same manner. Album contains main parts of the full serie, starting with a beat, instead of usual convention of tracks starting with introduction and having evolving middle part and ending.

There was no release in 2019 either. This year was spent on producing the third part of Surplus Dimension saga. Laffik also once again had to get through fungi-shit with NHS A.U.T.H.O.R.I.T.Y. Trust (Trust! Or else... missing NHS thisappointment cost you money). Not to mention, that Keith Flint's death in March 2019 wasn't the best motivation for beatmaking at all. So, the album was produced in a half at the end of the year. Production carried on into next year.

In 2020 third part of Surplus Dimension cycle was published. Laffik also prepared material for the fourth part of cycle, that is supposed to be the final chapter. This part of saga will be published later in 2021.

Year 2021, the beginnig of new decade, was busy and full of breaking events. 9th September, in the 50th anniversary of publishing John Lennon's "Imagine", died Laffik's dad. Before it happended Laffik published material already recorded last year - "Surplus Dimension vol. 4". This was definite end of hyperdimensional saga. On spring Laffik got in contact and collaborated with his teenagehood hero - XTD. Laffik arranged XTD's track VSK - Very Spokojny Kawałek. Available in section Freebies. As it was 10th anniversary of publishing d(-_-)b A D V E N T U R E I I album, in the beginning of the year Laffik prepared continuation and assembled DNB Adventure vol. 3 and vol. 4. Also archival, first volume was published, the one that was done in 2005. After this serie, Laffik dropped his workflow on area of dubstep and composed album named "Dubstep Adventure". Then bad news about dad's stroke arrived.

Laffik's dad with newborn Laffik.
Later during the year Laffik discovered that "lafik" means "love" in Arabic. As nickanme "love" given to single man is irrelevant, Laffik decided to quit publishing with this alias on benefit of various nicknames that sounds more less like drum and bass producer: Dialotek, Original System, Delta Audio and such. With this changes Paweł prepared another album - "Signal". Album was composed of drum and bass beats with guest starring of HEMANIFEST, Donnie Ozone and Yinte on mics. Publisher refused distributing album containing various aliases of one person, excusing with system limitations. Earlier during the year album mix of DNB Adventure vol. 4 was rejected by iTunes and as a consequence removed also from all other stores. Publishing through MP3 stores in days of flood of artists producing, according to discographies, no more than two albums during all their carieer, does not profit. With over £10,000 of contribution, 10 years of publishing brought £50 of return. As the publishing started to require more and more compromises from Laffik's side, he quit publishing in the stores through MP3 distribution services and returned to uploading to YouTube - the one and only faithful system of promotion. Last album of 2021 - "Signal" is available only this way.

In 2022 Laffik banged up two albums and two EPs. First album in the 2022 was Graletive Sessions published as DJ Signal. Album was made by keeping on techniques used for producing Signal and Dubstep Adventure. Particularly crossover distortion bass, smooth and dark spectrum and modular workflow, making possible to use dozens of effects and synthesizers of heaviest CPU consumption, within one track. Next one was Final Impact - ReBirth RB-338 Reminiscences published as Unrecognized Hardcore. Album built entirely on Behringer synthesizers - RD-9, RD-8 and pair of TD-3s. The question was whether fuss about questioning realism of replicas, present here and there in the web, has any rational background. It hasn't. Album sounds cool and Behringer synths does the job excellently. As if it was not enough already for annual audio material supply, Laffik assembled EP named To Die of the Bass. Made with Jungle Warfare CDs, TD-3 and TD-3-MO-AM. At the end of set of works published in 2022 Laffik dropped few productions in hip-hop territory, collaborating with HEMANIFEZT, by stirring in his acapellas published on, into beats. All productions are available on YouTube.
This year Laffik decided to get back to nickname Laffik, rejecting considerations about it's arabic meanings, by focusing on meanings that it has, when it was developed. Mainly it meant a skiver, ineffective, lazy person, that better shouldn't be taken to productive group. It could also mean the Prince of Persia, if one desired middle-east meanings. Lafik is the city in Iran. Of European connections, which it brings, it could sound like laughing - symbolising less serious, humoristic attitude to life, same as funny content - happy creativity - happy hardcore - keeping artist in having fun of producing tracks and keeping the listener in good humour, while listening. That was the aim. It all gone along it's own ways, however, not necessarily coherelntly with primal statement.
As you may noticed while reading carefully note about Laffik's publications of 2022, Laffik organized new synths set. Indeed, throught 2020, 2021 and 2022 Laffik completed collection of newest Behringer made replicas of oldschool and unavailable synths by Roland. So it is RD-9, RD-8, RD-6-RD, TD-3-BK, TD-3-TG and TD-3-MO-AM. Barely available in UK at that time due to giant economic regress rolling into GB. For some time already Laffik has been honking everywhere about lack of development of music industry in area of creating new synthesis engines. His prayers were heard apparently, because he found Quick Quack Glass Viper and Tone2 RayBlaster and Nemesis. First of these could be named as vector animated wavetable synthesis. The wavetable with possibility of animating waves by defining it's vector shapes. Unique and very original. Sounds of this kind are close to acoustic instruments as the shape of oscillation of real instruments is never completely steady, as well as it does not change in random ways either. So, most of synths, having solid tones or random unison, are not as close to reality as Glass Viper. RayBlaster generates unique sounds by impulse modelling synthesis being type of synthesis allowing independent formant control originating from AM modulation. Tone2 Nemesis was the bomb of correcting FM synthesis already existing on the market. The oscillators in many synths (IL Sytrus, NI FM8) were controlled by modulating signal of variable frequency multiplied by a time in oscillator equation. For some reason modulating frequency by triangle, saw, square or any other signal was giving lack of modulation, because in fact, after multiplying variable frequency by time only differential of modulating signal was controlling oscilator's pitch. It was rather the phase, that was controlled. Variable frequency signal has to be integrated along time instead of just multiplying by time, to get proper result. Multiplying frequency by the time would only work right with constant frequency. As in many oscilator equations published in physical works, small letter f designates variable frequency, while it only means constant and should be written as a capital F. Tone2 Nemesis as well as NI Reaktor and NI Massive are free of this important nuance and generate ramp glissandos or kicks faultlessly.
In April there has been Revision 2022 demo party rolling online. Laffik under influence of XTD decided to submit two productions in WIP state, developed 20 years ago. Productions gained c. a. 500 votes each, and caused Laffik being noted in demoscene archives:,,, Aminet and such. Encouraged by this event, Laffik developed full-size demo production for next year's edition of the party. Laffik also uploaded full set of completed modules from millenniums' crossover onto,, Also Laffik and JACAs development for TTUTM album - D-CAPS Stomper was uploaded into Aminet.
In the zone of music theory, Laffik skilled himself in Bach's favourite, baroque style basso continuo. He also developed his original technique of gradated intervals nesting. It means playing lines of intervals gradated by it's acoustic tension, interleaved by passages of intervals gradated with the same criteria. Later Laffik developed new method of composing motifs by aligning all possible combinations of tones of a scale, with rejecting tones composing dissonant intervals with other ones. Afterwards combined couples are sorted by tension of it's intervals into separate groups. Groups of unwanted quality are rejected. At the end, pairs within each group are linked together by moving between neighbouring groups, making pauses on notes that create intervals of chosen quality with previous pauses.
In area of workflow Laffik discovered new way of mounting bands created in separate projects, by exporting full sets of notations of all bands in MIDI files and mixdowns - for notation and sonic context to be maintained between projects and bands. For efective sound-design Laffik found aligning sound oscilation to triangular amplitude envelopes and he returned to old, forgotten technique of aligning spectra of instruments by it's shape. It maintains mix congruency. Spectrum proximity of parabolic spectral shapes, mixed with other parabolic shapes, gives in effect parabolic mix. Mix most natural for turntable styli, as stylus frequency response for singular dust particle is parabolic. This response is natural body response of a styli. That's why audio material sounds best when prepared for recording on vinyl by parabolic, sine or tyldoid equalization, which is in fact low quefrency cepstrum liftering. In the second half of the year, Laffik started producing serie of hardstyle covers of lyrical motifs, found in popular music, and kept producing this set to the end of the year carrying ahead to the next one.

In 2023 the Revision Party have seen first two full contributions that Laffik made, basing on previous snippets: 'Not Yet Phong' and 'Glootokishell', submitted last year. Laffik aimed at the top. Expecting at last the second position from the bottom. Entries got placed at the end. The second last was a slideshow, few places before, were placed animations and effects, not including Laffik's stuff. Despite the applause on Revision, later during the year, productions lifted unexplained shitstorm on, bringing back reminiscences of Torun (Poland), where it often happened to get punched suddenly, not only in a face, and having given afterward reactions for being beaten, as a casue for the punch before. Polish hitler-jugend expecting hell knows what of their punching. Psychopats. Same pullouts on Just only verbal this time, and having Hindu-French origin. Completely not a scene-like behaviour and lacking anything of good spirits. They are not a persons that count permutations for fun in a free time. Could be clearly marking that sadism is at the bucket again, and it is being fed good. Too good.
Sad opening. Backwardism and crap. Besides, the rest of productions were seemingly AI, Chat GPT, git-hub, Microsoft or eye knows what else, assuming stupidity visible everywhere in the world. What to expect while coding or breaking cyber-security or stabbing with a knife or being harsh for kinks or perverts, is named in English with one homonym. Deserved pride of achievements delegalized to a shame and evened down with a pride of being underdeveloped. Cloaks omnipresent, not only as a homonyms or homophones. Medusas' brains with gangeslike minds. Wilds of all colours but mostly European-whites or British-whites (they believe they are different race). Without any sense of context.
Not to mention black-eyed and blue-eyed bravo-girls and bravo-boys or supremacy of elders and their stupidity placed betwen other species than humans. "Surveys of Golden Thoughts" and psychologistianz graduated on psychotests from Cosmo.
What to wonder about, when all the Yugoslavia and srroundings, got used up as a eyeball matter supplier decades before. Has anyone seen the eyes in colour of brown or green anywhere now? It were everywhere. "Colour completely does not do any difference", blues says. Yeah! Really!
"Get of the moon, dog race!"
Later after looooooong breath Laffik worked up fastest procedure of finding octants for drawing lines with Blitter (much faster than the ones published everywhere), proper meaning of BLTAPT register and minterms configuration for binary adding and subtracting of blits. Programming phong-controlled transparent glenze and 2D vector player.
Of his gimmicks, Laff developed overtone basso continuo, where the bass is matched to a motif to keep as many succeding notes on it's partials as possible. Later he developed how to do a sidechain between projects in a tracks of complex built.
Of releases, three quadrilogies have seen the daylight this year. 'Hardstyle Funk', started last year, having motifs of various folks reworked in hardcore versions, 'Break Suktive System' with drum and bass beats and 'Easy-wheasy' with even more motifs of various folks reworked in rocky-funky-jazz-classical style. Apart from that Laffik published few new inventions on piano as a score sheet notation.
Short before the end of the year Laffik developed Bezier's mesh and programmed matrix calculus in Amos Pro for matrices up to 6th rank, making realtime implementation of least squares method with polynomial of 5th degree and targetting 6th degree polynomial through 7 points. Topped all up with Fourier transformation and resynthesis with phase shifted sinus replacing cosine component of transformation. This for dynamic changing filter parameters in DFT filter with no windowing. He also programmed solution for salesman problem for up to 9 cities with method of permutations, with circular path and open, Proving that choosing shortest way everytime, does not everytime lead do the closest solution.
As if it was not enough of bulls-kaka at the half of the year, Laffik found crazy meanings of his surname. Just like it was not enough of a pulp with a nickname, year before. 'Niejadliś' read backwards pronounces 'Zildijan' and 'Pawel Niejadlik' sounds like 'kild a je i nalewa pff!' [killed and eats and drinks, pfff!]. Whattefcuk! Killed? 'Dreamolers CAPS' reads 'Szpak Srelomerd' (Starling Srelomerd). What more? 'Dream or else, spaced (up)'.
Of paid employment Laffik banged up 20.000 hours of work and, right on the spot, have been ragged of the workplace by unemployed women, transient managers-newcomers, in-work poverty, workplace slavery, and simply persistent lack of goods in shops, that could interest a man. Gain, business, profit and matter started to sound like a greed or crime. Promoted 'mind over matter' didn't carry anything except nihilism. It's just a poverty renamed as 'the mind'.
Even though, with inflation and currency exchange ratio, (P)awel (L)affik (N)iejadlik made circa about 1M PLN, de facto as a volens nolens persona non grata in the middle of war of influences. Between people as ridiculous as persons with gambling syndromes. Laffik's mutha, in example, preffers driving to a suicide or madness. Ripped of any success, Laffik stays lone as a dick during the wedding, in abandoned and empty London of 2024. The shit continues and there's no-one to gratulate or to celebrate with. Claquers control their position of monopolist for gratulations and they demand payments.
Laffik remains potential danger to all - when harassed much enough, he can become rude, vulgar or nasty. Simply he is not dead enough yet. And what these shits expect, if I can ask? They beg to be killed or they beg someone to suicide... Or they try, generally, to terror up something behavioural? Or being noted on this website? Make your own one and step off!
"Terror dares to teach me behaviour."
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