FAQ

Bobku is a narrative EDM / tech-trance project: festival-grade dance music with short story scenes built into the release universe.

The songs are meant to work as standalone tracks, but together they form a run-of-show for a fictional puppet-run festival called Feltware.

In reality, Bobku is made by one human producer/engineer. The point of the project isn’t celebrity—it’s craft, story, and shouting out the people behind the show.

(So yes: the human exists. No: the human is not the main character.)

Feltware is the in-universe setting: a recurring 4pm–4am EDM festival run by puppets.

Most tracks are pinned to a timecode + location + point of view, like a cue sheet for an imaginary night that feels weirdly real.

Puppets are disarming. They let the project talk about serious backstage labor, anxiety, and logistics without sounding preachy.

The inspiration is the idea of a show about making a show—translated into a festival about making a festival.

Working on it.

Right now the puppets are a narrative studio crew and a voice in the songs—but the goal is to get them into the real world.

With luck (and the right puppeteer), they’ll be playing a club or festival near you someday.

The foundation is trance (tech-trance / uplifting), but the catalog is intentionally genre-flexible: progressive house, chiptune edges, DnB hybrids, Dutch-house bounce, happy hardcore, and other “whatever fits the scene” detours.

Part curiosity, part obsession, part: “what genre fits this scene?” Also yes: Ishkur’s Guide to Electronic Music is a real gateway drug.

Because festivals are basically temporary cities, and the people who keep them safe and running rarely get named.

A lot of Bobku tracks are written as love letters to FOH engineers, riggers, runners, med teams, ground ops, security, and everyone doing invisible work while the crowd looks at the stage.

Both. Each track is designed to work in a playlist, but many releases also connect through the Feltware timeline (timecodes, locations, recurring crew roles, callbacks).

If you want the “story order,” start with the Festival Schedule.

Many tracks have two extra layers:

(1) Narrative intros place the scene in the festival (time + location + what’s happening).

(2) Dedications connect that fictional moment back to real-world people who do that job.

Lyrics and story notes live on this site under Songs & Lyrics.

They also appear on other platforms, but Musixmatch is the one that gets updated directly most often.

Story first, genre second. Most tracks start as narrative + lyric sketches, then get “scored” into EDM arrangements in a DAW.

The exact stack changes per song, but the workflow and philosophy are outlined on Production Approach.

Mostly me—sometimes with an extra layer from my daughter for brightness—and then heavily processed to feel like a character.

In-universe, any puppet can “sing.” Don’t worry about Dial’s terrible singing… that’s what Melodyne was made for.

Yes, in the “if you’re a purist and you mean it literally” sense.

Some modern vocal tools sit in the gray area (voice transformation, voice swapping, and related tech). But beyond those moments, Bobku is not a prompt-to-song pipeline—it’s story-first writing, manual arrangement, and a lot of engineering decisions made the hard way.

Detectors get it wrong a lot—especially with heavy vocal transformation, formant shifting, time-stretching, and aggressive sound design.

If you’re curious, I’m happy to talk process, but the best rule is still: trust your ears.

It varies. Some tracks evolve from old sketches; others are built fast when the story clicks.

The fastest full finish so far has been about four weeks, but many take longer once vocals, sound design, and mix polish are factored in.

Yes — once a track is finished, I delete the session file, stems, and MIDI. The only things that survive are the pre-master and final WAV.

That habit comes from working in environments where drafts, working files, and alternate versions aren’t just clutter — they can be operational or legal liabilities. You learn very quickly that the only thing that truly matters is the approved final output.

So I built that discipline into my music process.

Deleting the session forces commitment. It prevents endless tweaking. And it keeps the focus on the finished piece instead of the scaffolding behind it.

If I ever need to revisit something, I can rebuild it. Usually cleaner. Usually faster. And if I can’t? Then that version was meant to exist exactly as it was.

Major platforms (Spotify, YouTube / YouTube Music, Apple Music, Amazon Music, and more). The easiest hub is bobku.net/edm-artist/.

Yep: start with World & Lore and the Festival Schedule.

Yes—have fun. Just don’t claim official affiliation with any existing puppet IPs.

If you make something cool, tag or send it so it can be celebrated.

Streaming and sharing help. But the most on-brand support is simple: say thanks to the sound tech, tip the runner, be kind to the crews, and treat the invisible labor like it matters—because it does.

Email: bobku@bobkutech.com

More releases, more lore, and (aspirationally) getting the puppets into the hands of a master puppeteer for real-world appearances—clubs, festivals, or anywhere a tiny felt rave can survive the load-in.