Archive by Author

Workspace and Environment: Le Mépris

Hello all. We’ve reached over 30 thousand hits from 6 thousand countries in around 2 months. Ok, 6 thousand countries really means: too many countries to count and I honestly don’t know how many. I’d like to steal a little space to thank you all for coming, supporting and sending e-mails. Even if it’s just a hello, we respond to all of them. Although we don’t generally receive 30 thousand e-mails, we do get a bit so please excuse any late responses. Anyways, have a great weekend and thanks for stopping by!

Reiko Matane of Le Mépris started playing guitar in ‘noisy, shoegaze-style wall of sound bands’ in her teens. She has a new self-titled mp3 release on Aerotone. You can find a link to it at the end of the article.

I think it is my white/red Fender Jazzmaster Reissue (Japanese edition). I like the Tremolo. I use guitar mostly without too much “dry” signal and also do not worry about analog/digital too much. I don’t know, I do not have space or money to go completely analog and I am afraid I am too much used to editing on the screen that I am not patient enough anymore to do anything with tapes, although I love the sound you get.

Host is Ableton. The drumrack is good for other stuff too.
Also my Piano Plugin is of course essential. I am a bit afraid to tell that I do not really own a real piano. I also record the midi with my microkorg as controller. So all the professionals out there will raise their eyebrows.

Rent is high in Nakano, Tokyo, at least for me. Working 3 days and making music for people free does not allow me to have a fancy big space.

First Piece of Gear
It was a cheap Sunn o))) Stratocaster copy. I still have it, but it sits here a bit unused next to a Fender Telecaster and Fender Jazzmaster Reissue…

Always more effect stomp boxes. I love delays (Line 6 DL-4, Digidelay, also Digiverb but I think that the Ableton Reverb and Delays are also good, also Ohmforce Stuff is used…).

Mobile Setup
It would be my Laptop, M-Audio Fastrack Pro, Microkorg as a controller, and sounds routed through my guitar boxes plus some ebow live guitar through my small Fender amp.

Studio Locations
Rent is high in Nakano, Tokyo, at least for me. Working 3 days and making music for people free does not allow me to have a fancy big space. So basically my room is quite packed and I mainly use my headphones for mixing (AKG 271). I love my small flat but I have to take care of not being too loud which is sometimes a problem. I would really like to integrate more guitars into my stuff but I have to record this at daytime… My flat is basically two very small rooms. So this is basically a bedroom producer situation which might also explain why my music is a bit narcotic, hihi… Actually I would like to have a small studio place and be more organized as I tend to let stuff lying around unused because I might be too lazy to plug it in… Sometimes I hate chords and power supplies, it kills me. It is hard to keep a small space tidy.

Le Mépris was born and currently resides in Tokyo, Japan. She has also lived in Nakano and spent 3 years in Berlin, Germany.

Folktek's Harmonic Field Contact Synthesizer

Folktek just sent over a new video they made of their Harmonic Field Contact Synth. It looks beautiful and it certainly SOUNDS beautiful. Be sure to check out their Workspace and Environment article from a day or so ago here.

Richard Devine: Analog Live! Follow Up (Now with TWO pictures)

Hello all. I’ve skimmed through a lot of forums that link to us and there is a lot of slander and animosity even but hey, what’s new! I decided to re-interview some of our artists. Also, I made a point that I was not going to write these articles as a reaction to negativity nor a defense for our fellow artists. I was simply going to have an open dialog that would naturally address issues through personality, also I thought would be somewhat of an interesting read. Now onto the interview!

Can you talk about your endorsements? What do the companies expect of you when they sign you on?

Well, most of the gear that was given to me was like I said from the previous answer is from projects where I designed factory patches or internal sounds. I know a lot of people probably think that I am some rich bastard who just collects synths and piles them up in a room, when honestly they were all companies that I worked with in creating the sounds for each synth. Every synth you see in my studio was a project that I participated in and you can find many of my sounds in these synths. It’s really fun, I look at sound synth programming as one of my favorite things to do these days. I can really learn new hardware and technology and at the same time build my sound design library which grows a little more each week.

You mentioned you had heart surgery a while ago. Although we talked about it privately, can you divulge publicly what happened?

Well, I got what is called “bacterial endocarditis” which is basically a staph infection of your blood which then attacks your heart valves and outer lining of the heart. Its very bad stuff, and it almost killed me twice in the hospital this year. I spent a good two months rehabilitating myself back to normal from that. I didn’t get away unscathed as I now have a mechanical heart valve ticking away in my aortic opening. So I now click and tick like a real machine. I even have my own serial and ID number now. I guess I have turned into a real life droid=) It’s been a rough recovery to get back on my feet, and get my life back in order. It was a massive ordeal and I thank god that I am back on planet earth again. I was never faced with the idea of my own mortality until this all happened. You never think that you could loose your life at such a young age. I am only 31 so it was shocking to hear that I would have to have open heart surgery, and be on blood thinners (rat poison) for the rest of my life. It has completely changed my outlook on life. I really appreciate every day I have now.

Onto something more lighthearted…. PUN INTENDED
I know how you use modular but can you explain how you approach them for people who may not know? I usually separate people into two groups: there are the musical modulars and the sound design modular heads. (A good portion of people find themselves in both categories.)

Well, I would definitely consider myself a Sound Design modular head. I always use these systems for more non-musical things. Mostly for random generators, chaos frequency modulation, and creating alien modulated sound structures. I have always loved the fact that you can patch, multiply, cross feedback, invert, mutate, and divide, what you will of control voltages giving you lots of options for making complex sounds. Which is what initially drew me into using them in the first place? I still have all my old modulars synths, as I always love going back to them and messing around, and sampling them. You see that my collection of modular stuff revolves more around chaotic random things, like the Doepfer 149-1, 2, and two of Peter’s Heisenberg Generators. I am still building more, but I love using modules that generate random voltages and gates much like Don Buchla’s 266e (Source Of Uncertainty). I usually patch things around until I get something really interesting then sample it and then dump it into Battery 3 or Kontakt 3 for further manipulation and control.

Can you talk about how you saw yourself compliment the other artists and the analog live show in general.

I was asked to participate in the show about a year ago. I have been long time friends with Peter Grenader from Plan B modular (Ear Acoustic). He had been playing around with the idea of doing a show with artists and friends he admired. I have always loved Peter’s work. His music and the piece “The Secret Life of Semiconductors” he played is one of my favorite analogue pieces to date. I was very excited at working with Peter and doing a show with him. It turned out to be a complete success and I was extremely happy to meet the other artists like Alessandro Cortini, and Chas Smith who I have been a long time fan for many years. It was a very interesting to see how everyone approached using these new and old machines to make compositional works. I unfortunately couldn’t bring out my modular stuff, as I have strict weight lifting restrictions from only having my surgery months ago. So I had to play on my computers which I know many people might have frowned on me for, but it was the only way I could participate in the show. I was just happy to be there and experience the show.

Obviously modulars are limited in their capabilities for performance but have major advantages in the studio: What was your thought process in getting together your performance?

Yes, there are some definite limitations to using analogue modular gear for live performances, but I like that in a way. I like having only a few options and really making the best out of the situation. I have performed a number of times with my modular gear, and sometimes like to jam live on the old TR-606 and TB-303. I love that you can work a crowd with just minimal equipment and I try to really work at my musical composition and sequencing to heighten the experience.

You said, and I along with others agree, that having too much gear hinders you from being productive (programming, fleshing out ideas). Can you explain how you see your gear in your studio?

I totally agree with that. Like I said I work mostly from my kitchen table these days, with just my macbook and sony viao, and sound card. Its super simple I keep everything in one environment. I work mostly on sound design projects, working with major advertising companies, as well as other audio manufactures always creating new sounds. I do have a lot of keyboards, but these where projects where I design or programmed the sounds for each of these companies, so I acquired many hardware synths as you can see. It’s great to have them here as I like to compare notes all the time when designing new sounds for another company. I will compare thousands of patches on different machines, using different forms of synthesis. I use them all at one point or another. Everything gets sampled or manipulated to use as a layer or component in a piece or for a sound layer in something else that I give to users in sound libraries or other synth sounds.

NAMM IS OURS! and a quick roundup

Justin and I have been relentlessly trying to coax our way into NAMM this year. We know some people that are going to be there and working for booths, we somehow even know a band that could get us in even though NAMM says that musicians aren’t allowed. Basically we had a lot of begging to do but throughout all this searching, we should’ve been a little more self-aware and looked at our own blog as a means. Justin wrote a nice little letter and almost instantly we were accepted!! So if you see two dorky kids (Justin is the tall skinny white kid with glasses and boots. I’m the medium asian kid with piercings, scars and tattoos) wearing media badges, please say hi. Actually, say ‘HI!” loudly so people will think we’re important and thus solidifying our ‘credentials’. Obviously we’ll be putting posts up about our upcoming charade of importance and of course we won’t tell you about the newest gear. We’ll leave that to everyone else.

And since a bragging post isn’t really acceptable, I’m putting together quick recap of the artists we’ve posted so far. There is a history section somewhere at the bottom right of the webpage but if you’re too lazy to scroll down, here it is:

Richard Devine
Dino Felipe
Aaron Spectre
Captain Ahab
Zach Goheen
Atom TM
James Cigler
Scott Jaeger
Keith Hillebrandt
Landau Orchestra
The Depreciation Guild

Workspace and Environment: The Depreciation Guild

Some news first before our next post. Justin and I will be in Los Angeles. I’m not exactly sure when Justin will be there, but I will be there form the 16th to the 30th. We have a few things to accomplish. I will be playing a show with Eustachian, Captain Ahab, Richard Devine and The Flashbulb, though I do not know which alias I will be using. Also Richard Devine is going to be at the Access Virus booth during Namm through the 17th-20th, we’re trying to sneak our way in. Also, I plan to finally meet the guys at Analog Haven after spending a good amount of my money and time with their products. I’ll more specifics about the gig and my plans as they come in. So enough with the plans. We have The Depreciation Guild who have a beautiful free album. The link is in the article.

Kurt Feldman of The Depreciation Guild

I started playing guitar when I was 8. I was in my first band at age 10 and I’ve been in too many to count since then. For the stuff that I do now, I guess I started programming NES chiptunes in May of 2003, but The Depreciation Guild didn’t form as a band until August 2005. Born in NYC, lived upstate for a while, moved back to nyc for college. i’ve lived in greenpoint now for a year and a half.
Christoph lived in LA until he went to college in the city. We met at New York University. He moved to greenpoint about 6 months ago. I’ve had the same setup in pretty much every space I’ve lived in. It hasn’t really changed, other than the addition of the famicom and a fancy iMac last year, which we use for recording.

On Hardware
Our current hardware is a (mint condition) Japanese Famicom from 1986 and a more recently manufactured cartridge made by TerraNova Systems that reads memory off of SD cards instead of EPROM. It’s our favorite because it’s actually the only piece of hardware we use (besides guitars and amps).

On Software
We only use one software which is a DOS native program called Nerdtracker II. This is the program that outputs the Nintendo Sound Format code which we load onto our Famicom. It’s essentially a sequencer for Win98 DOS, but you have to type in every note manually on the computer keyboard and there’s no copy and paste function nor is there any way to connect a midi controller. We don’t use any synths to compose our songs. Oh also, when we record, we dump everything into Pro Tools.

Workspace and Environment
The workspace where we rehearse and where I compose the songs is the office in my apartment, so I guess it’s pretty convenient. I might be checking my email and then have this melody idea, so I can just pick up my guitar and record it. And since we both live a few blocks from each other in greenpoint, it’s really easy for us to rehearse and transport gear when necessary.

Extra Curricular
I play drums in The Pains Of Being Pure At Heart (the guitarist of that band is also my roommate) and Christoph also plays guitar in Tropic Of Nelson.

Remember Your First Piece of Gear?
It was a cheap nylon string guitar when I was 8.

….Does a digital camera count?

Mobile Setup
I have a really bad laptop. it’s missing a lot of keys, but it can run nerdtracker so I guess that counts as being mobile right? For live performances I use 2 guitar amps, 2 guitars, A Famicom, 2 vocal mics, several effects pedals.

Why is Your Album Free?
We think we’ve made an album that sounds refreshing and progressive in its musical approach, so holistically, we wanted this to carry over to the way we distributed it. We’re not naive to the direction the music industry is headed and the declining role of the record label and physical product (more specifically CDs). We’re a relatively new band with no other goals other than to make great pop music and have as many people possible hear it and love it, and so far we’ve found the “free” model to work surprisingly well.

You can download their first album for free at Also, they have a few songs you can grab for free at

Workspace and Environment:

Hi. We have been quite busy. Justin is putting together a remix CD/digital release for his song The Night That Laid Still and a handful of great artists are involved … then there is me. And since Justin does not know I am posting this information, this will probably be deleted later or at least striked out!!. So enough with the excuses. Now to all four of you that have been waiting for the next artist, we present the amazingly nice guys of Check out their volcano! Enjoy and have a great weekend!

Lino: I’ve been involved in music since the 80’s, as a singer in two bands. My first band set up was new wave style with lots of electronic instruments such us keyboards and drum machines. Then I formed another band in the 90’s crossover style influnced by Ministry’s sound. In the meantime, I have been involved in clubs as DJ, but I stopped that in 2000.

Nicola : I have been DJing since age 14. It was at the start of the 90’s. Then I met Lino and together we decided to start our first project called Quiet Men. Under this name we were involved in a compilation together with Caustic Window and many other artists. It was released by an Italian electronic label called Minus Habens. That is our first appearance on a cd, in ’94.

Lino: Well, over all these years we collected a lot of analogue instruments/equipment. Stuff like the Chroma Polaris, Elka Syntex, Matrix 1000, Korg MS-10, Yamaha CS10, TR 606 etc…. All this gear has a home in our studio and we like them all the same. We continue to enthusiastically work with them as if it was the first day we got them. For example, the Polaris found our studio in the ’95. Another great piece of equipment is the Doepfer MS404, so simple to use and it can be used as a filter too. We also use some instruments built by Nicola. See one in action here!

Nicola: I have a great passion for DIY. Recently, I tried to build a small, low budget synthesizer with 8 oscillators and 2 sequencers. I built it using some kits intended for christmas lights. Each step triggers an oscillator. It has CV pitch and a filter.

Actually, we use two software programs for the sequencing, Live and Logic. Both are necessary for our studio application. We don’t use too many plug-ins because we are still too fascinated by analogue efx. We really love the dirty sound of some of the efx we use. Just to name some: Roland DEP5 , Sony VLZ & an old analogue reverb called Aria.

Physical Space
Our most recent set up is very comfortable. We just finished it in the last few months. The studio lies really close to the volcano Vesuvius and the ruins of the ancient Pompeii. Every time we come up from the studio, which is situated in the basement, the mountain is in front of us . So we guess you can imagine what is the feeling to look at such big and powerfull natural presence.
Nicola: The first location was at Lino’s house. We were there for two or three years, but the studio grew so much that we moved all the stuff into my houe’s basement. we’ve changed the set up there three times in 11 years :D

Extra Curricular
We have had lots of opportunities to work with some underground filmmakers and VJ’s. Most of these works have been entered in short film and visual festivals. Our last collaboration has been for a clip with the American visual artists Jeffers Egan who collaborated in the past on a DVD alongside Jake Mandell.

First Piece of Equipment
Lino. an akai 850 sampler
Nicola roland dj70 sampler

What is on your wishlist?
Too many things! We desire a Doepfer modular system, then we’d like to expand it with other great modules. For example Bananalogue, Cwejman and many others.

Live Setup
Laptop, M-Audio 410, 16 channel mixer, 6 outboards efx, a keyboard midi controller and a Doepfer controller. Also, whenever it’s possible we bring some other sound generators such as an old oscillator or other little toys. releases are out on Hefty Records, Mousikelab: a label they ran a few years ago.
The are also involved in a group called resina.
SY6 Studio

And because they said the word ‘volcano’ in their interview, I asked the guys to send me pictures of their neighborhood and they are kind enough to reply with many options. It was hard choosing only one but I think this one conveys the essence of what they see everyday.

audio_Output: The Flashbulb – That Missing Week EP

Justin and I are planning to be more vocal about our releases along with any news from artists we keep in touch with. We have had past releases which are not entirely relevant now but we will update you with news of more current albums we are involved in.

To start this off, I’ll talk a bit about a release coming out later today, three hours from now actually. I remixed a song for The Flashbulb’s EP that has bits and pieces of his new album in it. It was the first song I made using Logic 8 and I’m glad it ended up being used somewhere. Not that I was in a particular hurry or had a deadline but I sort of got obsessed with playing with Logic and ended up finishing the song within 2 days. Gearwise, I ran a bunch of things through my modular system and even managed to use my Macbook microphone for some sounds. The only source files I used raw were the pads, other than that everything else got mangled through my system. Anyhow, if you have questions, ask. the deep element is my main creative outlet. It should be track 7 and I’m not sure where the ‘portable dubstep’ part came from …
You can find it here: On the Downloads page. It will be released at 6pm tonight. I hope you enjoy it!

Sonic State's Weekly Audio Podcast… has been around forever and features a weekly audio podcast that is definitely worth listening to. They touch on a lot of different topics but, so far, my favorite episode is number 65A. In this, Richard Evans carries a portable recorder with him to capture and share his experience of touring with Peter Gabriel.

This weeks episode is extra special as they mention Trash_Audio and cover the topic ‘Workspaces and Environments’ Check it out here!

Workspace and Environment: Landau Orchestra

Greetings people. We love the feedback and loving words sent to our e-mail, it truly keeps us going. I try to respond to all of them, so it may take some time but don’t think I have forgotten about you. A quick preview: We’re mentioned in the Sonic State podcast and Justin will have a post about it later today. It’s very exciting that we’re encouraging dialog among audio nerds worldwide about their workspaces! We’ve been linked via many forums, blogs and e-magazines but rarely talked about. So this should be fun.

We both (Grant Wheeler and Matt Young) have been involved with composition since about 15. We both started playing piano and other instruments when we were in grade school. Our major releases thus far have been under Landau with The epic compromise under Merck Records in 2004 and under the Landau Orchestra with ‘Janus Plays Telephone’ under Milan Records in 2007. At the moment we arrange everything from the music, to the business, to much of the booking, and organizing
rehearsals/ live performances.

Favorite Hardware
We just got a Dave Smith Instruments Poly Evolver. A polyphonic analog synthesizer is a tool that we never really had at our
disposal, we mostly had to do complex synthesis with soft synths. We had some rudimentary synths like the MG-1 and a Micromoog, but the PEV is a monster. The rich-sounding oscillators and filters along with really flexible routing make it the best sounding electronic instrument we have.

Favorite Software
Reaktor. We always need to customize a plug-in and reaktor is really easy and gratifying relative to other object-based audio
environments. It’s in a tie with Ultrabeat (logic) which has been a go-to drum machine recently – it has the best of both drum synthesis and sampling with really flexible routing. And of course..Logic fo’ life – xoxo. We love logic!

Workspace and Environment
All of our instruments are pretty much in one room. The possibilities are endless when you have around 11 different types of keyboard instruments ready to plug-in or mic at any given moment. Lets just say we don’t write very minimal music. The upstairs work space is all in one acoustically treated room. It consists of two computers, a 73 Rhodes MkI, a Wurlitzer 200A Elec Piano, a Farfisa Compact Deluxe Organ, a Farfisa Fast five Organ, a Dave Smith Poly Evolver Synth, a Micromoog synth, a MG-1 Moog Synth, Melodica, Glockenspiel, an accordian, a few Casio keyboards, a drum set, tons of percussion instruments, turntables and mixer, tons of microphones, a few preamps (Sytek and Toft), a Gallienkruger stack and a Fendertwin Reverb amp. The downstairs has a Ritmuller baby grand piano, an Allen church organ with a giant leslie speaker and a Hammond M2 organ.

Physically, everything sits on the perimeter of the upstairs room, making all instruments readily accesible from the DAW’s. Our Peluso 2247LE microphone (a U47 emulation) stands plugged at all moments ready to be placed on an acoustic instrument, voice or guitar amp. Sessions often consist of moving from instrument to instrument, moving the microphone to
the next place and just recording. Our set up is pretty much streamlined so that the moment we want a particular timbre for a song, we move the mic and hit records and that’s it – we listen to the result and move on. Horn sessions and important piano recordings are recorded remotely usually at our local university so we can capture the sound in a nice big room/on a really nice piano.

Our workspace is not really a catalyst for our compositions because for us it is rather transparent. We’ve become very comfortable with all the tools available in our studio, so the workspace is just a vehicle to get from point A to point B in a composition. Early on, a composition already speaks pretty clearly as to wear it wants to go and what elements should be included. From there, we just move from instrument to instrument and press record.

Extra Curricular
We have an audio company called Landau Audio Design (www.landau- where we have released music on soundtracks for the likes of the Pan’s Labyrinth Soundtrack (Extended), the 4400 Soundtrack and done commercials and corporate videos for the likes of Amcomm/Verizon and Symantec. We also produce other bands and do remote recordings
from time to time.

First Hardware
Matt got a Roland MC-303 I believe when he was in highschool. I got a Casio keyboard when I was like 7 to learn piano. It was one of the classic Casio tone ones with a great Bossa Nova groove.

Mobile and Live Setup
Laptop, sytek Mpx4aii, toft atc-2 and a Motu Traveler Landau Orchestra preforms as a 7 piece – rhodes, upright bass, drums,
turntables computer, melodica, glockenspiel and a horn trio. The live performance consists of a seven piece band with myself on turntables/keys/computer, Matt on Rhodes/computer, Jacob Cohen on bass, Mike Birnbaum on drums, Dan Hendrix on Trombone, Josh Bruno on trumpet, and John-Philips Sandy on Tenor sax.

Studio Evolution
We originally were in a dormitory in college with bunk beds and all this shit crammed into a miniature room with 2 PC’s that crashed all the time. We wrote most of thepicompromise in that room on those shitty PC’s which nearly swallowed the entire project one time…somebody had to rescue our harddrive. We were very glad to get out. Then we moved into an even smaller room in an attic in our house where we did half of Janus and then moved into a temporary room at my friends studio apt. – like 3 people in one room. Finally we ended in a nice house where you see the pictures we’ve taken. But we’re moving out soon – so much for stability!!

Hamptone Preamp
Clav D6
Orange Tiny-terror Amplifier

Landau Orchestra has lived in Hartford for 6 years but are moving to Brooklyn in April. They can be found here:

Workspace and Environment: Scott Jaeger

Scott Jaeger designs and manufactures small-format synthesizers as The Harvestman. When he’s able, he also composes music under the name Naked Intruder. He also directs the Mile 329 label and mailorder.

Music Background
I had my first experiences when my older brother got a Casio SK-1 and some Synsonics drums for Christmas in 1986. I didn’t begin seriously pursuing composition until late 1996, when the Rebirth alpha was released and I was able to see the possibilities of sequencing with a personal computer.
I was inspired to explore instrument design after I read Ghazala’s “escapist sample shuttle” article in 1998 and adopted my brother’s old SK-1 as a vehicle for modification. I exclusively circuit-bent some SK-1s for the next few years, even incorporating that instrument into some exploratory embedded design exercises as part of a university project. In 2006 I refined my skills in electronics and programming in order to fill some large functional gaps in my modular system – these became the “harvestman” modules. My university education was oriented towards “music technology”, and my efforts there were primarily technical instead of creative.

Favorite Hardware
I enjoy my Eurorack system above all else – it’s highly customized for all of my musical idiosyncrasies. Other than my own modules (which start as designs for my own musical work) I really like modules by Livewire, Cwejman, and Plan B.
On the other hand, the Buchla 259e is easily the most awesome oscillator module I have ever used. Imagine a certain sort of glitchy, digital complex modulation network you’d obtain by pure chance with effects processor feedback loops or some serious modular elbow grease. 259e puts you in that ballpark with one module and a patchcord or two, and you can even save your work!

Favorite Software
I haven’t used DAW-based software synthesizers in years, and lately the computer’s just been treated as a sort of tape recorder with training wheels. For the last few years I’ve really enjoyed Supercollider and Josh Parmenter’s ugens in particular. Very useful for rapid prototyping of new patch/module ideas with high precision. Haven’t thought about csound in a long time thanks to this. As far as software synths go, I remember Absynth 2 and Reason’s distortion processor (as well as the wavetable synth) as good experiences.

Location is the most significant influence on my creative works. I spend a lot of time in Southern Arizona which is particularly influential, although I don’t always have the opportunity to carry a preferred instrument of mine down there. Compositions are usually created with very specific locations in mind. I’m not very picky when it comes to physical space for electronics production, just a space big enough for two work tables, some shelving, and ventilation. Or, “how to turn the second bedroom into a Superfund site”. The same goes for musical instrument setup – just a few tables that keep the instruments within reach and at the proper height. Depending on surroundings the setup can live in a bedroom…

Extra Curricular
The musical work I do is strictly a personal effort. I’ve had much better results in externally communicating through other forms of design (print, embedded electronics) in that I’m able to produce good results much more quickly.

FIrst Gear
My first “real” synthesizer was a Nord Lead 2. Amazing FM…

Some robotic clones (sort of like bill and ted’s bogus journey) to aid in production. A spectrum analyzer for use from the audio band up to 10mhz, good frequency resolution. Other than that, a Livewire Chaos Computer and a Buchla 291e.

b>Mobile/ Live Setup
When I lived in Chicago I joined the improvised music collective “Backgammon”, and played a few shows with them. Initially I practiced with some of my pedal feedback loops, bent Casio SK-1, and military telephone, but after I had been playing with modular gear for a while I constructed a custom performance instrument containing my favorite, most functionally dense Eurorack modules and a special utility panel with attenuators and multiples. The whole thing was built into a weird metal toolcase and called the “nuclear football”. It fit under a plane seat and had pockets for patchcords and everything. I’d play with this and a small guitar amp that was barely loud enough for sonic presence within the 11-person performance.

Scott was born on a toilet on the eastside of Seattle (his own words, I swear). He grew up in Indiana and Michigan, school there and Chicago. He’s about to return to Seattle just in time for the volcano to blow.
You can find him here:
His products here:

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