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Favorite gear: The best instrument I’ve
ever had the pleasure of playing and programming
is the Minimoog Voyager
Select. For touring, I wound up picking
up an additional Rack Mount Edition. For
Japanese oscillators, I quite like the
Roland SH-1, which I sequence with a
Roland MPU-101. My main vocoder is a
Roland SVC-350, and for pads and
strings I generally reach for the Oberheim
Matrix 1000. All of our sequencing and
tracking happens in the studio with
[Digidesign] Pro Tools 8, and I re-create
the MIDI sequences on a Korg Electribe
ESX-1 sampler for live control of the
synths, as we like to avoid having a laptop
on stage.
Favorite songs right now: “Big City
(Everybody I Know Can Be Found Here)”
by Spacemen 3 and “E2-E4” by Manuel
Göttsching.
Influences: Klaus Schulze, Neu!,
Tangerine Dream (Phaedra and Rubycon
era), Tim Blake, the Emperor Machine,
Metro Area, Carl Craig, Lindstrom, DC
Recordings, DFA Records, Tiny Sticks.
Play by ear or play as written: While I
do personally have formal training — mostly
in recording, but music theory was a big
part of the program — overall we are more
on the “play by ear” side of things. Our
music does involve a lot of structure and
sequencing, which is informed by theory.
Newest project: Our new album is called
Reintegration Time and was available as
of May 5th on Normals Welcome Records
(Ryko Distribution).
Favorite artist you’ve probably never
heard of: The Oscillation, a DC
Recordings artist that manages to represent
a cross section of all the other music
I love listening to.
Practice regimen: Honestly? We rarely
rehearse unless we are preparing for a tour,
which in itself is pretty good practice, but
we are trying to change that attitude. Most
of our writing takes place in the studio, so
there is a fair bit of rehearsal involved and
needed in figuring out how to re-create our
studio productions in a live setting.
Words of wisdom: Put your head down
and party through it. Embrace control voltage.
Keep buying vinyl.
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