da funk

My (replacement) DAFM Synth arrived, and it works just fine. Apparently, the one I returned also works fine in the hands of the seller, which is weird because it definitely overheated its USB power cable within a few seconds and wouldn’t turn on for me at all… but whatever, I definitely have a working one now.

The interface, while far from knob-per-function, is pretty clever. Rather than one mid-sized display it has four tiny OLED screens; in most modes each shows the parameters for its associated FM operator. The preset loading screen is different, and a bit weird and hard to figure out at first with the sparse documentation.

The navigation can be a bit awkward. FM synths have this challenging aspect where sometimes you want to divide up the parameter space functionally — setting all the ratios on one page, the envelopes on another, etc. as this does — and sometimes you want to to divide it by operator, so the ratio, level, envelopes etc. for a single operator are all together. I think if I were working with this physical design, I would have had the left encoder always “move” (selecting parameters, or press-and-turn to change pages) while the right encoder always edits whatever the cursor is pointing to. But this is still a million times better than trying to edit on an old-school DX synth.

There’s a tiny 11-note keyboard at the bottom, which is best reserved for emergency “no MIDI controller” purposes. The chip of choice — in my case the noisier YM2612 — is on display behind a transparent window, while the rest of the top is dark tinted acrylic.

That chip has a weird design flaw called the “ladder effect” that gives it its characteristic sound. There seems to be a ton of nerdy analysis of this and maybe not that much agreement on the details, but it comes down to: some Yamaha engineer cut one or two corners too many. The upshot is a sort of a characteristic digital fizziness that is not simple low bit resolution or low sample rate, and sounds pretty nice with some kinds of ambient pads and bass sounds. You can also set very long decay times that sound a bit like stuck notes, and it just kind of flows nicely with the noise and a touch of reverb or delay.

Possibly the truest and most universal trope from cyberpunk is “the street finds its own uses for things.” It can be an important principle in design in general, and we definitely see it all the time in electronic music. I’ve got my favored way to work with Bitwig, which absolutely baffles some other Bitwig users. I’ve got specific roles I like to throw at the Microfreak, which it might not have been designed for but it wasn’t designed against. And here’s this budget chip from an 80s game console, built into a mini synth with a cheap MCU from 2007, (mis)using USB as a power supply, and I’m using the synth in specific limited ways to serve my music.


I’ve entangled myself in deeper uncertainty about how to divvy up the remaining space in my modular case. As a result, I took the Euphoria off my wishlist (but hey, if you’re a family member reading this and you bought it for me already, worry not, it will not go to waste.)

Noise Engineering is doing cool stuff. Desmodus Versio has gone from a cool reverb to a whole platform, it seems, and the temptation is rising. (Although I think they misstepped when they didn’t put the USB port on the front to make it easier to flash; perhaps they will offer an expander that helps with that.) Some things I’ve read and watched about the Serge SSG or its cousin the Sport Modulator make me ponder that. The idea I originally had, to put in a Doepfer 256-stage BBD, is still there, but the much smaller Erica option would allow some other choices… and of course I still don’t know what the mystery release from Mutable Instruments will be.

So, I’ll just wait, and play with what I have, until a path is clear. I have a fine set of delays (and reverbs) already and so some of these, despite having a different vibe, might not really be the best choice but just FOMO.

neon/chrome

I really wish that in US elections, there were NO exit polls reported and NO news about counts that have not yet finished. But then, there are a lot of things that are broken about our electoral processes.

Anyway.

I may have just made a last-minute day change to track order, but the new album is ready to be released tomorrow (or possibly tonight). This is my fifth for the year, 16th as Starthief, and — this is kind of weird to realize — 32nd album overall. And I may already have the seeds of an idea for the next one.

I started reading Neuromancer last night, and within the first few pages, encountered a few phrases that would make good song titles. Many, of course, are already taken — it is now a classic piece of science fiction, a vision of a possible future from 36 years ago. The joke now of course is that we’re living in the wrong kind of cyberpunk dystopia.

A cyberpunk-themed album in my style might be interesting. It was done so frequently with EBM and industrial music that the music was even called “cyberpunk” for a while, and there was (is? I don’t know) a whole cybergoth club scene. Billy Idol had an album called Cyberpunk, which was pretty bad cyberpunk but pretty good rock. And of course, the themes are pretty big with synthwave/vaporwave.

I need to think about how I could approach this. No movie dialog samples. Anything involving drum machines would be a departure for Starthief, since “no drums” was one of the biggest revelations/self-imposed rules from my 2016-2017 experiments… but I am not necessarily ruling it out. I don’t particularly want it to sound like EBM, or synthwave. FM synthesis seems obvious though, since I already love it. In fact, if I wanted a fresh challenge I might someday try an album with no FM synthesis 😉

Speaking of FM: Kasser Synths wrote to say that the DAFM Synth I was returning for repairs still hadn’t arrived — not surprising, given that it took most of a month to get here from Spain in the first place — and they’re going ahead and sending me a replacement to help speed things along.

Dreadbox announced another couple of entries in its Chromatic line of small, cheap and colorful modules. The Antidote is a Karplus-Strong BBD delay, which I first thought might be a good replacement for the Doepfer BBD I had on my wishlist. But in demos so far I’m not convinced it would serve me better than Mimeophon.

On the other hand, the Euphoria — with the unfortunate choice of white labeling on a bright yellow panel, almost guaranteeing third party replacement panels to come soon — is a BBD-based 8-stage phaser that sounds gorgeous and weird. E520 and FX Aid both have phaser, flanger, frequency shifter etc. modes but I don’t think any of them can quite touch it. I’m impressed enough to replace the Doepfer on my wishlist with Euphoria.

And speaking of regrettable panels and colors, Thonk now has Tall Trimmer Toppers to add a little size and better grip and color to mini-pots… which would have been great for the AI008 when I was trying to color-code that. Ah well. My current system has 68 (!) of those tiny little knobs, but most of them aren’t a problem. A few, though, have no contrasting color for their pointers, which is annoying — so I will get some for that. That gives me an excuse to pick up a few other knobs that it wasn’t worth paying for shipping on.

anything less would be unCVilized

I’m basically completely used to the new headphones now, and appreciating the extra detail I’m hearing with them.

Voxengo just released a plugin called TEOTE, an acronym for “That’s Easier On the Ears.” It adjusts the spectral balance of the input to bring it closer to a theoretical ideal — with minimal adjustment it just magically makes stuff sound better. This one uses multiband dynamics, which is a bit fancier than Soundtheory Gullfoss, and to my ears it seems to sound better on most material.

Tools like this are great for me. My mixing process isn’t the meticulous, surgical adjustment and perfect fitting together several individually recorded parts — rather, it happens partially as I build up my parts in preparation to record, and partially as a big part of the recorded performance itself. A tedious manual search for places in the spectrum that could use a tiny boost here and a narrow cut there would take me out of the creative flow, but slapping an automatic plugin onto the channel to see if it sounds better does not. (If there’s a drastic improvement, that means there was a lot to correct in the first place, and it’s probably worth a little of my time to investigate.)


Two things arrived on my doorstep today. First the bad news: after nearly a full month of shipping, the DAFM synth arrived from Spain. Its wonderfully crisp OLED display showed something for about 6 seconds and then died, the USB power cable unusually warm. Switching cables and chargers didn’t help.

Since I have had second thoughts about even needing another synthesizer, I’ve written to request a refund rather than a replacement. We’ll see how this goes.

The other thing is much happier: u-he CVilization. I spent about 90 minutes playing with the matrix mixer mode before even looking at the others, and… it’s a game changer honestly. It handles audio quite well, and is as easy and intuitive to dial in as I had imagined and hoped. But it also encourages taking control voltages to new places, and that seems to be its major strength.

It is a very good friend to a sequencer, especially something with multiple channels and not necessarily its own quantizer, like the 0-Ctrl.

Mode 1 can mix audio of course, but also CV, with handy muting, inversion, quantization and sample and hold. I had a patch going where it:

  • served as a feedback mixer for Mimeophon-as-resonator (with mutes for the original input, the feedback, or the final output, and the option to invert the feedback for a different character)
  • selected between or combined (using mutes) two pitch CVs from 0-Ctrl, with sample+hold and quantization. And also, allowed for mixing in some audio from another channel — which served to slightly randomize the pitch while staying within the scale and maintaining the overall melodic contour. It was gated by 0-Ctrl’s dynamic gate output, so I had control over the rhythmic pattern as well as swing/timing.
  • routed both pitch and audio to Mimeophon’s frequency control, so it simultaneously tracked pitch and added FM… again with a mute switch.

That’s a heck of a lot more than an analog mixer can do. And also, since it’s 4×4 rather than the AI008’s 4×3, it’s easy to set up stereo feedback matrices with ping-pong and so forth.

Mode 2 is the sequencer and sequential switch, and though it took me more time to grasp it, it’s also a very powerful friend to 0-Ctrl. Rearranging incoming control signals and interposing other values (fixed or random) into the sequence, driven either by a clock division or using a different sequence length, can really extend and bring variations into what would otherwise be a short and very repetitive sequence. I didn’t even mess with self-patching, which could potentially be really useful with the sample+hold feature. (It can also route audio, switching different sources and destinations around or silencing it, and that is probably going to have some use as well.)

Mode 3 is the “Mucorder”, which is purely for control voltages. It’s less like Marbles than I first thought — but again, a really good companion for 0-Ctrl. Record up to 16 steps, and let it mutate either by overwriting with values from its own input, another channel, a random shift up or down, or harmonization with the first channel. Each channel can have a different recording length, which allows a lot of polyrhythmic interplay. It’s another winner.

I haven’t tried mode 4 yet, but rather than manipulating CV quite as much, it pans/routes its four inputs smoothly across four destinations. Planar can either pan one signal to four outputs, or four inputs to one output… but I suspect it will be a good controller to rotate multiple things around the world with CVilization, and likely a powerful tool for drones.

So, wow. I was expecting a mixer and a quantizer, but I got quite a lot more than that.

AO Themed Compilation 11: Mars

The 11th Ambient Online (I keep wanting to call it Anarchy Online) Themed Compilation has been released:

I have two songs on it: “Red Dust” and “Syrtis Major.”

Either I’m in just the right mood for it this morning, or this compilation seems like the best one so far. Maybe it was the extra time allotted for submissions, maybe just people were really feeling the theme for whatever reason — a lot of people had been talking about being inspired by classic sci-fi.

On a not very exciting side note, I also updated my starthief.net home page so the albums are all just image links instead of Bandcamp embeds. Embeds are neat, but they were breaking, maybe because I had too many visible. Also, the compilation albums were picking one random artist name to show per album,, which is pretty dumb when you’ve got 40+ musicians on the thing.

auction action

Luftrum’s 10th annual music industry charity auction is now underway. This time the proceeds go to MusiCares COVID-19 relief.

This one’s just getting started, and it typically takes a couple of weeks to really get rocking. But last year’s auction raised $31,075 for the World Wildlife Fund to help protect rainforests in the Amazon and Indonesia. Dozens of plugin and sample library developers and some notable hardware manufacturers contributed a lot of cool stuff to the effort. If you happen to be a maker and seller of music gear, please follow the link and click on “Contact Organizer” to join in.

4 years ago, this auction is what started me in modular synthesis with Mutable Instruments Rings (and a quick purchase of Tides and Peaks to go with it). So it’s like passing a personal milestone when it comes up each year. In subsequent years I’ve seen a couple of others buying their first modules and growing into modular synth buffs.

And if some tempting modular goodies make an appearance, I’ve got 24HP of free space now with no specific plans. As it turns out, what I’ve actually used my Disting EX for in recordings has mainly been crossfading and ring modulation. Mutable Instruments Blinds, which I was already considering as a replacement/consolidation for the AI008 Matrix Mixer and one of my two Shades, can do those things. The Disting sold very quickly, since demand is still higher than production and shipping speeds can handle, and I ordered the Blinds.

I’m holding onto AI008 for now because I’m still waiting on that pinstripe tape to try color-coding it. Could be the available space will expand to 32HP though.

I also decided I don’t need two Rings anymore — the combination of Mimeophon, FX Aid, E520, Shelves, and a mixer are quite potent for resonator purposes. But I’ll always keep one Rings to rule them all. 😀 The spare one also happened to go quickly, traded for a Mystic Circuits Ana, which handles some of the other things I used Disting for occasionally plus a few other fun tricks.


And now, it’s book review time! Only in my usual style of “I read this and I liked it” because being critical is a lot of work and I read for fun.

I had this pair on my wishlist for a while, but borrowed electronically from my local library. A fun, mostly lighthearted fantasy thing that borrows more than a little from D&D monster manuals and surprisingly a lot from rock & roll. There is a wizard named Moog. In the first book, old crusty mercs “get the band back together” to save one of their daughters (and in the process, a city, and the world); the second was said daughter wrapping up her own adventuring career.

I’ve just finished the first of these, and it was brilliant. It’s kind of equal parts fantasy and horror but in a science fiction setting; the writing style and characters are hilariously snarky while the subject matter is as grim and creepy and moody as you’d expect from a story about space necromancers.

The setting is creatively different, mysterious and, well, cryptic — I kind of get a Gene Wolfe vibe from it without the pretentiousness. The characters are the best though. Some of the language is very much present-day slang (e.g. “I couldn’t have noped harder”) but it completely works to convey the kind of attitude the main characters have. These are books that I might want my own copy of, depending on whether I feel like the second one is as strong as the first.

bad hair day, good synth day

The Medusa arrived yesterday — a bit late, box damaged, but synth intact.

It’s the sort of synth where, if I tried it for five minutes at Knobcon or something using its factory presets, I’d almost certainly have walked away and not looked back. Probably in under five minutes. The presets are, for the most part, awful.

But once I figured out what I was doing with both the synth section and the grid, and started exploring a little… this is one extremely cool piece of gear.

I understand why so many of the demos and several presets are bland: the analog oscillators only do the classic simple shapes, the digital ones are raw and basic but not in a particularly gnarly or exciting way, and the filter doesn’t have much character of its own. It’s a clean slate and you have to do your own color mixing, to mangle some metaphors. With judicious tuning, use of the oscillator sync, FM, copious modulation sources and all sorts of clever tricks available with the grid sequencer/performance controller, if it sounds boring it’s the musician’s fault. Synthesis means the assembly of smaller parts into a whole, and that’s what has to happen here. It can certainly do beautiful, brutal, quirky or scary, and it’s not even difficult to get there. It can’t do everything, but that’s why I have more than one synth… 🙂

As with most synths it really benefits from some reverb or delay. Every other Dreadbox synth has one of those built in; this doesn’t. This is not a problem for me at all, but it does contribute to some of those lackluster demos since people seem to think it’s “cheating” to add external FX.

The grid is brilliant. Note mode lets you select (or create) a scale, and also set the layout to the interval of your choice (or a “guitar” mode); it’s a combination that is really great for jamming, thinking differently about intervals and chords, or playing runs that would be (almost?) impossible on a piano-style keyboard. The velocity setting doesn’t work very well with the onboard synth and honestly is best turned off, but pressure and X/Y movement can be assigned to various parameters. Grid mode is a sequencer that’s mostly intuitive (with a couple of odd quirks) and lets you assign not just notes and chords to any individual step, but ties, steps that randomize on each playthrough, and parameter settings. Between that and the paraphonic modes — and the way those modes interact when you’re using FM or sync — it’s definitely got some unique capabilities.

The Lyra-8 was inspiring and influential, leading me toward the 0-Ctrl and certain techniques. But I do think the Medusa is the better choice for me now and for the future.

still not an exact science

My Ancestry.com ethnicity estimate has been updated again, as it was in mid-November last year. Here’s what it said before:

And here’s the new version:

However, in the details it does say that Scotland could range from 7%-43%. Most of the rest are within a few percent one way or the other.

DNA and statistics both being what they are, adding more data to the pile and re-evaluating everyone doesn’t necessarily make for a more accurate assessment for any specific individual. Mostly this is just a bit of fun.


3/4 gaffer tape covers the ugly graphic strip on the Microfreak just fine. The downside is, it looks like there’s a piece of tape on the synth. It’d be nice if there was something a little more professional looking. But really this is just splitting hairs.


I’ve decided to let go of the Lyra-8. I like the way it plays, but it is fairly rigid about the way it sounds, and I’m just not into it anymore.

The most likely replacement is the eowave Quadrantid Swarm. Like the Lyra, it has 8 touchplates for oscillators that can be individually tuned. But instead of the organ oscillators, it has digital oscillators with different shapes and a unison mode, two analog filters in series, a spring reverb and a sequencer. It’s semi-modular and can also accept MIDI input as well as its touchplates. From the few demos I’ve seen on YouTube, it has a really nice wide range of sound character and should fit right in.

I’ve put some thought into other options, such as the Moog Subharmonicon or Dreadbox Nyx, but I think I’ve convinced myself that the QS is what I want to run with. I do want to sell some gear before moving it in, though.

lil’ oddball

The Microfreak showed up this afternoon and I’ve spent enough time with it to get solid first and second impressions.

While many of the oscillator modes are directly taken from the open-source code for Mutable Instruments Plaits, for the most part it doesn’t sound like “Plaits in a keyboard.” It’s its own weird little thing.

A lot of people think it’s kind of ugly, but some have said to reserve judgement until you see it in person. I think the only real sin is the graphic strip with the Arturia logo, which is a needlessly busy pattern right next to the already necessarily busy-looking textured touch keyboard. I’m just going to cover that with some gaffer tape.

The touch keyboard itself felt a bit awkward at first but I got used to it relatively quickly. It’s very sensitive, in a good and expressive way once you get to know it. There is a useful Hold button which works for drones as well as the arpeggiator, and the arp can be saved into the sequencer for further editing and manipulation. The “spice and dice” buttons can trigger either permanent or temporary random variations to the sequence which always seem to be musically compatible, if not necessarily brilliant.

There’s a modulation matrix that is cleverly implemented, and modulation amounts can be modulated by other modulators. As in, the touch pressure can increase the amount of vibrato, or an LFO can affect how much the cycling envelope affects the timbre. Circular and self-modulation patches are also possible and quite spiffy.

It’s paraphonic, in that there can be multiple oscillator voices playing simultaneously (with their digital envelope and VCAs) but there is a single analog filter, and a single cycling envelope. Many of the oscillator models are pretty complete without the filter anyway. One particular strength of this setup is that drones or arpeggios going through a single resonant filter can use it to glue the sound together and to emphasize particular harmonics. In fact, the moment I discovered this is when the last doubt about keeping this synth evaporated — I expect this to be one of the major ways in which this synth will fit into my music. I’ve been enjoying drones for hours today already 🙂

Like its predecessor, I have it running through the Elektron Analog Drive. It can add a nice bit of warmth and solidity, or dirty it up beautifully.

flying onto the shelves

Mutable Instruments Shelves arrived over the weekend to fill out the biggest remaining gap in the modular. It’s a shelving and peaking EQ, where each band has a full frequency range available and its frequency, gain and Q can be voltage controlled. The two peak EQ bands are implemented using filters, and have lowpass, bandpass and highpass outputs as well. So it’s quite a versatile piece of gear. Some of the things it’s good for:

  • Basic EQ tasks. However, the available boost and cut isn’t as strong as I might want for some purposes, and it would make more sense to just use CraveEQ or Toneboosters EQ4 for that.
  • Feedback loops. A little Q and positive gain, and it will resonate nicely inside of a feedback loop. It’s particularly great with delays, and with MSLR to maintain the tone while keeping it from getting out of hand.
  • CV-controlled EQ can be awfully fun. Taking a notch filter (or two) with a gentle slope and sweeping its frequency around with an LFO is a nice bit of (possibly) subtle modulation. With a bit more Q it’ll do filter sweep-like sounds without actually cutting anything completely; to me the character is more interesting than most filter sweeps tend to be.
  • Anything a normal filter can do. It sounds pretty respectable to just use one of the LP, BP, or HP outputs with it.
  • Parallel filter trickery. It does only have one input, but with two independent filters, each of which has three outputs, plus the main EQ output, I can turn a mono signal into mid-side stereo, process different bands with different effects and mix them afterward, or split bands to go into Planar.

I don’t see much reason to hang onto FXDf, or even Ripples now. Once I figure out what I will replace them with, I’ll pull them out. I have a few candidates in mind but none are really pulling on the strings strong enough yet to jump on it. Loquelic Iteritas or Telharmonic would certainly be interesting but do I need another oscillator? Intellijel Bifold seems like a quite good wavefolder, but between the folder on Shapeshifter, FM Aid’s folding abilities. the folder built into ENOSC and rather capable wavefolding available in both Disting and Bitwig, I’m not convinced I need it.

The other toy I’ve taken delivery of is… well, it is kind of a toy, but it’s also got some surprising instrument-like features, and the combination is a bit frustrating. The Artiphon Orba, which I Kickstarted back last December, is a little handheld musical gizmo. It has 8 pads that respond to velocity as well as movement on two axes (for pitch bend or dynamics), and an accelerometer to detect tilting, shaking, and slapping the side. It has four “modes” — drums, bass, chord and lead — and a record mode that records sequences on each channel, with overdubbing. It can also act as a MIDI controller (with MPE!) over USB or Bluetooth. It’s got a pretty decent built-in speaker with ports both on the bottom and sides so it’s not muffled no matter how you position it.

On the down side: onboard, it has only one sound per mode; you can select from about 7 different sounds using an app that updates the device over its connection. Many of the sounds are just not great, but it’s got a few relative winners. Sometimes there are unpleasant pops at the start of notes, and switching modes while trying to record parts can pause and silence the whole thing for a second or two. The recorder doesn’t seem to record tilt gestures. Octave switching is a pain, and often results in accidentally switching modes instead; you can forget doing it smoothly while playing to extend the usable range. The built-in speaker is plenty loud (a little too much with some of the lead sounds in their higher octave) but the output jack is so woefully low level that I boosted it with both Gozinta and MSCL. The PC app is as buggy as Florida in July, and the Android version is nonexistent (typical of every Kickstarter device I’ve seen that promised both Android and iOS support).

So, as an instrument in its own right, it’s mostly a fun toy — for a beginner, generally easier to jam on and get something that sounds moderately okay than a Casio keyboard or the like. But how about as a MIDI controller for more serious efforts? Let’s start with Bluetooth MIDI being unsupported in Windows, which they could have fixed with the app or a driver but didn’t, so it’s tethered with a USB cable. You can’t change the scales assigned to each mode — so the bass is always major, the lead is always pentatonic major, and the chords are fixed (depending on which sound you’ve loaded). As far as I can tell so far, it sends velocity, mod wheel on tilt, and it probably sends MPE on the two axes per pad. There is apparently a third-party semi-unofficial app for MIDI configuration, which I hope can unlock the thing’s potential a bit more. But it won’t surprise me if it remains mostly a toy, which I might sample occasionally with Phonogene or freeze in Clouds or Mimeophon, after a copious gain boost that is.

But hey, it lets me have the fun of doing some idle finger drumming, which I haven’t done since switching from Maschine to Bitwig, or playing some honestly kind of nifty growly drones with the “Ohm” bass sound.

The next bit of gear should arrive Friday: I picked up an Arturia Microfreak in a Labor Day sale. I disdained it when it was released, and wasn’t sure I liked the touch keyboard when I very briefly stabbed at it at Knobcon last year — but I have heard so many good things about it, and good things people have done with it, that I’m willing to give it a solid try. If it works out, it will replace my Reface CS, which has been seeing less and less action.

The CS is fun to jam with but it can be a little difficult to make it relevant to what I want to do. The wee Freak though is mostly a polyphonic version of Plaits, plus an SEM filter and a touchplate pressure keyboard — and I know from the 0-Ctrl that I do like a touchplate pressure keyboard when it works well — and a neat little arpeggiator/sequencer that can dynamically randomize its content in a way that tickles my generative sequencing funny bone, and also record parameter automation. So that could potentially be quite nifty. Given that used prices are hovering very close to new prices, it is practically zero risk if I don’t like the thing after all.

Something else I have been thinking about is the Elektron Model:Cycles. I ignored it when it was announced, because it’s an Elektron groovebox, kind of a glorified drum machine, and I don’t do the sort of music that uses drum machines. Except… it’s really an inexpensive little FM synth, and there’s apparently a small community that swears it was secretly made for ambient music. Its FM is definitely more on the pure and simple side, being modern and clean and 2-operator based — but you layer that a bit and it really can sound gorgeous. I’ll have room for it in my setup if the Freak takes over from the CS, but it would eat into my available inputs. Also I can’t help but think it won’t really do anything I can’t do with Bitwig’s FM-4 instrument, aside from maybe inspire me to use it more often. (The Microfreak itself also has an FM mode…) So I’m gonna have to think on that more. I might be better off with something that has some crust on it, like an old FB-01 (cheap, but requires software to edit it without going crazy) or a MegaFM (less cheap, would probably have to take over from the Lyra-8) or a Volca FM (cheap, can also control and sequence itself, and can play 6-op DX7 sounds yet has a few hands-on controls to tweak it). Or just not make any of those moves at all.


I had a thought about what I could do for the next album, but it’s a little out of my comfort zone: record patch-from-scratch sessions and see if I can make it an actual performance. It will probably require a lot of trying and there will probably be many times where I’ve got a boring and ugly first minute, then some really sweet sounding awesomeness, and then it kind of falls apart or gets ruined with a sudden blast of noise as I try to add another voice. I really admire the people who can do this as a show, but I’m sure there is some preparation and practice involved. Still, it could be fun and rewarding to try it…