Synkro

There’s this one called Granular To Go, which is meant to be one that you just put on and hope for the best, but if you actually get your head around it you can make it do what you want it to do. I also use the Max for Live LFO plugin a lot, Audio Damage Kombinat, which is quite an old distortion unit, and the TAL delay plug-ins. I’m a big supporter of free plug-ins and lo-fi.

There’s this one called Granular To Go, which is meant to be one that you just put on and hope for the best, but if you actually get your head around it you can make it do what you want it to do. I also use the Max for Live LFO plugin a lot, Audio Damage Kombinat, which is quite an old distortion unit, and the TAL delay plug-ins. I’m a big supporter of free plug-ins and lo-fi.

Not really; I use audio effects plug-ins a bit but, again, only a really minimal selection. I’ve really been getting into the Max For Live granular plugins, which make my analogue synths sound absolutely mental. They make the most basic sounds ridiculously complex just by taking them apart and throwing them back together in a random order.

At 0:15. Akai MPD 26

I try to keep the music as natural as I can, with as little editing or over-processing as possible. A lot of the melodic parts are all synth jams that I created using my Roland Juno-6, a Roland SH-101 and the Yamaha QY700 sequencer before I gradually started tracking into Ableton and putting percussive elements on top.

“There’s a big trend of people using vinyl crackle in electronic production when they don’t even own a piece of vinyl. When you hear a vinyl crackle in my tune, it’s usually because it’s come from vinyl. It goes back to the Jungle era; people like LTJ Bukem, Photek and Source Direct, all those records come from other records, through an Akai S1000, 2000 or 950 sampler. I like paying homage to the original production techniques that got me into this game in the first place.”

“There’s a big trend of people using vinyl crackle in electronic production when they don’t even own a piece of vinyl. When you hear a vinyl crackle in my tune, it’s usually because it’s come from vinyl. It goes back to the Jungle era; people like LTJ Bukem, Photek and Source Direct, all those records come from other records, through an Akai S1000, 2000 or 950 sampler. I like paying homage to the original production techniques that got me into this game in the first place.”

“Previously, I was using the standard Akai tape deck, but I’ve just bought a Tascam Portastudio 4-track, so if something sounds too clean or digital I’ll just run it through tape and resample it. I’ve also got a Korg Monotron Delay, so I’ll literally run stuff through that – they’re only £35.

There is a photo when he is using.

In his studio there is.

In his studio on his desk.

In his studio on his desk.

I try to keep the music as natural as I can, with as little editing or over-processing as possible. A lot of the melodic parts are all synth jams that I created using my Roland Juno-6, a Roland SH-101 and the Yamaha QY700 sequencer before I gradually started tracking into Ableton and putting percussive elements on top.

The Microkorg is displayed numerous times throut the video. Example: 4:11

I try to keep the music as natural as I can, with as little editing or over-processing as possible. A lot of the melodic parts are all synth jams that I created using my Roland Juno-6, a Roland SH-101 and the Yamaha QY700 sequencer before I gradually started tracking into Ableton and putting percussive elements on top.

I try to keep the music as natural as I can, with as little editing or over-processing as possible. A lot of the melodic parts are all synth jams that I created using my Roland Juno-6, a Roland SH-101 and the Yamaha QY700 sequencer before I gradually started tracking into Ableton and putting percussive elements on top.

“There’s a big trend of people using vinyl crackle in electronic production when they don’t even own a piece of vinyl. When you hear a vinyl crackle in my tune, it’s usually because it’s come from vinyl. It goes back to the Jungle era; people like LTJ Bukem, Photek and Source Direct, all those records come from other records, through an Akai S1000, 2000 or 950 sampler. I like paying homage to the original production techniques that got me into this game in the first place.”

“Previously, I was using the standard Akai tape deck, but I’ve just bought a Tascam Portastudio 4-track, so if something sounds too clean or digital I’ll just run it through tape and resample it. I’ve also got a Korg Monotron Delay, so I’ll literally run stuff through that – they’re only £35.

If I throw a Korg Volca kick drum through the Monotron Delay it just sounds like the rawest tape saturation or compression, but you’re literally just throwing this kick through a cheap circuit chain, and it’s all to do with how cheap and basic the circuitry is.

I’ve got a Roland JX-8P that I use quite a lot for basslines and a couple of Casio keyboards, including a HT-700.

I’ve got a Roland JX-8P that I use quite a lot for basslines and a couple of Casio keyboards, including a HT-700.