Tiny Wight has been composing electronic dance music for over 20 years with his dark electro-shock band The Deadites. Best known for their outrageous live performances and their annual “Halloween Extravaganza”, The Deadites have also received considerable critical acclaim for their recently released EP “The Big, Scary Monster Hunts at Midnight”.
In late 2012, Tiny eschewed the ease and flexibility of composing with VST instruments for the real-life, hands-on satisfaction of creating music with vintage and modern analog synthesizers and electric pianos. Since then, his collection has grown to include some of the coolest synths from the 70′s until today.
I♥SYNTHS: What got you into electronic music?
Tiny Wight: I’ve been an unapologetic nerd for a long time; I was programming computers and running a BBS (Bulletin Board System – think of it as the internet in slow motion with only one person on at a time) when I was 10 years old. My close friend Brian Kokernak exposed me to some great electronic stuff around that same time: Depeche Mode, The Shamen, Erasure, Yaz, Kraftwerk, Pet Shop Boys. Electronic gateway drugs that lead to harder stuff like NIN, Nitzer Ebb, Ministry, and their ilk The list just went on and on and I loved all of it. When the time came to pick a “band” instrument, it was a no-brainer: SYNTHESIZER! Unfortunately, the tiny Casio that my parents bought me wasn’t exactly equipped to lay down the sorts of tracks that I liked at the time. In 1989 I purchased my first real workstation keyboard, an Ensoniq SQ-1, and things started to get interesting.
I♥SYNTHS: When did you start collecting synthesizers and what was your first?
Tiny Wight: I got my first synth – a little Casio MT-100 – back around 1985 when I was 11 (for “band”). I graduated to the equally terrible Yamaha PSR-47 when I was 13 or so. At 16 I picked up an Ensoniq SQ-1 and things started to get interesting. All of the early Deadites songs were made on this keyboard and an Alesis DM-5 module slaved to the onboard sequencer. I wrote with this combo plus an E-mu Orbit for about a decade, from 1990-2000.
Somewhere in the mid-1990′s, I started using a computer pretty extensively for songwriting, but mostly for sequencing and mixing. I picked up Propellerheads Reason v1 shortly after it came out towards the end of 2000 and used versions of that more or less exclusively until 2012, when I said, “F#*$& this sh#*&. This isn’t fun at all anymore”, and started my synth collection with a limited edition Moog Little Phatty Toxic Edition. Once I got my hands on it, my fate was sealed, and my wallet literally exploded, permanently injuring my right buttock.
I♥SYNTHS: What type of music do you listen to? Any artists out there that inspire you?
Tiny Wight: Nearest and dearest to me is the 70′s and 80′s electronic stuff like Depeche Mode, Kraftwerk, Howard Jones, YMO, and most of the 80′s synthpop “one-hit-wonders”, along with more ambient stuff like Jean Michel Jarre and Tangerine Dream. I’m also very inspired by the soundtrack music of Ennio Morricone, John Carpenter, Goblin, and Wendy Carlos. Nowadays I find most of the stuff that I like best by kicking off a Pandora station like Boards of Canada, Kraftwerk, Erlend Oye, The Knife, or Kavinsky. We live in such a great and awful time for electronic music; there are so many fantastic bands out there, but they’re being obscured by some real garbage.
I♥SYNTHS: Is there a “Tiny Wight” sound? Do you have a favorite piece of gear?
Tiny Wight: Danceable beats, catchy solos, arpeggiated synth, lush pads is what usually comes out, regardless of what I set out to do. I can’t not try to write hooks when I’m putting together a song; it’s part of my musical DNA. I’m always writing songs for people with the intention of having people dance to them, but not in any particular style; I’m all over the place with tonality, sound, tempo, etc. Somehow though, no matter how hard I try to make something that’s totally different, it ends up being a Tiny Wight song. I guess that’s a good thing in that it speaks to the idea of me having found a unique style.
As for my favorite -most heavily used, let’s say- piece of gear, it’s really hard to choose; it really depends on the mood I’m in that day. Sometimes I’m in the mood for that 70′s vibe and the Roland Paraphonic 505 or Wurlitzer 200 comes out to play. Sometimes I’m more in the mood for arpeggiated breakdance sort of flavor and I gravitate to the DSI Prophet 08 or something like the Jupiter 6.
Tiny Wight: I only just recently picked up the Moog Voyager XL, but I have a feeling that’s going to make its way on just about every track I make from here on out. It’s a lovely, beastly, wonderful synth.
I♥SYNTHS: Are you strictly hardware now? Do you use VSTs and how do you go about recording?
Tiny Wight: I’m strictly using hardware for my sounds at this point. I’m recording to Logic and mostly just doing EQ, compression, and panning. I like the Native Instruments Guitar Rig plugin quite a bit, so I’ll occasionally throw something like that on a track. There will probably come a day when I drift back to using effects plugins for post production work, but it has been so invigorating to get my hands on hardware again that I’m really in no big rush to bother with the computer. Aside from acting as a master MIDI clock while I jam out, the computer is doing very little nowadays. I’m having an absolute blast making electronic music again.
My advice to anyone thinking about introducing hardware to their setup is to start cheap <$500 with something vintage that has knobs. Yamaha CS-5 maybe? You'll know very quickly if it's for you. Like, as soon as your fingers touch the keys quickly
I♥SYNTHS: Your room is full of inspiration. Can you tell us about your concept for the space?
Tiny Wight: In 2012, when I decided to step away from computer-based songwriting, I sort of put on the brakes and took a close look at what I was getting out of music. Specifically, I asked myself whether I was truly inspired by what was around me and by the equipment I was using to make music. I sort of – wasn’t. So I stripped down everything that had become comfortable and boring for me and rebuilt my studio and writing process from the ground up. I began surrounding myself not only with musical gear that I felt inspired by, but also with posters and art that spoke to me in a musical sort of way.
Recently, I commissioned my artist buddy Derek Ring to create a piece for the studio that would bring some futuristic vibes to the space. We brainstormed for a bit and then he hit the ground running, finally giving me a piece that brought together many of the movies and stories that I enjoy, from Blade Runner to Lone Wolf and Cub. I printed it up 2′ x 5′ on canvas, and it now serves as a sort of focal point in the studio.
Early on, I just sort of boxed myself in with a couple keyboard stands and started playing. As the collection grew, I started to realize that that setup wasn’t going to work for long. I hit my local Home Depot, grabbed some building materials and built a large wall in the studio that serves both to define the workspace and to hide an absolute shit-ton of cables behind. Two equipment racks sit side-by-side in the wall for my rack-mounted gear, including two line mixers which are starting to feel a bit intimidated by the growing number of synths in the room. All of my patching is done behind that wall, where cabling and inputs/outputs are completely exposed, yet entirely out-of-sight.
Wanting to further immerse myself in a futuristic music-making microcosm, I added programmable colored lights to the space that allow me to create whatever mood best suits the track I’m working on. To be honest, in spite of the flexibility, I rarely stray from Tron cyans and blues. The original movie, along with the Wendy Carlos soundtrack, serves as a big inspiration for me in general, and for what I hope will be coming soon from me in particular.
I♥SYNTHS: Are your young ones enjoying the pretty lights and knobs?
Tiny Wight: I want to make the studio and synthesizers available to them as much as I can, and I’ve even added programmable lights to the space to have on while they’re dancing. My youngest just loves to tweak synths, and the Moog Liberation, which sits on a guitar stand, is never safe from his little fingers. Some of the best, weirdest stuff I’ve heard out of that synth came from him tweaking it!
We have a great time in the studio. I’ll usually play solos on the Liberation while the two of them are dancing or playing around with the other synths. It is my fervent hope that I can pass along everything I know about making music to them and let them springboard into music making at an early age. If they’re interested. Which they will be, dammit.
I♥SYNTHS:As well as your vintage collection, you’ve recently acquired some newer pieces. Can you tell us your thoughts on them?
Tiny Wight: As much as the newer analog synths look like vintage equivalents on paper, there really are some fundamental differences in the sound of the older and newer stuff. To be honest, I don’t feel like many of the newer flagship pieces have the mojo that even some of the cheapest vintage stuff has. There’s just something fundamentally different – better, I guess- about the way the vintage pieces like the Yamaha CS50 or the Roland Jupiter 6 sound to my ears. That said, I’ll often get something I really love out of the DSI Prophet 08 or the Voyager XL and write a whole track around it.
The old and new synths work so nicely together for the type of music I like to write. That’s a big part of what keeps me bringing more and more of them into the studio; they’ve all got different “voices”, and they usually manage to come together to create something that’s better than the sum of its parts. What the modern synths lack in raw awesomesauce, they more than make up for in power and convenience. It’s a tradeoff that works out very nicely in a well-balanced studio.
I♥SYNTHS: What synthesizer is your most rare or special to you?
Tiny Wight: The Moog Liberation is so ridiculous and so awesome that I’ve just got to pick that one. The sound and feel of it, along with the amazing modulation options for live play, are so satisfying. For obvious reasons, it’s something that could never, ever be emulated by a computer. Also, I don’t know if all of the Liberations are like this, but mine’s got this weird, sweet smell to it that augments the enjoyment of playing a real, lovely musical instrument.
I♥SYNTHS: Do you have your eye on any other synths right now?
Tiny Wight: I like to keep everything plugged in and ready to play, but at this point I’m seriously running out of physical space and mixer channels! That said, I’ll probably find a way to add a Jupiter 8, an Oberheim OB8, and a Roland TR-808 at some point. There are so many synths that I’m interested in, but I’m trying to keep cool and just add stuff that’s really going to help the music. If I had unlimited space, budget, and time I’d add some of the littler guys like an Akai AX60/80, Kawai SX-240, Roland SH-1, etc. The list goes on and on, and the cost goes up, up, up! There are so many incredible synths out there. I’m trying to keep some focus in the studio and collect only stuff that I’ll really use and love.
I♥SYNTHS: Tell us a little about your group “The Deadites”.
Tiny Wight: The Deadites as a band was created in 1991 by my long-time friend Dynamo Marz and me out of a need to generate money to buy the equipment we needed to continue hunting and killing monsters, which we had been doing for a number of years already. We flourished through the 90s and early 2000s, both as a band and a monster hunting organization, then fell on hard times when the government stopped funding independent monster hunters. All our funding has come from private sources for the past decade or so.
There will always be a need for someone to kill zombies, vampires, werewolves, and all those other bad guys, but we’ve been living hand-to-mouth for a long time now. Much as they may want to, folks can’t generally pay us what the government offered back in the day; a few hundred dollars on a contract is generally the best we can hope for, regardless of what is called for. Even with a dozen or so members of The Deadites Secret Twilight Society working steadily on a monthly basis, we’re barely making what we need to keep our headquarters open.
As far as music is concerned, The Deadites have won multiple awards for our live performances over the years. We have recorded multiple full-length albums over the years, but one villain or another always stepped in to destroy the recorded masters. It has been frustrating to say the least. In 2012 we quickly and covertly recorded and released our EP entitled “The Big, Scary Monster Hunts at Midnight”. It has been well-received, and even appeared in Fearnet.com’s “Best of 2012: The Year’s Top 10 Horror-Friendly Albums”. A full-length release is planned for 2014, but please don’t spread it around; the baddies might find out and try to put a stop to it.
I♥SYNTHS: You are also part of the “Trick or Trick” podcast. Tell us a little about that.
Tiny Wight: The Trick or Treat Radio Podcast was started by The Deadites’ producer of media Johnny Wolfenstein in August of 2012 as a promotional vehicle for The Deadites as a musical entity. It has since grown to become its own project altogether. The show has been referred to by listeners as “the Drive Time Show from Hell” — part Howard Stern, part Nerdist, part improvisational radio drama. We’re informative with our films reviews, but we also throw in plenty of humor. We’ve had guests from all backgrounds on our show including NY Times Best Selling Authors, Filmmakers, Musicians, Comic Book Writers/Artists, Game Designers and Professional Wrestlers.
We discuss the things that we enjoy – Films, especially Horror, Comic Books, Music, Video Games, Books, and other Pop Culture topics. Our show broadcasts live every Wednesday evening starting at 8:30pm, and is available for download on Friday mornings. The show can be downloaded from iTunes, Stitcher Radio and from our site http://trickortreatradio.com. In the short history of the show, we have been featured on “New and Noteworthy” and “What’s Hot” on the iTunes podcasts page. We also have a Facebook Group. So yeah, good on us! Come check it out!
I♥SYNTHS: When you put on the mask, do you feel like you have super powers?
Tiny Wight: I wouldn’t say superpowers, no, but I can wade through a crowd of zombies or take out a master vampire like a boss, and it looks a lot cooler on video in slow-motion when the mask is on.
The mask is for anonymity and intimidation. I’m quite well-known in the monster hunting community, and by most villains who mess with the dark arts. Seeing the bad guys’ faces drop when I walk into a room is one of my favorite parts of my job as a monster hunter. The mask just hides the smile.
Oh, and it’s a fun part of the stage show, too. Something iconic to anchor the band, I suppose.
I♥SYNTHS: How do you handle your live rig? What gear do you take out?
Tiny Wight: For the sake of my fellow musicians on stage, I try to keep it simple. I usually bring one or two synths and the Moog Liberation, along with a laptop for backing tracks. There are four of us that play live over the tracks and four vocalists. It takes every ounce of willpower that I have to leave most of the synths back in the studio. Something like the CS50 may make its way out to future shows, in spite of its size and weight. It is ridiculously expressive and ridiculously fun to play. The Wurlitzer 200 might also travel well… Shit, don’t get me started!
I♥SYNTHS: Care to share some new music from your solo efforts and “The Deadites”?
Tiny Wight: Sure! Here are my latest tracks on soundcloud.
In 1989, Shawn Rudiman started production work with Ed Vargo as part of the seminal Industrial group T.H.D. (Total Harmonic Distortion). This EBM/Elektro unit became quite popular in the EBM/Industrial music scene of the early to mid 90′s. They released 4 full-length albums, countless remixes and compilation releases on both European and domestic labels. During these formative years, Shawn developed a fascination with vintage music machines. In 1997, he decided to stray from his Industrial-EBM roots to explore the depths of pure rhythm and sounds in Techno music.
Rudiman’s all live sets of non-stop, improvised techno became his trademark. His innate understanding of hardware drum machines, sequencers, samplers and synthesizers gave his performances the fluidity and smoothness of any DJ set, but entirely flexible in direction and tempo (well before the introduction of software live applications). These performances gained international attention throughout the Techno community and became the stuff of legend.
Today he resides in the Midwest, still releasing records and remixes. Always a consummate studio enthusiast, Shawn maintains, repairs and builds analog and vintage synthesizers while keeping a busy international touring schedule.
Photos by: Christa Majoras
I♥SYNTHS: What was your first synth and what made you want to get into electronic music?
Shawn Rudiman: My first synth was a Yamaha b200 M. That was what started me on this wild ride. It was a Prosumer FM 8 voice / 4 op poly. I got it for Christmas in 1990. I believe I was 18 and It was my first real love. That poor synth has had a lot of flight time hours on it. They keys have started to degrade and melt and the buttons are all in need of serious replacing as well. I still love it and pull it out sometimes. The next day after that Christmas, I went out and picked up an HR16b, with whatever money I had saved. I still have that as well and it’s been modified now with the patch bay-hack that scrambles the 16-bit data lines which makes the sounds totally into something new.
I♥SYNTHS: What got you into electronic music?
Shawn Rudiman: I was always into space and sci-fi TV shows and read sci-fi as a kid. Synthesizers to me, were almost like a tiny bit of that, in the here and now. Along with that, I was totally obsessed with synthpop and electro/freestyle or anything that had synths and drum machines in it. I was too young to go out to clubs and was totally in the wrong place as well (the backwoods of Pennsylvania).
I♥SYNTHS: Are there any songs that stick out for you?
Shawn Rudiman: The two distinct memories were hearing “19” and “Rockit” for the first times. My mind was totally blown, I had never heard anything like those two songs ever before. Wow, they floored me. Also, hearing Gary Numan’s “Cars” at a really early age. I was supposed to be in bed sleeping (I think I was in first or second grade), and I was listening to a radio station on a little transistor radio under the covers. The station must have been a college station that I somehow picked up or maybe had a new wave or synth dance show on. Needless to say, I was doomed after that. “Cars” is still haunting and a flawless song.
I♥SYNTHS: When did your obsession start with collecting synths?
Shawn Rudiman: The day after that Christmas in 1990! It was really fueled by diving headfirst into making music. My friend Ed Vargo and I decided we were going do this shit and try it out. We were so arrogant and had zero idea what we were doing. Totally green on every front. Long story short, we somehow managed to get a demo of industrial stuff to a label in Denmark. They liked what they heard and signed us for a full cd.
I♥SYNTHS: When you were signed, did you go out and pick up more gear?
Shawn Rudiman: Yes! The label gave us $3,700 as an advance. We used that money, which at the time would be comparable to $15,000 today, to purchase more gear. We bought everything we could find that was electronic. And then, we began learning what actually was made, the specs, etc.
The early 90’s were the time to buy analog synths and drum machines. It was really great. You really had to dig for that shit though. We scoured pawnshops and mom and pop music stores all the time. Also, we used newspapers. There was no eBay or Craigslist. You had to want that junk, and it was junk at the time.
I♥SYNTHS: Do you consider yourself as a collector or musician?
Shawn Rudiman: I still don’t consider myself a collector. Collectors don’t use them. I try and use everything I come into. Sometimes I buy them and sometimes I make them. They all get used and appreciated by being used in songs and tracks. Without them making sound, they’re kind of useless. They have to be used, to be the gems they are!
I♥SYNTHS: What was the best deal you’ve scored on a synthesizer?
Shawn Rudiman: Oh man. I’d say there were a couple of good scores in my time but, the prices were skewed to the early 90’s so, it sounds totally insane by today’s standard. My Roland 909 was only $325, minty in the packaging.
I♥SYNTHS: Any regrets? What synthesizers did you let go and wish you could get back?
Shawn Rudiman: First and foremost, it would be my Jupiter 6. I traded it (as a career move of sorts) in 2000 or so for my FR-777. They were new and I had zero money and really, I was playing a lot of rave gigs and I knew I was going to have to maybe fly one day to a gig. I needed something sound-wise that was equivalent to a Pro-One with an onboard sequencer. The 777 was exactly what I need at the time. I still miss that machine.
Also, when I moved to Pittsburgh, I split the old studio I had with my studio partner Ed Vargo. We had bought a Yamaha CS-70M together over the years and luckily when I moved we had things that were sort of comparable to split. It was an “amicable divorce” I guess, you could say. We each got the things we liked. He got the CS-70M and I got the JP-6. That CS-70m is one of the most beautiful sounding machines I’ve ever touched. It’s amazingly huge in size and sound. We put the Kenton midi kit into as well so its really super duper sweet.
I also miss my Octave Cat a lot. I traded that synth years ago for a 727 with trigger outs on all voices. Once again, another trade for gig machine, rather than cool studio stuff. I also miss my Avatar. I sold it to help pay for my Virus A in 1997. Oh, add my re-555 to that list as well. So, there’s always things I miss and probably won’t find again. Those days are long over for getting machines at humane prices.
I♥SYNTHS: What’s your most prized possession in the studio?
Shawn Rudiman: Hmm, that’s a tough call. All of the kids are loved equally but if I’d say the MPC 3000. He’s on every single time I’m in the studio. To me, it’s as good as its ever going to get. Also, add the Prophet VS, The 440, Sequential Circuits Pro-One and Oberheim Xpander to that list as well.
I♥SYNTHS: When did you get into working on creating your own synths?
Shawn Rudiman: Well, I don’t really create my own synthesizers. I’ll find DIY things and make them into my own look or I’ll modify the circuits to do more/other than intended things. I started doing this about 5-6 years ago. I never understood schematics or electrical engineering before that. I just wasn’t ready. It stemmed from things going bad and malfunctioning or finding broken things for sale and monkeying around inside with them to learn more. The first thing I’ve ever fixed from the dead was a Crumar Bit One. After that, I fixed my TR-909, which was dead for 3 years. Then, it was a cascade of things that just kept getting more and more intense.
I♥SYNTHS: Any shout outs to people or companies that helped you along the way?
Shawn Rudiman: I looked into DIY stuff and found the MFOS site. Wow. I dove head first into their hardest project and spent a year making a bank of sequencers and modding them to do new things! I seemed to really have a knack for figuring things out from a user standpoint. Then, I spent time learning how to electrically make that happen. Ray Wilson from MFOS is the man. He was very patient with my constant questions and learning. He’s truly an awesome guy.
Then it was synths. The Doepfer DIY synth was my first. Then another and another and the mutable instruments stuff as well. All of the Meeblip stuff which is all modded and built into crazy custom cases and faceplates. I see them as synthesizers I cant afford to buy so, I just make them. I guess I’m also a fan of the underdog and unknown or raw sounding things.
I♥SYNTHS: What’s next for you? Any current builds or something you have your eye on?
Shawn Rudiman: I’m currently working on another extra-modded Doepfer DIY synth (2 subs, 2 extra envs and tons of extra cv patch outs, a mutable Anushri with several mods (that shares the cabinet with the DIY #3), My Arp odyssey 2800 (MKI) which is totally patched and modded with a new rotary potentiometer faceplate. Also, I’m adding switchable res/pan mod to my studio 440. I’m also replacing the power supplies too. Things are reaching that time when the capacitors and regulators are just getting to the end of their designed lifespan. I need to finish the projects on my bench before I go looking for anything new in the DIY area. They are easy to find and hard to finish.
I♥SYNTHS: We love that you’re a hardware guy. Can you share a live set link and tell us why is it your favorite?
Shawn Rudiman: Sure this is a video of a live set from the legendary TRESOR club in Berlin, Germany.
It’s one of the best sets I’ve played in a very long time. My performances are always off the cuff and sequenced, programmed, mixed on the fly. It’s 20 minutes of a 2.5 hour set. Some Detroit techno business, as for why it’s my favorite. I didn’t over do things and rush things along or ruin it with too much. I let things groove and be what they could be.
I also did an “industrial “ album a couple years back that was a lot of fun to do. It was a great break from the techno aesthetic and allowed me to return to songs again. It’s called THD (Total Harmonic Distortion) – “ The Evolution of Our Decay”
It’s a fave because I really enjoyed making it. From the song writing to lyrics to production, it was a breath of fresh air for me. It was just really what I was trying to get out.
Michel van Osenbruggen also known as Synth.nl is a producer, composer and synthesizer collector from the Netherlands. Developing software, installing computer networks and repairing electronics led to his obsession with synthesizers. With influences from Jean-Michel Jarre and Vangelis, Synth.nl creates beautifully melodic synthesizer electronica.
I♥SYNTHS: What was your first synthesizer and how old were you when you started collecting?
Synth.nl: I still remember exactly what my first synthesizer was, the Yamaha TX81Z. It is a rack module so I had to buy an extra midi keyboard, that at that time wasn’t even velocity sensitive. It must have been around 1987 when it was just released. So, I was 17 I guess. That adds up, since I bought it from the money I got to buy a moped from my parents, when I didn’t smoke until my 16th birthday. I guess their trick worked since I still don’t smoke. I also still have the TX81Z with my original sounds I made back then. I can also remember well, that FM programming was not easy and still isn’t easy.
I♥SYNTHS: What is your process for recording synthesizers onto the computer?
Synth.nl: Well, first of all, I always record midi to start with. Usually my tracks start on some of my newer equipment and often later in the process of producing tracks I replace the sounds or layer them with one or more of my older analog machines. I don’t like to have them switched on all the time. I’m trying to save them as much as I can. For AD converting I mainly use two Lynx Aurora 16′s that go with ADAT to a RME 648 and that outputs MADI to an RME HDSP MADI interface in my studio PC. I use Cakewalk Sonar X2 Producer Edition (soon to be replaced by X3) on my PC to record and produce my music.
I♥SYNTHS: How many synthesizers do you currently own, do you have them catalogued?
Synth.nl: I used to catalogue them, but I actually just stopped with that. I had a complete list on my website, but it was too much work to keep it updated and recently I removed the whole studio part from my website. Unfortunately it brought me more negative reactions than positive so I was fed up with it at one point. It is a shame for the people who liked it, but it wasn’t really motivating. There is still a lot to be found on my blog though. I will try to keep updating that from time to time. The last time I counted There were a bit over 100 synthesizers in the studio including the module versions.
I♥SYNTHS: Is there a synthesizer out there you’ve yet to find?
Synth.nl: Well, not that much. The ones I’m still looking for are quite rare and expensive. I recently added an EMS ‘Putney’ VCS3 to the collection. That was a machine I looked for a long time and is truly a very unique synthesizer. I would love a Yamaha CS-80 but they are becoming so rare and expensive. Besides that, they are very heavy and they take up a lot of space. What is missing a bit in my collection, is a classic Oberheim. So maybe an OB-Xa or OB-8. I also love the looks of the Yamaha DX-1, but again the price. And, what I’d really like is a Walfdorf Wave but they are hard to find. People that own these machines know what they are worth and the real collectors don’t part with them easily. Like myself, I hardly ever sell a synthesizer. That is why I have so many. Now I’m at the point when something goes in, something has to go out. The studio is full.
I♥SYNTHS: What is your favorite synthesizer company?
Synth.nl: I guess as whole company, Roland. I like most of the synthesizers they’ve made and they take up a large portion of my studio. My first synthesizer with a keyboard was a Roland D-10. So I learned to play with their joystick modulation and also, the light keys that they have. I still prefer those keys and that joystick over any other keyboard and I still don’t like playing with a mod wheel. My master keyboard in my studio is also a very cheap Roland midi keyboard with that same joystick on it.
I♥SYNTHS: If you were stuck on an island with one synth, what would you bring?
Synth.nl: I better bring an acoustic guitar since there probably will be no power. But, let’s say there is, my favorite synth is the Moog Minimoog but I wouldn’t bring that, since it is very limited on it’s own. So, I guess I’d bring the most versatile machine at the moment and that is the Korg Kronos, in my humble opinion. You can jam very nicely on it and all the different sound engines give a lot of freedom in sound choice.
I♥SYNTHS: You’ve rebuilt your studio a couple times. Do you think redesigning your space is another passion?
Synth.nl: Not really my passion, no. I think you have to do it at least three times to get a decent feel for the ergonomics of your setup your workflow. And, the cabling takes time to get it right. I always try to be as efficient as possible and use the shortest possible analog cables to avoid hum and noise. The latest studio, I even designed it upfront in 3D to get a feel for the ergonomics of it. I think I’ve gotten the maximum potential out of the room now. People who know the fish-eye pictures think the room is huge, but actually it is only 4 x 7 meters. So, it is packed very efficiently. I wouldn’t like to to it again, actually. I’m happy as it is now and I’m only re-cabling and rearranging some stuff now because I think I can get even more MADI inputs into my studio PC. That will save me some patching. I really like to have everything running as much as possible, hooked up and ready with both midi and audio.
I♥SYNTHS: How long did it take to build your latest studio?
Synth.nl: Well as you might know, we dug a large hole in the garden and put the studio in a basement. That project took about 6 months to complete. After that, I spent another month with the guy that did the furniture and 2 or 3 months after that, to get everything in and wire it up. Of course, I had to do that next to a very busy day job, so it wasn’t full time work. I’m still not completely done actually, but the end is in sight. I guess, all in all, I’m not exaggerating when I say it was almost a year.
I♥SYNTHS: Who is your biggest influence on your music?
Synth.nl: Two names pop into my head right away. What influenced me equally: Jean Michel Jarre and Vangelis. In the beginning, it was more Jarre and later on I got to appreciate Vangelis more. I think he really is one of the greatest composers, not even only for synthesizer music. But the music I heard first was by Jarre. Oxygene and Equinoxe got me turned over from hard rock into synthesizer music. I guess, also with age, you start to appreciate more melodic and relaxed music more than when you are young.
I♥SYNTHS: Space and the ocean seem to be a common theme with your music. Would you say that nature is your biggest influence?
Synth.nl: I’m a very restless and stressed person by nature, unfortunately. I’m always busy and hardly ever rest. I even hate sleeping. I think it is a waste of time. But in 2005, it got me into a burn-out. I was a year off from work completely and only started to produce music at that time. Until then, I collected synthesizer and made a lot of preset sounds on them, but never music. I don’t have a musical background and still can’t even read notes, actually. If you like the whole story, there is quite a nice documentary that a student of the film academy in Rotterdam made on this topic on my YouTube channel. But bottom line is that, I started to create music to relax myself a bit and get my mind empty again. I’m very visually oriented so I had a story and the pictures in my mind that I made music to. It was like taking a journey of myself. I think nature and space are very good sources for inspiration and relaxation in that way. I think the ocean and space makes you realize how tiny and insignificant we humans, actually are and how tiny our daily problems are. That actually helps me to see things in perspective again.
I♥SYNTHS: What’s next for Synth.NL?
Synth.nl: Well, last year I did another vacation with my friend and record label owner Ron Boots. We brought our synthesizers along again, so we made some new music. That still has to be edited, mixed and produced into a new album. So, I guess that will be a project for 2014, hopefully. Besides that, I really need to work on some solo material again. Well, not completely alone. My friend Hansjan Landman usually helps me with that. I also did a collaboration last year with another friend Remy Stroomer. We are planning a follow up on that as well, based on retro computers and game consoles. And then, I still have my classical project and planetarium music laying around to finish up and release some day. So, I guess I have no reason to be bored the coming years. Unfortunately, my work takes up a lot of my time so, I have no idea how to get it all to fit in between. I guess it will mean even less sleep next year.
Synth.nl OFFICIAL WEBSITE
I♥SYNTHS: When did Jam open their doors?
JAM: We first started out as a small used synthesizer store in early 1997.
I♥SYNTHS: What got you interested in selling synthesizers?
JAM: There really wasn’t any business thinking behind it. I just wanted to be around really cool music gear all day, preferably things you had only seen in Peter Forrest’s A-Z of synthesisers or Mark Vails Vintage Synthesizers-book.
I♥SYNTHS: Were you primarily a synth shop and then expanded to other instruments?
JAM: Yes, that’s correct. We have a specialised store for guitars right across the street and a PA-equipment store, just round the corner. JAM Syntotek is specialised in synthesizers (and some studio gear). We are also one of the few stores in Sweden that has both used and new gear, which is sort of how I think a music store should be. It should be fun to visit the store, not like going to your local supermarket.
I♥SYNTHS: What was the coolest synth to walk through the doors?
JAM: Oh, there’s too many, really. We had an original Buchla Music Easel for a day, just visiting from the Royal Music Academy collection. Apart from that, I would say the Technos Acxel (which we’ve had one of before and now just got another one in stock, there’s supposedly less than 40 of them around), the Synton Syrinx Special Edition (super rare, only six made), the super obscure swedish modular Dataton, some EMLs which I am really into and a huge Moog Modular IIc.
But, the coolest piece of gear will always be the EMU SP1200 sampler for me.
I♥SYNTHS: Do you collect as well, or is everything for sale?
JAM: I do keep gear for my self periodically, but usually everything in the store is for sale.
I♥SYNTHS: What is your rarest synth in the collection?
JAM: At the moment it is the Technis Acxel. We really don’t know how to put a price on it.
I♥SYNTHS: Have you had any celebrity sales? What did they purchase?
JAM: Mostly swedish celebrities, although Daft Punk bought an MaM sequencer in the late nineties. Philippe Zdar, who I really like as a producer, bought a couple of Neumann mikes and turned out to be about the nicest guy we’ve ever met.
I♥SYNTHS: Do you do repairs and maintenance too?
JAM: Yes, we do. We have a service technician who shares space with us, who is really good at fixing stuff without schematics. We also know most of the repair guys around so, whenever we’re too busy or if it is too hard, we call them in.
I♥SYNTHS: Modular synths have exploded onto the scene in the past few years. Are you noticing more traditional keyboard players getting into it or is this a whole new breed of music makers?
JAM: I would say both, really. There’s these guys who use them only for production, and those who make modular sound just for the activity, I guess. Both is ok in my book. I think the dubstep kids etc are mostly into soft synths though.
I♥SYNTHS: Thanks again for the interview! Care to share some original music or a popular album you’re into at the moment?
JAM: You should always plug your friends so I will have to say, Andreas Tilliander / TM404, his stuff is great, check it out on https://soundcloud.com/tilliander
Also, Smutskatt is a really good swedish beats producer that I tend to play at work a lot http://soundcloud.com/smutskatt
The represses of Eliane Radigues fantastic drone music is also well worth checking out.
Oh, I would also like to plug our instagram account where we put up all the goodies as they come in;
Jam on INSTAGRAM