Check out his full interview and feature here.
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.
I♥SYNTHS: Can you tell us a little about Custom Synth? When did you get started and what made you get into the business?
Custom Synth: A while back, I got involved in music because one of my brothers, Toby Toman, played drums in various British bands (The Nosebleeds, Ludus, The Durutti Column, Blue Orchids, and Primal Scream) so I grew up around rehearsal rooms and studios. I started Custom Synth several years ago, mainly restoring vintage equipment, rack gear, rusty keyboards and more. I thought, wouldn’t it be great to customize hi-tech equipment? Fender and other guitar companies have custom shops so, that kind of started me off. I now notice Roland, Korg and other companies have started to do it. Then, I was commissioned to customize a Nord in black, so it could be used in an orchestra pit and not stand out. Red Nords are cool but having a black option would be handy for something like this.
I♥SYNTHS: If someone wanted a custom synth, what’s the best way to get started?
I♥SYNTHS: Can you explain a little about your process on customizing?
Custom Synth: Once the project is started and the colors/graphics are worked out, the equipment is stripped down. Then, the parts are prepared, sanded, resprayed and screen printed. I work with friend who has a screen printing company (they used to do all of the Joe Meek gear).
I♥SYNTHS: Do you get any other instrument requests besides synthesizers?
Custom Synth: I do mostly hi-tech instruments and rack gear. I did work with Native Instruments for a while, customizing the Maschine for the artist series and a few one-offs. I also worked with Novation with the dicers and launchpads in chrome/gold and more. Really, anything that can be sprayed and printed can be customized or restored.
I♥SYNTHS: You’ve done some custom synths for celebrities and famous musicians. What was your most unique or original project?
Custom Synth: One of the most unique projects was for Tom Rowlands (The Chemical Brothers studio). I built a midi controller keyboard to sit in the bumper rail of a large SSL mixing desk. It has a detachable cover to match the rest of the desk and two modular cabinets. One was for the Serge modular system in a two piece metal arch and the other was a MOTM system to match the Roland 700 system.
I♥SYNTHS: Any other unique stories or projects?
Custom Synth: The restoration work I do for RL Music is rewarding and the finished instruments always look and function beautifully. You can see more at http://www.rlmusic.co.uk/
Custom Synth: Also, the Kaiser Chiefs have a white keyboard set up for their world tours including Peanut’s custom Nova-modded 808-style SH101.
Custom Synth: Howard Jones has a great looking sci-fi Deco chrome keyboard setup.
Custom Synth: Pete Watson, a session musician (Hurts, Lily Allen, Live), uses mainly Nords in black with reverse keys.
Custom Synth: Keane uses a custom Roland SH-201 in yellow.
Custom Synth: Rachel Furner uses a Roland RD-700 GX piano with blue and white stripes.
Custom Synth: Chromeo has a few all-chrome pieces like the MS20, Nord Modular, Nord Stage, a Roland SH-101, Akai MPC, Moog Voyager and Simmons Drum pads.
Custom Synth: Mike Skinner (The Streets) urban camoflage tr 909, a custom white Logan string machine, a white ARP Axxe and pink Fender amp.
Custom Synth: Gary Go has a custom black Nord stage and microKORG.
Custom Synth: Major Tweaks Studio (Roger Lyons) is the north’s leading analogue synth recording studio, custom SH-101s, MS20s, a CS and modular racks. Other customers include: Goldfish , Robbie Bronnimann , Tom (Editors), Shadow Child, Spoony, Funkagenda to name a couple.
I♥SYNTHS: Do you have a favorite synthesizer to work on?
Custom Synth: Anything is great to work on. Seeing something in a sorry state or rusty and beat up and then refreshing them and making them usable again is worth it.
I♥SYNTHS: What’s been your most challenging project?
Custom Synth: I recently had a Jupiter-8 that had been in its case in damp storage. The lining of the case had turned to sludge, eaten the paint off and bubbled the paintwork. That took a lot of refinishing and it came out rather well.
Custom Synth: Similar with a TR-909, that had sat in a puddle for a year. Someone had a go at painting it which kind of reacted and the finish became bubbly. I gave that an 808-color makeover.
I♥SYNTHS: Do you have a large personal collection of custom synths?
Custom Synth: I used to but not now. I just use a Roland Fantom G6, a Eurorack modular (which is growing) and a laptop with Reason on it, for my music
I♥SYNTHS: Have you ever fallen in love with a project and wanted to keep it for yourself?
Custom Synth: Yes, I love everything I do, but you have to let the kids leave home. They can always come back.
I♥SYNTHS: What’s next for Custom Synth? Do you have any future projects or new ideas you’re looking to do this year?
Custom Synth: I have been making a few t-shirt designs, which I sell on eBay. I try and keep the designs unique. They change all the time and helps pay for the projects.You can check them out here on http://www.ebay.com/usr/customsynth
Custom Synth: I’m still finishing a duo SH-09 which is a work-in-progress but, it’s getting there. I am also going to make a few Custom Synth one-offs this year and continue to experiment with different colors and finishes. I did have a plan to make some speakers for modular systems but, I’ve noticed people have started to do that. Perhaps customizing Eurorack modulars would be great! Maybe a rainbow modular? Different colors used for functions might be nice. I’m also working out a way to mount effects pedals into Eurorack formats too.
I♥SYNTHS: Thanks again for the interview! I hope to one day own one of your amazing pieces of equipment.
Kebu is a composer and keyboardist, who creates melodic synthesizer music, common to the sounds that were popular in the 70’s and 80’s. He’s attracted a lot of appraisal for his captivating live performances and over one million views on his YouTube channel. Playing in numerous bands through the years, touring and recording awesome studio videos, he’s had some time to acquire a pretty nice collection of synthesizers.
I♥SYNTHS: Tell us about Kebu. What does the name mean and what got you into synthesizers and electronic music?
Kebu: It was my nickname that I got at the university. One typical nickname for someone named Sebastian here is “Sebu”, but that was already taken so I became “Kebu”. My dad had cassette’s that he had taped from the radio with all kinds of music, among that Mike Oldfield, Jean Michel Jarre, Vangelis, Abba and even Boney M and I grew up listening to those cassettes. One of the first technical things I learned as a kid was, how to operate our home cassette deck. So that’s where my interest in electronic music started. I was also very fascinated by electronic keyboards early on, but my parents were advised to get the kid a real piano to learn on.
I♥SYNTHS: Where you classically trained on piano first?
Kebu: Yes, I started playing piano when I was 6-7 years old with lessons once a week for a few years, but my piano teacher could only teach me the basics. The next step would have been to go to the closest town and study classical piano, but I was living in a small village far away and my parents couldn’t afford to drive me once a week to the town. So eventually I lost interest in playing piano, but picked it up again when I was in high school and got interested in synthesizers. Since then I have been playing keyboards in probably almost twenty different hobby bands.
I♥SYNTHS: What was your first synthesizer?
Kebu: A new Kawai K1 II, which I hated because it didn’t have a decent piano sound and the black keys were harder to press than the white keys. I probably would appreciate it now for what it is, but back then I would have needed a PCM-based workstation, like a Korg M1 that I lusted for, but couldn’t afford back then. Soon after, I found a used Roland SC-155 (Sound Canvas module), which I really liked but realized that I really need the patch storage capability for live use, which the SC-155 lacked. I then realized that synths are VERY different from each other. Not in terms of nuances, like with different types of guitars, but more like apples and oranges. I also realized that by learning and trading on the second hand market I could try many different synths without loosing too much money. So the Kaway K1 was the first and only new synth I ever bought. After that, I’ve had over one hundred different hardware synths.
I♥SYNTHS: Who is your biggest inspiration for what you do? And, are you into any current artists?
Kebu: My biggest inspiration is hard to pick. Still, Jean Michel Jarre is probably my largest influence on what I’ve done as Kebu up to know, although I listen to a lot of different music, from qawwali to bluegrass. Lately, I’ve listened a lot to current trance music, as I think that is what melodic synthesizer music of the 80′s evolved into. Especially Arty and Mat Zo are current artists are making some very good music.
I♥SYNTHS: Is KEBU full-time now or do you still work a day job?
Kebu: I always respond to that question that I have a full-time job as a researcher and in addition a half-time job as Kebu. Although I say it as a joke, it is true. So I’m kind of in the middle of a struggle right now, because I would need more time for evolving my music, but I couldn’t make a living on my music yet.
I♥SYNTHS: What is your favorite piece of gear?
Kebu: My favorite piece of gear is probably my Korg Mono/Poly. It is such a great sounding synth and surprisingly flexible!
I♥SYNTHS: Do you use any newer gear or do you like to stick with the vintage stuff?
Kebu: With my “To Jupiter and Back” album, I wanted to restrict myself to using only analog synths, which is something I still do. Most of these were from the eighties, with the oldest from 1975 (I think) and the newest just a few years old (Vermona DRM1 Mk III). You get a different character from new analog synths in comparison with old ones – both equally valuable in a mix. But for me, the most important thing comes from the fact that I work with real hardware. The fast hands-on approach get me creative, but also its limitations does so. Instead of infinite possibilities it gives me a strict palette and canvas to work with, which I find inspires me a lot. Originally I thought about taking my recording approach to the edge with a strict AAAA approach – recording analog synths to multitrack tape and mixing it with an analog mixer and analog effects to 2-track tape. Eventually I noticed that I couldn’t get the spacious sound I sought after using only the two spring reverbs and a tape delay that I had. I knew I didn’t have the space or money for getting a real plate reverb and good quality 2-track tape machine, so I went halfway, using my multitrack tape machine and analog mixer, but digital reverb/delays and a digital master. Live I use a relatively modern digital sequencer (Yamaha RS-7000) and a digital Behringer mixer (DDX-3216) for being able to switch settings fast between songs.
I♥SYNTHS: Are you still actively buying synths? Any piece out there you’re still in search for?
Kebu: I am actually very satisfied with the setup I have right now. I just found myself a mint Alesis Andromeda, which has so much potential that I think I could spend the next few years just programming that. But I really need a new live mixer, because I use all channels available in the DDX and still I need more, and the built-in effects are quite bad.
I♥SYNTHS: How do you go about recording your YouTube videos?
Kebu: When I started out I made mostly videos of me performing a tune with one synth only, so it was basically a camcorder on a stand and then performing the tune over and over from different angles and then edit it into a video. Later on I started filming my live shows, so then it turned into using as many cameras as possible from different angles and then it is mostly a matter of choosing the best angles. In order to get some movement I digitally pan and zoom the takes, but you loose a lot of quality when you do that, so I try to get someone to shoot the concerts with a handheld camera as well.
I♥SYNTHS: For your live shows, do you have a lot of rehearsal time or do you tend to wing it?
Kebu: There is quite a lot of preparation work, but most of that work goes into the technical side, like sequencer arrangements and mixer settings/automation. Once that is done the songs take some practicing, but there are usually more technical challenges than I expect, which eats time away from the practicing. Also, the tunes are very tricky to perform live. They sound so simple – simple melody lines and technically not that difficult. But because they are so simple, anyone can hear when I make a mistake. Also, most of the old analog synths have quite bad keyboards. Each key triggers the sound at slightly different height and sometimes they mistrigger. In the beginning, I used the Arp Odyssey live, but it has such a lousy keyboard that it made me sound like a much worse keyboard player than I am, so nowadays I play those parts with other synths.
photo by: Tapani Rintala
I♥SYNTHS: Do you remember your first show? How have you evolved since then?
Kebu: The first time I played keyboards in front of a large audience was when I was 7 or 8. Then I froze up on the second last note, because I was so nervous that I tried to read the score exactly, while I normally played by heart. Nowadays I’m more afraid that my synths will freeze up. My first show as Kebu was in 2012, but I’ve played over a hundred gigs before that with other bands, so I’m very comfortable on stage nowadays. But it is a very different thing to play a solo gig than as a band member. Still, I was very happily surprised when I started doing my solo gigs that the audience responded so well to them. I was afraid they would find them boring – I’m still only one guy onstage in a cage of keyboards. But since I put quite a lot of effort into preparing the gigs – thinking about what type of audience can be expected and the type of place where I perform and making the tune selection and the order of the tunes based on that and trying to minimize idle time (that I still need for switching sounds and adjusting parameters) – it seems to pay off and make an enjoyable concert.
I♥SYNTHS: What’s next for Kebu in 2014?
Kebu: We were planning to organize a Northern Europe-wide club tour, but I’m seriously considering postponing it, because I realized that I need use all available spare time composing and recording, if I want to release an album by the end of 2014 – which I really would like to!
I♥SYNTHS: Are there any favorite concerts or live shows that have inspired you?
Kebu: A hidden gem is the Jean Michel Jarre DVD-concert called “live in your living room”. It was originally only available on the 30th anniversary Oxygen album as a bonus DVD, but I think the concert was much more interesting than the album, because on the DVD they perform the whole album live and have composed some extra music that binds the Oxygen parts together in a new way. Dominique Perrier is playing keyboards in this video, whose own band Space Art I arranged two concerts for here in Finland a year ago and had the honor to perform as warm up act for them! It was fun, but they arrived in the middle of a snow storm. I almost crashed the van we we’re travelling with and it’s engine died after the second show, but eventually we managed to perform both shows successfully and get home safe and sound.
Another concert worth mentioning, probably kind of unexpected, is the Madonna Confessions Tour DVD. It contains a very synth-heavy arrangement, with quite a lot of influences from early 70′s disco. Many of her tunes are re-arranged to suit the style and the whole concert follows both musically and visually a very coherent vision. Stuart Price was the musical producer for the DVD (check out his all-white customized synths), who was also producer for her Confessions on a dance floor album and Kylie Minogue’s Aphrodite album (also worth checking out), both albums using quite a lot of vintage synth flavours!
I♥SYNTHS: What is Soft Lighting? Tell us about the name, the mood and what got you into electronic music.
Soft Lighting: This is my solo music project. I picked the name at a time when I was really getting into photography and learning about lighting. I thought it fit the kind of chill sultry vibe of the music. I first started making electronic music when I was in high school and Radiohead’s “Kid” A came out. That was around the same time music editing software was becoming easily available.
I♥SYNTHS: How do you go about recording?
Soft Lighting: All different processes. Sometimes I come up with the whole song on guitar before I start recording anything. Sometimes I just start by recording one little piece and then slowly adding onto it. Switching up the process keeps it interesting. The songs go through tons of iterations though. I usually have 20 different versions of a song recorded – some in different keys or totally different arrangements or with alternate lyrics etc.
I♥SYNTHS: “Once everything is recorded in, what type of processing do you do on the computer for the “Soft Light” sound?”
Soft Lighting: I use Waves SSL plugins on everything, Melodyne for vocals, Logic’s reverb and tape delay, Ultrabeat and Battery for drum sampling. I don’t really ever use soft synths.
I♥SYNTHS: Did you play guitar before getting into synthesizers?
Soft Lighting: Yup, I started playing guitar when I was 9 or 10. I wanted to be Nirvana and I had an imaginary band that I called “Rex And The Big Gun” – pretty sarcastic for an elementary kid, haha.
I♥SYNTHS: What’s your go-to piece of gear that defines the Soft Lighting sound?
Soft Lighting: I usually choose a different set of tools for each album because I think it helps give that body of work a uniqueness. The first album, “Slow Motion Silhouettes” was all done on the Juno 60 and the drums where a lot of old Casios so it has a real washed out lo fi vibe. “Portraits” was made with the DX7, Juno 106 and Roland drum machines so it has a cleaner more digital sound. Now I’m working a lot with my Virus TI which is taking the sound out of the realm of vintage 80s and taking it to a more contemporary place.
I♥SYNTHS: You love your cats. Are they a big inspiration to your music? What are their names and what synths do they like the most?
Soft Lighting: I actually only have one cat and his name is Ziggy. My wife and I foster litters of kittens for our local shelter so we always have a bunch of new kittens around. They like ALL the synths and ALL the gear – especially hiding in the back of amplifiers.
I♥SYNTHS: As you’re building your synth collection, are you looking for anything specific to add to your arsenal?
Soft Lighting: I’d really like to pick up a DSI Tempest. I’m mainly on the look out for new really innovative pieces of gear – things that can produce sounds we haven’t hear before.
I♥SYNTHS: You’ve recently released some vinyl. Do you think people are starting to gravitate towards using older gear, recording processes and listening experiences?
Soft Lighting: I think a lot of people are reexamining the relationship between convenience and fun. There is this whole new paradigm surrounding music – the way we make it, find it, listen to it etc. Everything is faster and easier. For a lot of people something is getting lost so they are looking for ways to force themselves to slow down and appreciate the experience. Vinyl makes you sit down and listen to a whole album. Vintage synths makes you physically route pieces of hardware and twist knobs in real time. Its just more fun.
I♥SYNTHS: What’s new for Soft Lighting? Are you doing any collaborations or working on a new solo album? Care to share something new with us?
Soft Lighting: I just finished a couple new singles and collaborating on a new Soft Lighting EP with A$AP Mob producer, P on the Boards. He’s a genius and it’s been amazing to work with him and learn from him. I’m so excited for everyone to hear it. No release date yet to announce but you will be hearing from us very soon.
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
Richard Devine is an electronic producer/sound designer based from Atlanta GA. His focus is on musical composition, sonic mnemonics, field recording, sound effects and specialized sound design for T.V/Film, web media and video games.
I♥SYNTHS: When did you get into electronic music? Was it a certain musician or piece of gear that got you interested?
Richard Devine: I started getting into electronic music back in high school. I was a DJ at local clubs and raves back in the early 90′s, and became fascinated with making music after hearing a Aphex Twin remix of “Mind stream” EP from Meat Beat Manifesto. At age 17 I started to build up my studio, which around that time was mostly early analog drum machines and synths. I would go to the local pawn shops here in Atlanta every weekend to see what I could find. It was a great time to buy this stuff as it was at a point when no one wanted early analog gear. My first proper synthesizer was the Arp-2600. This was a completely life changing moment for me. I was completely blown away by the semi modular format of the synth. You could also use it to process other sounds via filtering, ring modulation, and spring reverb. I still to this day have and still use the 2600 for my day-to-day projects. It taught me the basic fundamentals of building and shaping a sound from pure synthesis.
I♥SYNTHS: How do you go about recording your hardware?
Richard Devine: I run all my synths/drum machines/modulars into a Yamaha DM2000VCM digital mixing console. It has 56 physical inputs, all running at 24/96khz so it in a way works like a large mixing digital matrix. I have the flexibility to route any channel anywhere I want, and play around with some of my favorite outboard effects units like the Eventide H8000FW, and Lexicon PCM96. Then I have two ADAT optical light pipe cards running 16 channels each digitally to two different sound cards, the RME UFX, and Universal Audio Apollo Quad. I like to switch back and forth between the two for different recording sessions. Everything gets recorded into the computer using either Logic or Nuendo at the end of the day.
I♥SYNTHS: What is your go-to synthesizer when writing music? Is there one synth that defines the Richard Devine sound?
Richard Devine: My go synth would have to be the Nord G2 modular. This is hands down one of my favorite synthesizers. The concept is that its a virtual modular software environment where you can create basically anything you want. You then can assign multiple pages and knobs over the the synthesizer for all your patches. So ahead of its time, and I wish Clavia would bring it back.
I♥SYNTHS: You have a pretty massive collection. Have you ever sold anything and then repurchased it because you missed it?
Richard Devine: Yes, this has happened many times actually, I just recently bought a Roland Jupiter-6 back that I use to own. I bought back the Roland TR-808 drum machine a few years ago, and many other classic machines.
I♥SYNTHS: Do you have a vintage synth you’re still searching for?
Richard Devine: I am still on a hunt to get back the EMS Synthi. It’s another one of my favorites from back in the day. I used the Synth AKS on the first three records I did. I miss that thing, I sold it to buy the Kyma system. The Kyma is great but its no Synthi.
I♥SYNTHS: What happens when you run out of space? Will you move into a bigger space?
Richard Devine: Well, I built a new studio at the beginning of January 2012 which is basically two rooms, one large mix down room and another guest room connected to it. There isn’t any equipment setup in the guest room now but who knows, I might turn it into a modular room of fun at some point.
I♥SYNTHS: Now that you are building modulars, do you use less of the your other keyboard synths or is that more for getting lost in sound design? Do you find it as an obsession?
Richard Devine: I find it to be a bit of both. It can be really inspiring to work on a modular as you have no presets or way of recalling the sounds, exactly the same way, every time. It’s all about doing what you can do in that particular moment in time. Once you pull the patch cables, everything is gone and the ghostly floating electrical voltage of sound disappears forever. I love that. You can’t hold on to anything and over analyze things, like you do with composing on the computer. I like that it’s an entirely different experience then playing on keyboard synths or drum machines. You are basically hunting around for something unexpected and interesting. I am often trying to find something I haven’t heard before with the modulars. It’s interesting that no two systems will ever be the same. Everybody will build their system to fit their needs. I have felt that the modular is an amazing platform for creating new sounds effects. It’s also insanely fun to use, which is why it’s so addictive. It definitely has turned into a bit of a obsession lately and has been for the last 6 years.
I♥SYNTHS: Are you ever overwhelmed by your collection?
Richard Devine: I’ve actually sold and got rid of a lot a gear when I built up the new studio. I just held onto the key pieces of kit that I like to use on projects and for my own work. I think I got rid of like, 20 keyboards or something. I wanted to really clean up my work space and go for a more minimal open feel. I realized over the years that I work much better with less. I like to see what I can get using just a few minimal pieces of kit rather then trying to use everything at once. I found that I write the best things using almost nothing these days.
I♥SYNTHS: Speaking of sound design, I know you’ve actually built patches for some major synthesizer companies. What synths have you worked on and do you have a favorite?
Richard Devine: Lets see, I have worked on a bunch so I will just list a few of my favorites. Alesis SR-18, Alesis Fusion, Access Virus TI/T2, Akai MPC-5000 (internal synthesizer patches), Arturia Origin, Dave Smith Tempest, and Prophet 12 keyboards. The Korg Legacy Collection, Radius and Korg Oasis keyboard. Clavia Nord Modular G2, and NL4. Elektron Music Machines, Analog 4, and Octatrack. Hartmann Neuron synthesizer (rip), Moog Little Phatty, Sub Phatty, and Animoog. The Roland Gaia, and Vsynth/GT. Out of the bunch I would say the Nord G2 and the new Nord Lead 4 are my two favorites. The Nord Lead 4 is an amazing keyboard. I just finished my artist sound bank for them.
You can download it for free from the Clavia site here:
Listen to the demo using only sounds from my NL4 bank:
I♥SYNTHS: What is your weirdest sounding instrument? Have you used it on any recordings?
Richard Devine: I’m not sure I would classify this as instruments but a sound maker. I would have to say the weirdest sounds I have gotten have been from nature. I go out and do a lot of field recording for different design projects. I am always fascinated and surprised by the sounds I find in the most common places. I do a lot of under water recording using my hydrophones and I like recording various animals, from birds and bats to aquatic life and insects. Here are a few recordings from my personal collection featured on sound cloud:
Hydrophone Recording of Burning Embers Underwater:
Multichannel field recording of 12,000 bees at Buckeye Creek Farm:
Hydrophone Recordings of Dolphins, Shrimp Feeding, and Hypostomus Plecostomus Fish:
Eerie Recording of Tornado Sirens:
The Sound of Data Transmissions-Electromagnetic Fields:
I♥SYNTHS: Are there any circuit bent instruments you like to work with?
Richard Devine: Yes, I have a few speak n spells that Ivo from “Glitch Machines” circuit bent for me. He also did a wicked bend on a Casio SK-5 keyboard with joystick controls, called the “Logic Bomb”. One of my favorite circuit bent machines is the “Glitch Desk” by “Highly Liquid”. It’s basically a 50-patch point sequencer that uses banana cables. You are sequencing each stage in real-time and also bending the circuits at the same time. It also has MIDI capabilities so you can clock and sequence to your computer, really helpful.
I♥SYNTHS: What’s next for Richard Devine? Any new songs, albums or projects you’d like to share?
Richard Devine: I am working on a all-new modular album for 2014. I have already recorded over 90 tracks so far. I just need to compile them into something that will be ready for a release. I am just now finishing up a remix for Douglas J. McCarthy of Nitzer Ebb and Cyrus Rex’s new project called “DJM REX” of this track called “Retreat”, and another remix to be released by BossFYTE from Canada in 2014.
My last album “RISP” was released on “Detroit Underground” records and was my first chapter recording using the new modular systems.
Here is a preview to the title track “Plonked Spectral” of the album, visuals by Dmas3:
Here is a link to the entire track on Soundcloud
Shortly after that, I released my first all modular recordings using the MakeNoise modular shared system for MakeNoise Records.
I released an extended version of one of the pieces on Soundcloud here:
Here are two other remixes I recently released there:
Remix for Annie Hall’s Random Paraphilia EP
Transform Trailer for Twisted Tools: