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.


Shawn Rudiman 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?

Custom Synth: The best way to contact me is through the www.customsynth.co.uk web site or on Facebook. From there, we can discuss the options, colors, graphics, costs, etc.



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.


Custom Synth Official Website

Custom Synth on FACEBOOK

Custom Synth on SOUNDCLOUD


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!


Kebu Official Website

Kebu on YOUTUBE

Kebu on FACEBOOK

Kebu on SOUNDCLOUD


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.


Soft Lighting on BANDCAMP

Soft Lighting on SOUNDCLOUD

Soft Lighting on FACEBOOK

Soft Lighting on TWITTER

Soft Lighting on YOUTUBE


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

synth.nl OFFICIAL BLOG

synth.nl on FACEBOOK

synth.nl on SOUNDCLOUD

synth.nl on TWITTER


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:
http://www.nordkeyboards.com/main.asp?tm=Sound%20Libraries&cllibr=Product_Libraries&cplib=Nord_Lead_4

Listen to the demo using only sounds from my NL4 bank:

https://soundcloud.com/nordkeyboards/devine-demo-v2



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:

Plonked Spectral Video from the “RiSP-CD” 2012 from Richard Devine on Vimeo.

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:

Richard Devine OFFICIAL WEBSITE

Richard Devine on SOUNDCLOUD

Richard Devine on FACEBOOK

Richard Devine on TWITTER

Address
Roslagsgatan 14
11355 Stockholm, Sweden
Phone +46 8 673 21 22
E-mail order@jam.se
Website http://www.jam.se


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

JAM.se official Webpage

JAM on FACEBOOK



Dallas Campbell: is a synth nerd and general gear fanatic from West Virginia, USA. He has been in many music project over the years, usually playing bass and or vocals. Over the past 12 months, he has focused more on making electronic music. Drawing influence from the sounds of the late 70s and early 80s, Dallas continues to obsess about hardware and sometimes even finds the time to record a track or two



I♥SYNTHS: Tell us a little about your music project and how you go about recording.

Dallas Campbell: My music project is really just me messing around while my family is sleeping. I don’t usually have any goals or anything, I will just pick a synth I haven’t used in a while and start programming a patch until I get an idea, then hit record and play something. Generally, I’ll write most of the song with one synth and I’ll go back and replace a lot of the parts with other synths or bass. Then, I’ll write the drums. Last, I’ll send all of the instrument and drum tracks to external fx gear, which is a total pain right now because i only have two inputs so, I have to do every take one at a time. It’s not efficient, to say the least.



I♥SYNTHS: In a world filled with virtual instruments, what draws you to hardware?

Dallas Campbell: Glutton for punishment? haha Virtual synths just never worked very well for me. Other people are great with them, but I’m just more inspired by an actual piece of hardware that I can touch. It’s kinda cool to ponder all the shit these 30-year-old pieces of technology must have been through!



I♥SYNTHS: When did you start collecting gear and what is your prized possession?

Dallas Campbell: This dude I knew in college let my roommate and I borrow a four track cassette recorder. I was pretty much hooked on gear and music after that. I started buying synths about 10 or so years ago. I’m guessing the rarest thing I have is a Yamaha SY20. I don’t think it was ever released outside of Japan. All the writing on the synth is in Japanese! My favorite synth is probably my SCI Pro-One for mono and the Korg Polysix for poly. As for favorite fx units, I would say the Dimension D Chorus, Multivox Multiecho Delay, the Eventide Space Reverb, and the Roland SBF-325 flanger.



I♥SYNTHS: I see you are also a bass player? Did you start playing before or after getting into synthesizers?

Dallas Campbell: Yeah, bass is fun. I had been playing it in some Screamo/Metal bands years ago, before i got into synths. Actually, i bought a Roland Alpha Juno to use in the metal band, that’s when I started learning more about what the heck a synthesizer was.



I♥SYNTHS: What is your favorite synth for bass tones?

Dallas Campbell: Thats a tough one, i have a few pretty sweet bass synths. The one that really stands out and impresses me almost every time is the Roland SH-09. The deep low bass tones you can get with that thing are ridiculous.



I♥SYNTHS: Do you mostly you use keyboard synthesizers or do you use rack gear as well?

Dallas Campbell: Oh, I love rack gear too, I’d actually prefer all my synths to be racks just to save space!



I♥SYNTHS: Do you rearrange your gear a lot to create a better workflow and do you have any future plans to build a bigger room?

Dallas Campbell: I spend probably half of my time moving gear around while I’m recording. I don’t have anything wired right now so I’m moving synths every time I record a track, it’s slightly tedious. I plan on moving to a bigger space at some point in the future, because not having to move 10 things just to get like a bell sound or something would be incredible!



I♥SYNTHS: Have your kids shown an interest in all of the pretty knobs and lights?

Dallas Campbell: For sure! My daughter is obsessed with banging on the keys and turning the knobs. I usually pull up some VST synth and let her bang away on my midi controller.



I♥SYNTHS: What’s next on your list? Are there any rare synths you’ve been looking for?

Dallas Campbell: The quest for gear is never ending! I’ve been wanting an OB8 or OBX for a while, but damn those prices these days are not nice. Oh yeah, maybe a Jupiter 4 to compliment my ProMars! I’ve also considered starting a modular, but i fear that would open up a whole new can of worms to be obsessed about!



I♥SYNTHS: We’d love to hear some of your music. Is there anything you’d like to leave us with?

Dallas Campbell: I’m currently writing a couple EPs that are synth based. The material sounds a bit like the last couple tracks I did for a compilation and an online comic book.



Dallas Campbell: Also, last week my friend Geoff Hoskinson directed and edited an awesome video for one of my tracks called “Return to Earth” and I have a bunch of other tracks up on my soundcloud.


Dallas Campbell – “Return to Earth” from Geoff Hoskinson on Vimeo.

Dallas Campbell on SOUNDCLOUD

Dallas Campbell on FACEBOOK

Dallas Campbell on TUMBLR


RetroSound is the German-based musician and vintage synthesizer geek, Marko Ettlich. He is a publisher of a popular vintage synthesizer channel on YouTube and an author for different music magazines.



I♥SYNTHS: What kind of music do you listen to?

RetroSound: I am a child of the 80s and I love the music from Depeche Mode, The Human League, Talk Talk, Propaganda, The Fixx and other bands from this time. But, I also like electronic music with guitars like the french band, Phoenix.



I♥SYNTHS: Who is your favorite synthesizer player and what is your favorite synthesizer company?

RetroSound: Vangelis has a big influence of my musical work since I know what synthesizers were used. I heard the futuristic tunes in the late 70s and I was completely blown away. I have a lot of vintage Roland synthesizers so, those are probably my favorite.



I♥SYNTHS: What is your favorite synthesizer that you can’t live without?

RetroSound: My absolute favorite synthesizer ever is the Oberheim OB-X (not the later OB-Xa). The raw sound and the power is pure sex. It’s really the best!



I♥SYNTHS: Do you use any computer-based soft synthesizers and how would you compare them to the real thing?

RetroSound: I use only hardware stuff. Software synths are not part of my world.

I♥SYNTHS: When did you start collecting synthesizers and do you normally buy them on eBay or from other musicians/collectors?

RetroSound: I started collecting in the mid 90s. Some synths are from eBay or local markets and some are from other musicians.



I♥SYNTHS: You’re videos are fantastic and you seem to have a large following. What made you decide to start this project?

RetroSound: Thank you! I started the vintage synthesizer demo project back in January 2007. Good demo videos were very rare at the beginning of YouTube and I wanted to share the fantastic sound possibilities of the older hardware in a time full of software synths.



I♥SYNTHS: What do you think is your rarest synthesizer?

RetroSound: The PPG wave 2.2 with the Waveterm A . Only 500 were made by Wolfgang Palm



I♥SYNTHS: What are your thoughts on new synthesizers that have come out recently? Are there any you have your eye on or do you prefer to stick with the vintage stuff?

RetroSound: I miss a lot on new synths. I’ve compared new MOOGs with the old ones but, the sound is not the same. I miss the raw, dirty sounds and the colours. Most of today’s synth sounds are very clean and boring to me after a few days.



I♥SYNTHS: Would you like to share a new song or video with us today?

RetroSound: Check out some of my newer songs on my SoundCloud page: Retro Sound on Soundcloud


RetroSound Official Homepage

RetroSound on YouTube

RetroSound on Facebook

RetroSound Blog

RetroSound New Album Trailer