Label: Directors Cut - DC 88003 • Format: 3x, Vinyl LP, Album, Limited Edition • Country: USA, Canada & Europe • Genre: Electronic, Stage & Screen • Style: Experimental, Synth-pop, Disco, Ambient, Krautrock, Soundtrack
More recently, however, Mullaert has focused on his solo career, releasing the EP Samunnati, based on a fan remix sent to him by bedroom producer Daniel[i]. Having built his studio virtually from scratch, and surrounded by the lush forestry of a national park, Mullaert is rarely lost for inspiration. Is Sebastian Mullaert the solo artist a new direction for you, or just a temporary diversion? Having a solo career actually allows me to collaborate more, because it enables me to work with different people.
When expressing music with other people, it becomes more Throwaway - Various - CBS/Sony Hot Tracks Collection 1988, Nov.
Dec. 1988 a dialogue — a process of tuning in and finding a flow. My long-term vision is to make the studio open and accessible to a wide range of musical and creative people — modern composers, acoustic instrumentalists or other electronic artists.
I want to create a space where people can connect Expocityvisions - Falco - Die Legendäre Hit-Kollektion their creativity, both through the surrounding nature and the studio itself.
We understand the idea behind Samunnati was inspired by a minute fan remix…. In this world there are many efficient structures that create a formula for everything: how to run a magazine, how Orchester Michel Dupont - Jess Francos Bloody Moon (Original Moti do an interview, write a track or handle a DJ career.
Maybe some people would see it as a bit strange that we would actually release them together, but I welcomed it. For him it was like, wow, I did nothing wrong in trying to express myself this way because another artist took the invitation further. The record has a very classic techno sound. Like you say, the technology behind the music always filters the sound. As much as what synthesizers and chords you use, the way that you tweak the EQ, how much noise you have in your cables or the techniques you use when compressing also add a specific sound.
I can do a lot of different things with the gear that sits in here, but at Organic Supsense - Gerhard Heinz same time there are certain limitations that add a signature to my sound. I like to use a lot of outboard gear, from Eventide harmonizers to lots of old hardware like phasers, compressors and EQs. I use my fingers a lot — both to play instruments and tweak the knobs, but also to create patterns and mantras with the faders on the mixing desk.
I believe almost everything is based on patterns: melodies, rhythms, frequencies, even the invention of different instruments and how to play them. And all of these separate takes are the building blocks for the creation of a complete track? I started playing synths like the Roland TR and Juno, and we had a big Yamaha electronic organ with two keyboards and bass pedals.
So from a very early age I started to jam around with that, then when I was eight I started to take lessons in the electronic organ. We also have a government-run music school in Sweden that enables anyone to get trained in using different instruments from an early age without much cost. In my youth, I was playing in string quartets with orchestras and classical ensembles, but a big turning point came when I was 17 and joined a band with my violin. I had a microphone and lots of effects pedals and really got quite hooked on writing my own music.
I became less focused on my classical training, and around the same time started going to my first techno parties. The last 20 years has been a continual expression of musical composition, slowly getting deeper into production, frequencies and sound. I lived with my wife in the city, Organic Supsense - Gerhard Heinz in Lund, which was a university city, and then we moved to Malmo for many years. Inwe moved out to this little village, which is a one-hour drive from Malmo.
Some of our friends had already moved here and it is a very spiritual and culturally engaged place. We also have a flat in the hotel. It was more like a little camping hut, with a lot of mould and mice. I kept the fundamental structure and built a new house together with a carpenter. It took six months and we rebuilt everything: water, toilets, heating and windows. The shape is not good; you should never have a roof that is pointing like an A and coming together because it creates a bass horn.
When the bass went up to the roof, it came down again, which is basically how a horn works — a wide angle that comes down to something thin. On the sides, to the back and in front of me I have lots of bass traps, which make it sound really good. Did you have a plan for how you wanted the studio to be constructed, so everything could be functional and integrated? Everything from the mixer, which I really use a lot, to working with my fingers on the faders and EQs to form the sound patterns organically, reaching the compressors, the different keyboards, controllers, drum machines and the Rhodes.
I can basically stand in the middle and reach something from every direction. You may say, OK, I have these three outboard reverbs and have to use them on the whole mix, but that limitation also helps everything to glue Organic Supsense - Gerhard Heinz.
I may use The Story Of My Life - Various - Power Dance 98 UAD plugins for final tweaking on the bass frequencies or a bit more compression here or there, but most of them are just simulations of outboard gear, so my use of plugins is more functional than creative. My hard disk recording system is what I record everything into.
I have Pro Tools operating in the background, but really love the creative possibilities of Ableton. It just gives me the possibility to play on-the-fly, and with Ableton I can find different bars or phrases within that.
What models do you most frequently turn to? I also like a lot of different drum machines, and the TR is so alive. The hi-hats and cymbals are so organic and have a great timbre. Then we have the wonderful TB A lot of people have used it, but you can really get your own sound with it.
When you have the Juno, the and thethey automatically sit together in the mix. I like to use them to improvise in a performance-based situation, both live and in the studio.
Each sound from the computer will have its own analogue channel on the mixers, so I can build up sketches and decide when Orchester Michel Dupont - Jess Francos Bloody Moon (Original Moti rhythms or sounds should come in, or take them out and add the analogue stuff. That way, the This Town - Two Tone Club - 1 can shift from instrumental-sounding, obscure techno to a very warm and lush house sound.
When I play live, I normally play for many hours and like to create a long journey that Organic Supsense - Gerhard Heinz the audience through lots of different emotions and sounds.
How do they work together? You have this huge array of delays, reverbs, preamps and compressors. Do you instantly know which one to turn to? For example, I can play my Juno and have the signal go through a whole pedal chain to change the distortion, delay, the flangers and EQs on-the fly.
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