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heal any relationship : non-judgment

I want to share my secret for healing any relationship. I offer this advice as a seasoned relationship coach and someone who has personally healed her own relationships. The best part about this 3-step process is that you do it on your own. You do not need the other person to actively participate. It is all you.


In order to heal any relationship it is first important to understand the dynamics behind relationship issues. Relationship issues don’t occur because two people are different or they do not agree. People do not need to agree, or be similar, in order to get along great.

Issues occur because one or both people are practicing judgment. It is judgment that causes all the issues in relationships. Without judgment, relationships thrive and when you release judgment, relationships heal.

Why is judgment so detrimental to relationships? When we feel judged, it invokes a feeling of rejection, so we either close down or we judge in return, in order to protect ourselves. Either reaction causes distance and discord.

When we are the ones who judge, we push the other person away, regardless of our justification for judgment. It does not matter if you feel you have a right to judge or that you really do know better, judgment is the best way to alienate a friend, lover, partner, parent, co-worker or child.

Even if we call our judgment by the name of love and caring, it is still judgment and it will always do the opposite of what we intended. If you want to lose someone, judge them.

You cannot love someone and judge them at the same time.

Releasing your judgment for another will help to heal the relationship, but it is not the whole story. There is a little trick to this healing process. If you follow this 3 step process below, you have the power to heal any relationship.


Step 1. Heal Self-Judgment

The entire world is a reflection of your conscious and subconscious beliefs. Therefore, if someone is judging you, his or her judgment must be a reflection of your own self-judgment. You cannot expect another to stop judging you, when you are judging yourself.

The key is to identify how the other is judging you and then look inside yourself to see how you are judging yourself in a similar way. It might not be the exact same judgment but try to focus-in on the connection. Once you clearly make this identification, it is time to consciously release your self-judgment.


You do not need to share this with anyone. This process is something that you do privately. You will know when you are successful in releasing self-judgment because the other person will also reflect this by being more accepting of you. If he or she continues to judge you, go back inside and clear out any remains of self-judgment.

Step 2. Heal Your Judgment About the Other Person

How are you judging your friend, spouse, parent or child? Remember, do not confuse caring with judgment. Caring is not judgment. No matter what is going on in his or her life, you have no right to judge. You might want to make a list of all the ways in which you are judging this person and one by one, give up your judgments. Maybe even look to see how you are judging yourself in the same way and release those judgments, as well.

The fact is, no matter how wise you might be or how well you know this person, you do not know what is best for him or her.

If you care about someone and you want to help, the best you can do is to support her, in listening to her own heart, and by encouraging her to ask herself the right questions, so that she can make empowered choices. If you are insightful, you might even offer a question that will allow her to find her own clarity.


Don’t give advice unless asked and even then be careful that it does not contain any elements of judgment. If you judge, you alienate and if you alienate, you blow your chance for making a difference.

If you really want to be a positive influence, be a great example. Stay in integrity with your own beliefs and model this behavior but do not try to preach or meddle – because another will experience this as judgment and your message will fail to have the impact that you desire.

This article is about healing adult relationships, but even small children react negatively to judgment and positively to encouragement. You can be a more empowered parent without judgment, and you can effectively guide a child of any age without the punitive force of judgment.

Step 3. See the Other Person as Perfect and Whole

Make a list of all the things that you love about him or her. Focus only on these things every day. Do not give your attention to the things that you do not like or the problems at hand. Only focus on what you love about this person – without the issues.

I know that this can be challenging, especially when there are problems between the two of you, but if you can consistently focus on the positive and ignore the negative, before long things will begin to change – it is all up to you.

The other person will change because how you see this person changes. The amazing part is that you never have to say a thing to him or her. You only have to silently focus on the positive.

You will be very aware of the changes in this person and in the relationship but he or she may be oblivious to any difference. By mentally and emotionally aligning with the positive aspects of your friend, partner, parent or child, you literally invoke a higher version of the person and a higher version of the relationship.

If you can drop your judgments, rationalizations and justifications, and you can take complete responsibility for the relationship and your experience of the other person, you have the power to not only heal the relationship but to create the best possible relationship that you can imagine.

There was once a woman in a class that I taught – she asked what she should do about her daughter who was so judgmental. My answer was, “Stop judging your daughter.” She said, “No, you don’t understand. It is my daughter who is judgmental – what should I do?”

Again, I said, “Stop judging your daughter.” At this point the whole class got it – everyone except this woman. Finally, on the third round, her face went blank and she got it. If you want to change someone, you must be the change you want to see in them.

Judgment can be tricky because often we don’t even know when we are doing it, but we always feel when someone is doing it to us. If someone is reacting negatively to you, stop and look at yourself; where might you be in judgment? Even if you are not verbalizing it, your energy always projects your thoughts and feelings.

Healing Requires Time and Patience

Keep in mind that there is often a time gap between your inner release of judgment (and your mental shift) and the outside world catching up as an accurate reflection. So patience in the process is a good idea.

This means that the other may still be critical of you and show discord – allow him or her their experience and maintain your course. How long you ask? For as long as it takes. Giving it a deadline only makes it take longer and you may not reach your goal. But, if you can stay true to course in both loving yourself and the other, sooner or later a huge transformation will unfold.


At first you may notice less tension between the two of you or an openness that was not there before. Do not jump at the first signs of success. Just keep loving and be appropriately responsive in a positive and encouraging way. Sometimes there are bumps in the road, so don’t react if things are improving and then an issue arises – just stay aligned with this three step process and any issues will begin to smooth out again.

If you stay the course, success is imminent. However, if you go back to your old ways of judging, the relationship will digress as well, and you will be back to where you started. If this should occur, begin again.

This 3 step healing process does not exclude setting boundaries. If someone is judging you, you can say, in a kind and respectful manner, “I’m sorry, you probably did not know this, but no one is allowed to judge me.” When he does judge, you can say, “I’m sorry, I cannot hear you when you are judging me.” This sets a boundary for you and gives the other person important feedback on how to treat you. Make sure that your actions are in integrity with your requests.


This relationship healing process requires great spiritual maturity. In order for it to work you must rid yourself of pride, arrogance and self-righteousness. You must cast blame to the wind and you must take complete responsibility for every relationship. Others do not need to wake up, be responsible, apologize or do anything different. Only you need to shift. You must be the change you want to see in the ones you love.

Any two people in the world can have a great relationship if they surrender judgment and they embrace each other from a space of pure appreciation.

Relationship Affirmation: I love you more than “who I think you should be,” so I am just going to let you be you, and I am going to love you without needing or wanting you to change in anyway.

“3 Steps to Healing Any Relationship,” by Nanice Ellis, February 18, 2015 at http://wakeup-world.com/2015/02/18/3-steps-to-healing-any-relationship/


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Aphex Twin SYROBONKERS! Interview – Part 2

Aphex Twin SYROBONKERS! Interview – Part 2

dave: so much for the synth nerding, would u like to briefly say anything particular about each of the other tracks/ album as a whole/track selection?

rich: dunno, too much too think about overall
but they were all pretty much done on new studio setups Id just made, so I was pretty much warming up on the setups with those, doesnt mean I wasnt really happy with them but as always with new setups, takes a while to get going before you can attempt to large it up, the fucker is i usually tear em down again before mastering them..
Saying that , when it works , I really like the vibe of trying out new bits of klob or setups, I relish pretty much all states of mind , so all good in long term.
The first 3 tracks were actually made in order 3,1,2 after taking 3 years to make that particular studio, I mean when its taken that long to put something together and you finally kneel before it , its pretty intense wot u do first.
Other setups used only took a matter of hours to put together and then grew really quickly, like most of my setups do, like bacteria.
When choosing the tracks, I went for easy listening/lushness on syro which is pretty friendly for me.
Ive been putting things out long enough to know pretty much what reactions will be.
If I go for experimental then you only make about 20% fans happy, 80% get alienated and you won’t win many new listeners.
Syro I rek will be other way around, it needed to be done about now, then I can put out more challengin stuff, I really like the tracks, so absolutely not selling out or anyfing, kind of stick neck out a little bit into mainstream and then go away again, Im just not mental enough to go fully mainstream, would have to deal with so much shit that would detract from what I want to do, otherwise Id go for it, but being recognized etc makes me feel massively uncomfortable but at same time, the world is awash with commercial bullshit, so gotta try and twat some of that stuff out the way.

dave: what (if any) were your main influences (e.g. musically, philosophically, etc.) for this album or any of the traks specifically?? and anything you want to say about the production?

rich: I thought id be brave and release stuff that I thought could possibly be digested by the mainstream without any artistic compromise whatsoever.
All the tracks I picked from the many that I have stockpiled are my fave tunes I’ve been listening over the last couple of years so I absolutely know which tunes I’m selecting are the right ones, I mean I know there is no perfect selection, as soon as I made it I wanted to change it but that would happen everyday I sat down to compile it, id be in a different moodmode few hours  and so the selection will always be a bit different.
But its near enough right, good enough I spent longer making most of the tracks than I ever did before, even most of the ones on drukqs, the time setting up all that analog klobber is ridiculous, keeping it working and in tune etc,
there were no analogues runnin live on druqks at all, I mostly have 2-3 backups of most of my gear so when it breaks i can replace it while the others get fixed which can sometimes take years, so its the only way if you want to use this much old analogues.
Some tracks took a year on /off to make and lots of things broke in that time inc the 3300′s , 2 chroma’s , 2 code8′s etc etc, its a total fucking nightmare but when its finished the satisfaction is immense.
When you have 64+ channels of vintage equipment as was the case in some of the tracks especially track2, there is A LOT of noise generated, I used A LOT of noise gates, my fave being some EMT ones which are like LPF/gate hybrids, they have that lush LPF roll off rather than a volume fade, very sexual.to my eears
But I use several different types,
none of the tracks on syro were multi tracked into the computer , they were all recorded live to 2 track, which is kinda insane but the way i like it.
Its done then , you have to get it right , theres no fixing it afterwards, theres no edits on any of the tracks apart from the Marchrom , which is made from multiple takes with a load of different Eventide 3000 dse fx.
A fuck load of time was spent trying out things to see what worked with what, way too much time in fact for those particular tracks, Ive done tracks recently in hours that I like as much but in a different way, I still like spending yonks on things these days.
Ive been trying to combine recently the nrg u have when your 15 with the knowledge you gain when your 42, by having the right setups, getting there..
i think i have as much nrg now as i did when a teen but when ur a teen ur more narrowminded so your effort goes into a tighter space, as ive got older just get into so many things it spreads your concentration  .But i always think i wish i knew this or that when i was 15 its dumb to think like that coz u can just fix it in the present, there is only present anyway, future/past just a mind construct, i worked tht out on shrooms when i was 19 :)
Oh but on the noise gates, yes there are lots of them but obviously I still love hiss at the right level in the right places, even more so in these days of ultra clean linear itb recordings.
controlling it to the right degree is tricky,.
Ive been using an old 70s rack of allison research ones, 10 of the buggers,with the funny little mystical head logo at the top, i sent you some links to it, they’re all discreet and each one has its own sound and distorts differently, the compressors are not as snappy as the later ones which i love [ gain brain2], one of my fave compressors that, they have a lush 70s sound though , the discreet ones, although you can tweak the trimpots on the pcb to get different responses, been doing that a lot recently.
They have weird annoyin connectors on the back, forgot the name of dem.
Oh and on trak 6, the whole track is going thru a drawmer stereo gate which is being triggered by sequenced sounds.
I really wanted to do it like that and gate the whole friggin track but disadvantage was that the whole track then sounds like the drawmer+the hedroom on dem things aint that great, you can hear it breaking up, bummer but i liked the roughness also.
Ive got a much better earlier version which sounds quite a bit nicer although i wasnt using any fancy mixers on that one so not that nice but its an earlier version so not quite as developed OR gated obviously…unfort..i would attach it but can’t find it right now…
might stick it up online somewhere when/if i do though.

dave: oh thanks u found it!?

rich:this is not it actually as its still being gated but there u go.
some people have said to me, do you make your tracks slow and then speed them up, which is funny to me, answer is no, the vibe would be totally different if you did that, Ive tried it, doesnt work for me, it would sound sped up, I make them at the speed they are, of course I do stare at and enter data in, speed set to zero , ha but thats it, tracks like mt sain michel st micahels mount off drukqs, im surprised i didnt have a heart attack when makin those tracks, i know i was in a total rush state for the entire time of making tracks like those, especially that one!
But the idea that I have sped them up is funny because why would i want to do that? to make it seem more complex than it is? to make me feel more hectic than i was when making it?
nah , it be would be fake.

some of the syro tracks are pretty old and some are made in the last 6 months, the Japanese bonus one is the newest although that is very different from all the other ones I’ve been doing recently, it was a weird one off that fitted very nicely on the end of syro or anywhere where people want to insert it for that matter.
Its my wife speaking in russian , sampled into ensoniq asr10 and run thru vocoders…can’t rem wot the carrier was though…oh yeah it was ps3200, sennheiser vsm


 Mine and my families privacy is VERY important to me and deciding to thwart myself into the mainstream was not an easy decision, I’m not doing it for the money, ive already got enough 4us2 live on for a bit, I just wanted to put music out there in the mainstream which has been made for the right reasons, coz its definitely in short fucking supply!
The same doesn’t go for underground electronic music which imo has been at an all time high for years now, theres sooo much good stuff com in out now its totally inspiring and an amazing time to be listening to stuff, i should compile a chart here or something, I’m going to be putting a/v mixes online with my mate eno[weirdcore]

http://weirdcore.tv/

soon hopefully soonish
like mix tapes but with visuals, really looking fwd, gunna be doing all different styles there from funk to musique concrete and all in between, inc loads of newshit by others.
I had been waiting for years for it to get good and now theres just sooo many good producers out there with no equipment, just puter&pair of speakers
absolutely has kicked off now and its only going to get better I reckon.

2nd answer is the whole purpose of me making music is to reorganise/rearrange/modify me into something else, everything you experience affects/changes you / adjusts your chemistry,/makes new connections in yer brain, allows you to notice new things, especially sound and music but sound or vibration is potentially the most powerful influence.
When you hear natural sounds, you can feel how it deeply affects you but apart from putting yourself into those situations you are at the mercy of whatever happens in those environments.
A good thing about travelling, although I don’t really like physically travelling that much.
When you make music, or orchestrate natural phenomena you are putting together something that you know or should know is going to rearrange you and change you in a more defined way than if you just went to another country you never went to before, then when you create it and experience it you become what you wanted to be and it feeds back to what you want to become again, its the lushest spiral of creativity and it can be taken much further than music is currently doing [i personally STILL feel like I'm just warming up!], I think with sound alone, you can potentially rearrange all matter and change the way you and others think, if its sequenced correctly.
pretty much everyting is vibration.

But you have to be open to it.
if you think thats bullshit then you have a lot to learn :) I’m not talking to you dave.
I love how the rhythmic energy from a sequencer or 1 single frequency can actually give you nrg when you listen to it, nrg from the electrical power supply transferred to our bodies through sound, its different to a human playing a musical instrument, that is a direct nrg transfer from one to another/s, you are at the mercy then of how much nrg they have to give.
Controlling electricity which you pay for or generate from the sun or other means and transferring it to your body is
amazing, sometimes  I feel so honoured that there is this massive electricity supply that we can just tap into without having to work for it.
:) as well having enough food to eat.
I do think the world is absolutely fucked and most people on earth are under control to a large extent, the world is so fucking boring as well as obviously  being evil, life could be SOOO much better, we r controlled by the most boring cunts imaginable.
The potential of human beings is immense and that is why people are kept under such tight control because the controllers know what we are capable of.

Also like i mention below with tunings, mankind needs as much positive/trippy/awakening/next level non dark thought provoking  vibes as possible right now, we are living in a mega dark spiritual age and its 2easy to channel that into our music but I think we have to try really hard to drag ourselves out of it and dream up new mind expanding music & art, thats definitely not boring nu age yawnsville.

dave: regarding electricity i’m hangin on for a couple of these 10kw nuclear cold fusion genny’s , can;t wait till these are on sale, sure beats a diesel genny!

http://ecat.com/ecat-products/ecat-home

interesting about wot u say regarding re-arranging matter with music / sound. there’s a c00l book by alain danielou, called music & the power of sound, he talks bout that a little bit. its heavy book, lots of interesting things about tuning in it tho, although i dont agree with everything he sez.

http://en.wikipedia.org/wiki/Alain_Danielou

rich: cheers will check, I’ve hardly read any books on music, I’m hoping 2 change that in nr future

dave: ultra-thanks for sending thru the cover with the klobber listing, some tasty stuff there! it’s a cool design as well the way the dots allocate to the tracks, reminds me of cellular automata type stuff, and player piano roll / punched tape etc. so that’s jee’d me up to ask some more klob q’s. there’s some tasty reverb’s listed, what’s your favourite all time reverb box & what got you into reverb as an effect?

rich: i veer more towards the electro mechanical types, so plates, springs,pipes, spaces and gold foil etc.
They are so easy to make yourself as well, with just thin sheet metal, piezo pickups etc and can use as microphones, will sound more interesting than any mic you can buy imo.
contact mic on thin sheet metal, job done, more interesting than expensive mice, although they have their place.
My wife and me made an amazing slinky spring reverb last year, I think it was about 20 slinky springs joined together, suspended around the house, sending sounds down that, snippet attached.

My wife bowed one of the nylon threads we had suspending it afterwards, fucking dope!

i loved the idea of that fractal wire on board thing youve done, i reckon theres much more to be done in that sector .and of course your wires thingies, bloody mentil pard!

dave: yea, did those electromagnetic fractal wire thingies in 2011, i’ll stick a picture here poss. mite do a blog page on those fractal things at some point. i built a little suite of about 5 or 6 of em, must rescue those from my mess of shed, needs developing a bit more. oh hang on, ere is a pic of the hilbert one :

+ just built some new ultralong wires this year for our wired open day, we used these massive bridge timbers from a local railway bridge that got replaced, they over 100 years old, heavy as fuk too! need to do a blogpost on them at some point as well. love the sound of the slinky stuff, +reminds me bit of some of wire sounds, did u take any pics of that setup?

rich: nah, I’m so shit at remembering to take pics of what i do.
I replaced the garden hoses inside a urei time cube with different copper tubes, its soo good, I think the original designer stipulated that but urei used garden hose to save money.

Saying that though, got some long lengthsflexi plastic tubing +hoover tubes,few months back, old headphone speaker in one end, mic at the other, awesome, sounded especially good feeding back on itself.

With the digital ones, I didnt get a lexicon 480L til a few years ago, mainly coz of price and everyone in old studios has one but they are f’kin amazing in the right hands..,& the original Quantec qrs[attached example],

and of course the Eventide H3000 d/se are absolutely mental lush devices, those ones in particular really envelop the sound rather than tack it on, special blessed bits of equipment.

Of course special mentions have to go to akg 68k [so lushlygrainy and some nice granular features],quadraverb, quadraverb is dark and muddy and has nice arrangement of subtle pitch shifting, delays into reverbs etc, can be setup very nicely if you spend the time with it, used on all tracks on SAW1.
but can be recreated with other units quite easily but thyre cheap as , so..
just did a quik test on QVerb last week here, this is just din sync dr110+quadraverb , circlon, so u can hear quadraverb in bit diff light, not got many files on this laptop.

dave: great little trk! alesis did good with tht quadraverb, they must have made millions of em! it was well popular, always quite liked the buttons on it too.

rich: Then Publison DHM 89 pitch shifter [not reverb]with KB200 blew me away, it was pretty much the first sampler and does super stereo rudimentary granular synthesis, man if id had one of those in the 80′s !
I dont think many people released anything using the granular fucntions on that apart from maybe 1 electro record and Parmagiani.
So many more boxes, thyre all good in their own way.
id love to write a book on my fx boxes..
im super interested in computer emulations of springs also, thyre getting awesome now, something about springs…time warpers, <<>>

LAter eventides are whatever u want them to be via visg as ur now finding out,  i hope you and me are gunna be swapping ptches pretty soon.
Masive shame that vsig is not usb, please someone knock out some code for that shit!
your orville is now on the way hopefully!
Tom jerks made loads of synths n shit on his, u can do whatever like on them.

dave: yea sure lookin forward to some patch swappin! i rek a usb to rs232 converter might werk frm the pc, u can get em in little tiny versions … give it a shot. this kind of stylee mite b the go:

https://www.sparkfun.com/products/11304

my ultra-ancient pc got rs232 on board still :) but i do got some tings tht i usb to rs232 with and seem to werk quite well. let me know how u go.

rich: ok wow will get although i did try something like this bout 10 years ago with dsp4000 , fannied around for days with no luck. eventide you bloody slags!
oh got a lexicon delta t other week, very interesting device, cheers gwen for tip!
hardly any info on dem floating about.

dave: i used to have a synton syntovox 221 vocoder, but I flogged it to speedy j in the 90′s, and I wish I still had it. I got it & bunch of other klob as payment for some secret crypto work when I was at bt research labs, which I can’t go into detail on coz I signed the official secrets act in 1981 when I started as an apprentice. can u tell me a bit about how u used your pair of em? (I rem when u wrote to me telling me u had 2, and u could go realtime syntovox stereo! :)

rich: exactly, +an excuse to buy another, they are slightly different as well.
Apart from the patch ability which is so nice on it with pins [like ems5000] it has the computer interface, which always intrigued me, if synton did anything with that or anyone else, or you?

dave: well not at home, but we had some interesting stuff at the labs there on martlesham heath to interface to all the speech recognition / synthesis klob. but i can;t really talk bout the cloak & dagger stuff except to say tht its now been officially declassified in 2003 about MI5, MI6, GCHQ et al at least being on site. see this link & search for martlesham :

http://www.informationclearinghouse.info/article4464.htm

there’s also a tv program that itv made called ‘the buggist’ which got a bit bout the bt labs MI5 et al connections :

http://www.itnsource.com/shotlist//ITVProgs/1989/04/04/Y05870075/?s=intv

aint seen the program, but they won;t b tellin me anything new anyway :)  i’m not endorsing those sites, but they do note the presence of MI5 et al at BT Labs as it was then… anyway, it is weird to think that there’s this whole area of electronic sound/noise research that never gets published or patented and all happens in mysterious little rooms, wicked & wonderful sounds that would make u freak! all these nutty top secret processes & obscure methods, exciting stuff but also bit weird coz i can never talk about it unless they declassify it… which is unlikely. funny tho, theres been a little bit about where vocoders came from in secret speech coding.

rich: bonkatudinal.

dave: e.g. http://boingboing.net/2010/10/06/vocoders.html

rich: wick will dive into dat

dave: my roland system 100m came to me the same way, for doing secret work for em, sort of little bonus, they used to use it for simulating dial tone / test tones in phone testing back in the 80′s! nuts…

rich: ha, really funny weird, kind of remem u saying that prob after i necked half a bottle of absinth or summink

dave: yea, have some vague memory of drinking absynth with ya… ! :) i also think there’s prob lot more speech synthesis/recog/vocoder stuff been made by the big “music manufacturers” that gets diverted to more secret uses.  so, yea that interface on the back of the synton was specially designed for hooking up to pooter for analysis/resynthesis, its do-able … :) cripes, i could talk about this all day, .. anyway u were saying about synton …

rich: yeah i thought you prob could, ok save it for when i interview you
  :)

I mean I suppose the main thing to do there is recording the cv outs from the filters of analysed audio, manipuating the voltages with a seq then chuck in it back at the vocoder, did try this a few times with a doepfer setup, theres definitly plenty of scope their for future experiments, give me a clone please someone?
also check this out on the dutch speech synthesis tip, i got it from Steim about 15 years ago, VOSIM voice simulation sound synthesis,
iits based on the idea that by employing repeating tone-burst signals of variable pulse duration and variable delay, a sound output of high linguistic and musical expressive power can be obtained :)

reminds me of in school as a kid when bored in lessons id make that clicking flange sound you can do with your mouth, which usually ended up in getting a detention.

“i will not make and/or incite others to make repetitive weird clicking flange sound with my voice” x200

It was made by Peter Plompen, Utrect in the 80′s, got a manual but i cant read dutch very well.
I should get someone to scan it.
I need an assistant damn u , bring me my assistant and the finest weed known to humanity*

dave: yea i hear that! i could do with assitant too… yea, u on the right trk with the synton, u prob could feed it into the circlon… wow that steim vosim box looks mentox! yea i know bout the vosim o course, been into that bak in bt labs hushhush days again… got my first vosim tweak in late 80′s/early 90s. i got 4 boxes here that do it, someone ought to get on that tip and make something for euro that does it! the info on vosim is cool coz it not classified, the orig 1978 paper using sin^2 pulses from institute of sonology utrecht is on the ircam server :

http://www.atiam.ircam.fr/wp-content/uploads/2011/12/AES_JAES_1978_Kaegi_VOSIM.pdf

rich: yeah nice was just chekin that b4 i sent the pics, surprised u  couldn’t y smell me on the site…not had proper butchers yet though.

dave: (top pix at the end of the paper of the authors as well, they look like MI5 d00ds:). there’s also a circuit in electronotes as well.

rich: ok

dave: theres other vocoder stuff on syro, u seem to have a longstanding fascination with vocoders & speech synthesis, can u tell me how u got into it & wot trax u think r some key ones for peeeps to chek out (both yours & other artists)?

rich: ers one i got into recently

dave: do u have a favourite non 12tet tuning?

rich: I like em all, least like 12TET, my faves are ones ive made myself,

dave: do u mean least like 12tet ?

rich: yes

dave: yea, 12tet is the real culprit for me… how do u feel bout 1/4 tone (24tet) & 1/8 tone (48tet) for example, or come to think of it some other non12 ET’s such as 17, 19, 53, oh and the 31tet fokker organ:
 
http://www.huygens-fokker.org/instruments/fokkerorgan.html

rich: yeah super top, 1/4 tone, 1/8 tone i used quite a bit on SAW2
well my versions of them, tweaked.

dave: what microtuning did u use on syro ??

rich: I made some of my own up on zithers,piano, scala for sysex dumps into circlon and some other h-pi software, its quite subtle on syro, i didnt choose any of the far out ones yet for release.
got quite a few microtonal keyboards like their bigger ones
peeps can prob find me on circlon list as I’ve been pecking Colin for ages to implement a microtune editor for analogues on there!
He finally put scala import on there which was a hidden feature for a while , while i was making the end of syro,  actually
but we, yes we the people REALLY need colin to b able to save the goddamn tuning tables on there and be able to tweak them intuitively on the fly!!!
when he does that ill be happy for next 10 years

talking of circlon which I’m pretty much always up for doing these days,
some of my mates were freaked out I made jungle tracks on the circlon inc. trk11 on syro, I just got so deep into circlon , when i first got it , i didn’t know how far i could go with it but I’m like a shorthand typist on that thing now, timing is beautiful, its really re-trained my brain, seriously, now i can hear even more accurately like within 1ms i reckon.
its so funny controlling lappy from the circlon which it can do without blinking, love it, can control the computer better than the computer can control itself!
it is the best sequencer ever made til now, in terms of analogue i/o, timing man that box…its got a long way to go but I can’t endorse it enough ! I’ve never been into endorsing anything, I’ve been asked by a lot of people but i hate the idea of it, makes my skin crawl, there can be good combos for sure between artist and maker but when its too business it all goes wrong, people gotta make a living but you can tell easily when people got their priorities wrong anyhow, anyway colin is totally on it and in it for the right reasons.
i hope colin does really well out of it, he deserves to , guys a genius and he’s got my gx1 still for midi -ing!
but at the mo id rather he kept o.s updates flowing:)
you have to b extra mental to have a many synth /osc setup AND try to make microtonal tracks AND still try and get them all intune, ha its insanity but it can be done, its top i love it.

dave: are there any programs in particular u find useful for microtuning e.g. scala, h-pi ? and can u tell me wot u think of them and any improvements u think they could do with ??

rich: im interested in the purely mathematical tunings yes and especially ones that I make up as opposed to ones already out there but much more interested in making my own ones up on a per session basis/per track ,intuitively, rather than with maths but I’ve learned a lot from listening to certain mathematical ratios, fascinating.
its easy to make your own maths ones up also, scala is a deep prog but u can get hed around it with a bit of effort.
but yeah creating them intuitively really is where its at or maybe starting off with a preset ratio/scale and tweaking it.

i like to use different scales, depending on where i want to go
in a particular trak,
things like buchla controllers, make it so easy to make your own, in a matter of seconds whereas on computer, other methods, can be like banging you ed against a brickwall, like dx7 e! as u just found out yerself, although they r not so bad if you know where u r going with them but things like the e! are totally crap for trying out new stuff, i do love tht E! board though, im like a little kid with addons like that.

i mainly now use loads of oberheim marion pro synths/msr2′s as I think those 2r  the only ? analogue polysynths with FULL micro tuning,  idont think there were any others to have FULL micro tuning, how insane is that! its beyond belief to me..i contact new manufacturers like dave smith, p5 had a bit of microtungin buried in it but zilch after that.
theyre not the best sounding synths but they r madly flexible and the ui is pretty amazing considering how few buttons it has, its fully usable, i don’t find it frustrating to use at all actually, without a sysex editor.

guitar music freaks me out , coz i look at a guitar, i bought one couple years ago, ha , coz i thought it was about only instrument i didnt have lying around the house.
and think why the fuck do people stick to 12TET, its ultra boring and guitars like most stringed instruments beg to be re-tuned, its so easy compared to most synths,
to me a synth/plug in or  whatever that doesn’t allow you to change the tuning scale is like only having one demo song that you have to use in every track, or painting on a canvas and having to always use the same background colour ,drives me nuts that most people have not woke up to micro tuning yet, i predict 80% of all electronic music will be microtonal in a few years., i fuckig hope so anyhow
again, Mankind is at a spiritual low point right now, possibly the lowest its ever been if you read into the great pyramid inscriptions, its not hard to see either, most people are very much asleep and being controlled.
That doesnt mean that everyone is asleep, many others are ultra awake and hopefully the numbers are going to rise, they better do anyhow and quickly before we lose all our civil liberties.
its like all these dub step/jungle tracks that are trying to sound dark but using fluffy old 12TET, just hilarious
i think its subconsciously why all the artists that dont microtune work in the bass region , sub bass like in jungle etc, the brain finds it harder to decern pitch the lower you go, so if your going to use 12TET then go for the lower frequencies, people are going lower and lower all the time due mainly to monitoring systems getting better but i also think spiritually people are going to those lower notes as they are almost non12TET sounding, once people get it , it will kik off and spread be a major revolution in electronic music, .
Ive been using microtonal stuff mainly since selected ambient works2 on /off but did use it prior to that quite a bit also.

dave: yea, I did classical piano for 10 years, up until 1981, did rsm grades and that, but by then I was already well into punk/electronic music/synths & building things. so I gave up piano and 12tet, and moved to synths + electronics and started makin me own trax & setup me studio. also i agree the utuning software needs to be more intuitive, I’ve started making tunings algorithmically using ca since last year, not based on any music theory, so kinda intuitive from the point of view of artificial life :) i still like so called “classical” music tho, if its done well, especially harpsichord coz they all get their own tunings, which are often quite weird + i always think ladies play harpsichord better than blokes, at least wot i;ve heard.

ivor darreg (i was introduced to his stuff via warren burt) also really wrote some good stuff, he was such a total d00d!!! he wrote & recorded so much microtonal stuff! well he called it xentonality, coz it covered more like the micro & macrotonality. i got tons of his stuff, used to be on the web but for some reason the whole of the site he was on has changed and none of it seems to be there any more, must be a new site somewhere… or on wayback machine,  but there is a little article on him here :

http://www.furious.com/perfect/xenharmonics.html

he probably had the worlds most serious beard as well!

rich: Yeah seen xenharmonics crop up a lot , top word. tbh Im not very good at reading about music theory, or about learning anything in general, from anyone, I’ve really tried recently , its interesting but to me always seems like homework.
I was really terrible in school, I literally could never bring myself to listen to anything anyone said, I’m not much different now, in school I used to just stare at the teachers listening to every tiny characteristic of their voices , inflections etc, trying to work out what was going on in their brains  which usually was not a lot but not hearing hardly a single word they said.
i think I’m a bit aurally dyslexic or something because sometimes i can’t understand anything anyone is going on about..just sounds like words/pitches with no patterns/gibberish

partially coz most of what we were taught was so utterly pointless and designed imo to put you off the interesting stuff to do with maths etc

and how not to evaluate anything being said to you or how to think.
which should be the first lesson in all education, how to evaluate what your being told!  starting with why you should you be told ‘how to evaluate what your being told’ :)
I loved being in school though, had such a laff, kind of more fun when all the teachers r fukheads, unites people.

dave: do u work out your own tunings and can u say anything about that? I notice on the cover klob it sez zither afx-scale, can u elaborate on that?

rich: its as easy as just turning your tuning screws to where it sounds right to where you want to go
I love re-working tunings like you can copy and paste prests/patches on a synth , copying and developing/refining them as the years go by.

dave: are any of those wicked unreleased trax u sent me over the years on the album? is it ok if i play any of em to my missus?

rich: ha yeah fine, not sure cant remem if they r on there prob not.

dave: some of em got similar names in my afx incoming folder over the years: ages ago u sent me a casio fz timestretch thing called “casiofz10m pseudo timestretch” has u talking, and then some drum stuff. also CIRCLONT14+4 but mite b diff version? don’t seem to b any others with similar titles tho now i chkd.

theres also a lot of speculation about melodies from mars, b cool if u could say anything about the making of this & any release plans.

rich: particular period around 94, made in 36 clissold crescent north london, dont think you ever lived there? im sure u went there though?
a lot of mates/mates of mates lived there
memory is a bit hazy/smodged of that decade !-)
I made ICBYD, RDJ, half of SAW2 etc etc there, amazing good times.

dave: yea top vibes, i lived at 36 clissold for a while (about 6 months, well i still had my place in suffolk, so used to flit back & forth…), but was jus after u left an got the bank, late 90′s i tink prob 98 or 99! hazytimez 4 sure! I lived in the tiny room near the door over the stairs, damo got a vid of me setup in there once… there was about an inch of carpet left, rest was klob & bed. tht swearing bloke next door was funny! landlord wasn;t tho as i rem, he had a few noyze issues frm time to time :)

have u done any trax that use my dsp box i built 4u?

http://noyzelab.blogspot.com.au/2013/04/afx-dsp-box-commission-2002.html

I rem us havin brief natter bout using compressor on the front end when I first came over to oz, but we aint really nattered bout it much over the years.

rich: i wish, you know ive misplaced it, it was super good, never even got around to trying the reverbs on it,
it will turn up one day…hopefully with a bag of weed in it nxt to it.

dave: mite av to knock up another or summat. been on a full on mentox dsp frenzy tip again recently. i rek i did bit too many years windowless room time at bt labs on dsp progging, very unhealthy. now I get to look out the window while i do it :) or even open it…

re performing at north pole/antartica; yea, or mebbe like hitch hikers guide & do something remotely from a spacecraft or an airplane or sumink !?

rich: well u can in your sleep :)

dave: how was it revisiting the atari st after all these years?

rich: well if you get a modern mouse,flatscreen cable converters+midex midi expander then ur cookin on gas,+hxc! its funny i forgot on cubase on there how bloody slow it does screen redraws, i used quite a bit of software on that back in the day like dr t’s
and loads of algorhytmic midi things and editors of course, which is what i still use it for, fave being a Kawai K5 editor but there are some awesome dx ones, that sort sounds via harmonicity etc
i did a ardkore tune on it recently with tx16W :) and also forgot the timing is affected when you move the mouse!
you can do swing by rhythmically swiping the mouse up n down the screen !
not properly check ST emulators with editors,  but apparently they do work, on the 2dolist.

dave: i can vouch for steem on the pc, wish they would get one going on the mac. steem works with my midi interface, well its novation remote 25, the only thing my pc will talk to, so i never press the music keys or knobs, just use for midi i/o… bit over the top…

tell me about using the meinl water udu & how u got into that?

rich: ha, my house is full of all kinds of instruments, whatever comes to hand basically.

dave: so u’ve mentioned the earliest track, what woz most recent?

rich: I think japan xtra one, although apart from the production, prob sounds oldest musically, was a bit of an odd one out that one as i was doin loads of weird modular fx stuff at the time using this

http://www.jhaible.com/matrix_fx/jh_matrix_fx.html

he died the day he posted it to me which was very sad, a huge loss to the community ,he was the analogue fx don of dons, a genius.

ive attached some more pics of jh units that i bought from him, i kept buying his prototypes, allowed him to keep  building better versions and building more new stuff , he was SO quick at making stuff , incredible dude, that ps3200 clone he made, fuk me!
the phaser in circlon14 is the arp phaser in this pic, being externally controlled,
Was super top that i got that from him as i used to have an arp quadra and indeed the phaser on those beasts is lovely but the synth is just so huge, super rich sound though..and watch them overhanging keys! never seen one midi’d
on another note , a lot of tracks on syro have more sounds than the equipment used as i utilized A LOT of program changes, each synth responds at diff speeds to pgm changes so a lot of time id have to program a pgm change on the preceding bar of something otherwise the start note would get cut off.
But on things like the korg ps3200 and cs80 you can do near instant pgm chnges, and so u can make them like wavetable synths, cs80 looks especially awesome when you sweep all the presets back & fwd knight rider style while playing all the sounds consecutively.
Trouble is when you go to a diff pgm sound, u usually want to eq that differently, so in more recent traks after syro where ive used a lot of pgm changes ive bothered to route the output into an audio matrix switcher so when i switch programs the sequencer will simultaneously route the audio to another eq!
fucking A N A L! never would have done that when i was 16.
jh storm tide, one of me fave flangers, jh’s pro type
jh string filter-this thing is special very deep sound.


the desktop b/w phaser in the pics is off the the chain radio rental, not got the eg files ere to send unfort.

but that xtra japanese track fitted nicely onto syro, keeping that same kind of vibe.

dave: sad loss…
i spotted the sm pro peq505 on klob list, which i check my email sentfolder i sent u link to that & u wrote bak saying u got it and using on a trk, tht was 17 dec 2013, + u wrote me back and said “first impressions, pretty blimmin mental, each band is the most resonant eq ive tried! well found!” so maybe s950tx16wasr10 (earth portal mix) is most recent ??

rich: almost
yeah as we natted lots about, im very fond of resonant eq’s most people dont even realise you can use eq’s as resonators, software ones are even more resonant.
Im good mates with the DMG audio boys, who make dope plugins, super top dudes, I got them to add keyboard control to their parametric plugin so you can setup resonant chords with multiple eq bands then shift the chords around with a keyboard input :) , noyce.
I also asked them to put portamento on it but  krystof said there would be no point, ha, wrong! i think he was not stoned enough though..next time mate, cant wait as that would be a dope feature.
really annoys me when parametric eqs hard or soft dont have completely overlapping bands, boring!
yeah that sm pro one is Vgood VFM.
other faves are cwejman, klark teknik dn410 there r other eurocrak ones on horizon swell

dave: tongue drums sound interesting, can u tell me more about it?

rich: oh yeah got loads of them, made my own as well, didn’t quite get the tuning right though but close, coincidence my missuz just strted playing one while i was typing!
just thought bout this funny london? expression ‘her in doors’ in my case its ‘him in doors’ :))))

dave: we’ve chatted about mixing desks lots over the years, on thealbum u’ve used quite a range e.g. ultra cheap boss bx8 to the neotek elite 64 channel custom. its interesting that u use mixers a lot in your work, and u’ve also said to me about how u consider them instruments, particular regarding no-input mixer type stuff. did u use mixers in unusual ways on the album & can u tell me about that?  wot draws u to use such a range of mixer/pre-amp/channel strip klob?

rich: mixers are prob my fave pieces of electronic equipment, theyre like whole worlds onto themselves
ive done pretty well in not buying loads, ive been tempted and not collected them but ive got a few
the custom neotek one ive got is 128 channels and pretty epic but quite easy to use, it does have a few headscratching features on it which took me a while to get me edaround, i rem printing out and reading several old SSL manuals in a couple of days, phew before i had mine built and modified
I think neotek had the dual channel thing going on b4 ssl though.

one feature out of quite a few that i wanted which i didnt get on my neotek or ADT was to have a SiP fade feature, so you can press the special AFXSiP button , then the balance between the SiP and main mix can be controlled by a crossfader pot, shweet. but was too much hassle for them to implement.
The ADT guy Gert is amazing, anything you want, he will be like ya ya, no problem, i love germans. their website is off the hook, get lost in that for hours.
my ADT mixer kiks major ass, so compact, its a hybrid rack mixer to fit into my cray setup :) ultra compact i use several additional matrix mixers with it now, its growing!
just got another midas xl88, love those, rare as rocking horse shit, cheers heck for tipoff!
ADT is a modular mixer, there are different eq’s etc on pretty much every channel,  so much tone variety, cv’s in the patch bay, its nowhere as easy to use as the neotek though, idea was basically to have an ultra clean mixer with diff variety of tone colours on each channel, so I can have tube sound on some, gritty dirty sound on others like from the bx8 etc, love it , such a huge range of sound im getting out of it, barely scratched the surface so far.

dave: I see wildlife get a mention on the klob list, can u tell me wot sort of wildlife, & how wild woz it!?

rich: the birds in the piano track! I actually made that track a lot better technically but when i recorded it originally, it was a super spesh time in my life and those birds were part of it so i just had to go with that recording of it, straight to nagra tape, love the sound of pianos to tape.

dave: LPG on trk list is tht the Pittsburgh modular jobby?

rich: doepfer, its not as nice as the buchla ones but its what i was using at the time,
theres no buchla on syro at all actually.

dave: no ems either, yea, thts surprising , u must have some lined up! i got a little vid somewhere u sent me when i first got over to oz of u prodding one of ya buchla’s, was v good, must try an find tht vid, !

is there anyone alive u aint worked with who u really want too? is there anyone dead u aint worked with who u really want too (would require time/matter/interdimensional transportation bizzo)?

rich: nice q, would love to do a track with florian schneider, gerald donald, he’s got 2 first names like me, derrick may!,stockhausen,  really sad i didn’t work with him before he died but he told me last time i met him that we would work together so , it will be in another realm,  i sort of felt that when he said it anyhow.
the stockhasuen vs aphex thing was reported very in accurately btw, I have huge, greatest respect for that man possible and I got on with him very well, the work ethic of that geezer…bloody hell.
he is from sirius by the way,
oh who else…
man i would work with everyone and anyone who i got on with , i don’t have to like someones music to wanna work with them, just have to get on with them personally and be friends first, i cant do tracks like oh u email this ill email that , not into it, too business, like having a phone in a studio.
got a few things in pipeline with relatively unknown bands .

dave: how do u mum&dad feel about being on the album & did they know u were recording them?

rich: i dont think they heard it yet, ive made sample banks from my folks, need to do more actually,,
i love the formant relationship of voices from the same families, studied that quite a bit, fascinating.
i if you like someones voice its as important as their smell, it means you are a good genetic match, if you sing the same note as the opposite human sex and overlay voices on top of each other the formants should be in a harmonious pattern, but you will know that anyhow by intuition to help produce healthy children, well thats my theory.

dave: can u say something about the recording rooms listed? bank room thin?

rich: in my old bank, it was on the first floor, sometimes buses would stop outside my house and i would be staring at people through the window really close, my mate ian said he saw me once in the studio from the bus!
I had several rooms mic’d up as reverbs from there and did whole tracks by just feeding rooms into other rooms via delays and frequency shifters, monitors and mic’s, still to be released.

dave: basement?

rich: its where i keep my   plate reverbs, synthi100 ,phillips tape echo and turntable encoding setup.
not many people would know or probably care but i used to take and still take the utmost care in encoding all my vinyl to computer for djin on the computer or just listening in the car etc.
just so they sound as good as possible over the system.
i usually clean all records to save wear on pricey stylus on sme turntable etc
i miss the basement in my old bank, amazing reinforced concrete walk in vaults, hugely reverberant, recorded many things in there, it was also haunted, vault opened itself once and the taps were left on maximum had to use a monkey wrench to turn them off, had to try hard for it not to creep me out.
how mental is that, nobody could have got in….so weird..
, it was a very creepy place, now there is a 22 storey block of flats there, on top of it, i bet they had a hard time getting those vaults out, reinforced concrete 5ft thick..

dave: thts creeptastic! actually i had a funny ting happen while we working on this interview recently. my dx7e had some screws loose in the back, one morning i got up and they were all tightened…  weird day followed … ok wot bout bedroom setup?

rich: gone now, just buchla 400 in there at the mo but was super top to have a great setup in bedroom again, doing tracks in the nude, y -fronts etc

dave: yea bedroom setups have certain vibe… big room?

rich: since these pdf’s were made several mods have been made, like making
each bank of additional 4 aux’scan b linked/unlinked so in effect you have 24 more aux’s which are tied to their respective input channels
each bank of 8 inputs can also be summed seperately from the main mix
I also used to use 2 shure auxpanders for even more auxes but i swapped them for 2x midas xl88 matrix mixers which gives another additional 16 aux’s+use some auxes as busses, prefer em to shures by long shot.
+the awesome calrec minimxer ,12 stereo line mixer, 24 channels in 19″space, nothing else like it. had it completely overhauled and new full patchbays made for that also, has a lush narrow/wide pot on each channel which is d o p e ***
the whole thing has a massive channel count for the size and all reachable within arms length which was the main criteria. inc all the additional patch bays and i love it like that, its amazing how much more you do with equipment when its all within reach, unless you have it under extensive sysex control but still.
Toolkit is in my top5 pieces of outboard, a m a z i n g, shits on pretty much everything in terms of flexibility, sounds very clean but recently been putting things thru langs or pultecs and then putting them thru the toolkit/resampling them& put thru again.
His new units ar          e really interesting also
like this one
>>> TM235 – Harmonics Generator, unique unit
http://www.adtaudio.de/ToolMod_ProAudio/Manuals/TM235_ManualDe.pdf
[in german]
the ADT mixing setup is a totally different vibe to my massive neotek, much more geeky to operate but i love the 2 different approaches and then to switch to a setup which is all itb and back again is quite a trip, i really like mixing the different disciplines, im constantly influencing myself across setups.
This current setup is Vflexibile I can make any source sound good and recently just keep using crap sound sources on purpose, like yamaha rx11 and trying to make it sound good , like turning the kik into 808 type kik with resonating eq from the toolkits etc
Something about this rx11, its shit but i just love using it..ive used the sounds in so many tracks, looking fwd to using it more as well,ha ,all the drums in the Marchromt track, originate from an rx11 :)
just did another workout on it recently, here[]
the build quality of it is so porn, they were so expensive when they came out, i used to dream about having one and now people giving them away.dave: oh yea, we had some fun seshs at yours when i came over in 2008. the synthi 100 woz in there + arp2500 + loada more klobbage! u not sent me a samp of the synthi100 yet tho. ok, c-shaperich: cray setup in the big room, headphones only, although got lush little geithain monitors in there now which im well happy with, no subbass though, disklavier, more modulars,midi pipe organs, snr2[at the mo], synclav, dk synergy! dx1 etc etc defender tabletop :) dave: can;t wait 2 hear some o tht! that stuff not on this album ? + really wanna chk the synclav & synergy out nex time i’m over. lodge?

rich: took me 3 years to mke this one, had to have help to solder in the patch bay as there about 4000connections, currently trying to stop super clever mice eating the cables, its in the woods.
got some hydra phonic aux sends :)

dave: have brief recollections of tht place, we staggered out there one day in 08, seem to remem it got dark and we had hek of job finding our way bk coz we didn;t take a torch…  i’m assumin this is tht place we went ??

rich: yes! i quite often forget torch and either hold on to my german sheppard or feel my way home , no light pollution up there, I’m sure your place gets ultra dark when its cloudy?
I don’t like that about cities, no proper darkness outside.

dave: yea, gets so dark ere u can;t hardly see yer hand in front of yer face, conversely when its full moon dont even need a torch! mod room?

rich: modular madness, its all there.

dave: :) as well as the yamaha fm stuff, u seem to have a lotta love for the sh101 + roland klobbage, can u tell me why u like this lovely little synth, how many u used & mebbe summat bout the other roland klob listed/unlisted? + also defo tell me bout the TR666.

rich: my first analogue synth, its prob the most digital sounding analogue synth there is ,as ultra stable, clean sounding, thin but i love them for their simplicity and sound
but wow intellijel atlantis, sh101 and then some and some more! ok without sequencer and mod grip :), maybe they should do them in red and blue also,
4×101′s for polyphinc 101 is pretty amazing also
love the square wave on the sub osc forever, could go on about them for ages…
they mod extremely well but then you lose the simplicity, its interesting.
I had a dream once about this ultra 101 with big LCD display in the middle…im that sad, actually no fuck it that was a lush dream and it had a roland 404 in it which got released in another dimension which was combo of sh101 and 909, i made a tracks on them, and they sounded so beautiful , the memory of that dream, the sound of the 404 is still with me , a big influence, i try to make sounds like it made in this dream a lot.

dave: + anyting u can say on TR666?

rich: a lush guy in london made it, i gotta attach a pic, I’ve seen a lot of 606′s modified but not like this baby, you can do whole tracks on it , with all the cv’s ins,
you can tune all the oscillators on it,8 of em for the cymbals/hihats.
dave: its quite remarkable how some manufacturers r going bak to their roots so to speak and revisiting old designs, have u chek’d any out?rich: yeah like being a kid again, shame the corners are cut 2 the maximum thoughdave: looking at the klob list I think the sound devices 722 was distributed over the most tracks (9 in all). woz tht because u recorded traks into it, or was it for field/wildlife/acoustic/on-location recordings etc?rich: record tracks to it, its really handy for that , for all the diff setups +it records to CF and hard drive simultaneously so backed up from the start and apart from tape and stuff i do itb keeps my stuff kind of in the same place

dave:care to share any modular experiments, any buchla maybe?

rich: Yeah sure, what to attach….hmmm ok these are made from a very rare buchla”10 partial & filter generator” , i think there are only 1 or 2 in existence!
made these 2 about 12 years ago, fuk, seems like yesterday…3rd &4th are all serge,
and heres a load more completed modular trax from the archives, all about 12 years ago,new &old buchla,serge, what a fucking racket make em all downloadable please!MODULART3 [schmoo pulse] eurocrak setup, think a lot of cwejman modules in there.
dave: wow, great stuff, thats a whole bunch of top modular racketing! hey that reminds me, ow’s the System 700?! i rem u showing it me when i came over before i came to oz, first time i’d ever seen one in the flesh.rich: ok fuk, now were really talking, I mean as far as analogue synths go, all you really need is a system700, If I had to keep only one synth it would be that, absolutely the most beautifully designed synth of all time, it’s the best for all the conventional type synth sounds, you can go weird on it but it really begs you to set it up and play it like a proper instrument.
Its so inspiring to look at and use, system100m’s are absolutely gorgeous but 700′s sounds and look 4 times as good, and about tht many times heavier.
Ive got 2 of the sequencers for it which are just ridiculous to look at, the size of them! and are actually pretty unique.
Id take it over a fully loaded arp2500, although the arp 1047 filter is very special, evil purity or something..beats every eurorack filter so far..i think ur hinton filt might be based on it, looks kinda similar.But the sys700 has the right balance of pre patched connections and user config, so you don’t always need a ton of cables to get basic sounds going, I hadnt switched mine on for about  5 years, was in storage, set it all up and all the oscillators tracked perfectly over pretty much the  entire range! its the rolls royce of modulars, They obviously looked hard at the moog modular, tidied it right up and made it a lot more usable/playable, manual is super top also.
will try and find some examples which just use it &attach, Im going to be spending a whole lot more time from now on
the expansion modules for it are just so good, and I really love the compact lab 700, synth porn at its most intense, so cute.
ok inc tracks are straight out of sys700 to tape, just a taste from 1 seshun when i 1st got it, not sure why i put em to tape on this one, i think i was going 4 human league style.
oh wik, totally different tip, FLhecker just sent me this, yes!http://medias.ircam.fr/x7b9990 dave: nice, thanks… u even got it talkin! yea i think the hinton music lab filter (ML1502) was somehow related to the arp2500 filter, but can’t rem, not wanting to speak for graham hinton of course either. i did a blogpost on the ML1502 recently :http://noyzelab.blogspot.com.au/2014/09/hinton-music-lab-module-closeup.html

he’s actually got a few filter designs, i;ve seen some pix he sent me of them over the years. i really hope he starts putting some more of his designs out, top stuff + would love a hinton pinmix!

http://hinton-instruments.co.uk/paprod/modular/pinmix/

wot was the tiniest / littlest / shortest mini-snippet of sound on the album & wot klob woz it off that klob list?

rich: ha, musicmaid claptraps :)

dave: on a scale of 0 to ultra-rare the rmi harmonic synth is pretty ultra-rare, how did u find get hold of it, wot u rek to it & how did u use it?

rich: they r a freakout, really early digital synth in a world of its own, its unbelievably nicen crunchy, i love the stereo aspect of it as you can get the same sound in both channels but detune the harmonics in one channel, the sync is the best thing about it, its a bit of a 3 trik pony for the size but good trix, plus best buttons in universe, not got it anymore though.

dave: its amazing how the tactile aspect can really make a difference sometimes init…

in tht laurie anderson e&mm interview i scanned

http://noyzelab.blogspot.com.au/2014/09/laurie-anderson-making-music-with-big.html

she sez tht eventide wrote to her to tell her they fixed the glitch on the 910 harmonizer and she said “but the glitch is the most beautiful thing about it”.

rich: ha yeah that wot i would have said.
basically you wont both, same as h949, my fave fx unit but unfortunately but understandably the most unreliable and hardest bit of klob to break/fix.
people are trying to sell them for loads but you need to go and pick them in person coz they so likely to either not work or break in the mail, only buy if you are a millionaire, I had to buy 10 to get 3 working, i wanted 3 werking simult.
ok m8 i need a breather… , we’ve nattered lots about me an me new syro album, now time for u to tell me few tings bout wot yer up to
i rember being at the bar with u in a club in london on a rephresh nite bk in late90′s & u explaining 2 me how you worked with cellular automata , drawing grids in beer all over the bar & shuffling all the bottles & glasses around!!! peepz lookin at us well weird., tell me bit bout tht as well. i rem when yer album generative compositions came out coz u came over to mine and we had a week long synth sesh! its well wikd album +  i played a bit of it out when i dj’d with hecker. then u done tht automata von neuman series of course, so wots on the horizon m8, i know u’ve been well bizy coz u’ve maxed me up with plenny of soundfiles. + where u at with that radioactive synth module, the random events thing ??dave: thanks fer askin! i’ve recently setup a bandcamp page for noyzelab https://noyzelab.bandcamp.com/mainly to start putting out some of my archive & recent recordings [a few in the pipeline but i won;t say wot just yet], but other peeps might appear on it… although bandcamp dont half take a big cut, so mite give up on them… & just put stuff on noyzelab.com , who knows… as for other labels, well on the immediate horizon are a few  cassette album releases, 2 on the alku label (as david burraston) + one on the meds label (as noyzelab).  the first one on alku

http://alkualkualkualkualkualkualkualkualkualku.org/

is a collaboration album with russell haswell (who u introduced me to at the bank, bak around late 90′s / 2000 & is now on twitter ->https://twitter.com/RussellHaswell ). its an all modular album called ‘Wired Lab CV Session #1′ recorded live to 2 track. we made it when he came over to the wired lab for an artist residency in 2013. we also used a couple of my own designed synth modules => maniac cellular automata sequencer and the spacetime gravity modulator :

http://noyzelab.blogspot.com.au/2012/04/maniac-new-cv-interface-utonal.html
 
http://noyzelab.blogspot.com.au/2014/08/spacetime-gravity-modulator-part-3.html

me & russell also held a modular synth workshop during this session which was very well received & lots of fun!

the second one on alku is a solo album called ‘chaotic cellular drums’ recorded between march & may 2014, again using maniac cellular automata sequencer (this time using midi output to control midi based synth drum modules & effects units, so sequencing effects with cellular automata as well). this album was recorded live to 2 & 4 track track, and was recorded as it happened, with some very minor editing on the odd track.

rich: c00l, wes well chuffed when i first heard u an russ were doing a collab album!

dave: the meds album is called ’16 x 16 cell meditations’ and is an electronic drone meditation tool, specifically written for meditation practice, but can be listened to for entertainment if u like drone stuff. meds is a new label, setup by ant (cataclyst) & tom (icasea), they at :
 
http://meds.zone/

’16 x 16 cell meditations’ was recorded using a bank of special microtonal oscillators i custom designed & built. they are digital/microprocessor based & fully temperature stable with a 0.01hz resolution, so i can setup very precise microtonal intervals with them.
i aint gunna reveal the full technique, as i;ve got a bunch of other microtonal meditation recordings using the same setup in the pipeline that i want to put out first. since i;ve been meditating & doing qigong, i’ve really noticed how ultracrap a lot of “meditation music ” is… well  i dont reckon there is anything much, but of course tho i really  like eliane radigue, pauline oliveros, laurie spiegel, their music is great!!  & maybe few others… actually my favourite laurie spiegel tracks of all time, AND pretty much my all time fave electronic music trax of all time are Improvisation on a “Concerto Generator” (1977) made on the Bell Labs Alles digital synth (which also got fm in it!) & Immersion (1983) done on the McLeyvier computer-controlled analog synthesis music system. everytime i hear em its like there’s a super intelligent being imparting some deep wisdom with a massive smile :) she was totally on the case with algorithmic/generative music !! ++ i really like all the papers she wrote too. landmark inspirational stuff for me!
http://retiary.org/ls/obsolete_systems/rich:yea my missus been listening to laurie spiegel a lot , i like it 2 fall asleep 2, same with ERaddave: i also did 2 bryen telko digital albums for cataclyst (depressurization & eponymy) https://cataclyst.bandcamp.com/album/depressurization
 
https://cataclyst.bandcamp.com/album/eponymy

which woz a kinda pre-curser to my current batch of microtonal electronic drone meditation trax, one was on an sy99 & other was on the hinton music lab (with its oscillators not my ones).

basically tho, the electronic drone meditation stuff i’m doing is not a million miles from the “binaural beats” / brain entrainment type meditation stuff, but it is very different sound & process wise … it is NOT a rehash of that stuff. u can use my meditation trax as a focus object or just as tune out listening, which i dont fink u can really do wiv binaural beats, not the stuff i;ve heard + mine dont sound like cheesy new age crap!! theres nothing else like it, well maybe next century if someone invents some doublyultra weird ting n tht.

rich: YEA! get yer drone on! keep goin!!

dave: er… oh yea,  whole bunch more wired lab / installation / workshop stuff upcoming, including some more rainwire developments

http://noyzelab.blogspot.com.au/2012/02/creativity-complexity-part-2-rainwire.html

& a soundart project with schoolkids (which is part of australia’s national science week), using the arduino based bare conductive touchboard. the schoolkids stuff is so c00l coz they getting to play & learn about a whole heap of stuff they wouldn;t normally be getting with the school curriculum. keep checking me blog & the wired lab site as we’ll be announcing the wired lab stuff soon.

rich: 4sure, ok wot else, wot bout yer dsp experiments??

dave: i’ve got a new dsp box on the go, been having a full on dsp frenzy this year. its pretty advanced this one compared to me old one (even tho the old one does stuff this one doesn;t), & its got a multi channel i/o + spdif + cv interface. i’m collating bunch of recordings i’ve been working on with my old 90′s dsp box, like the one u got off me, so using that process and other tingz.

rich: still havnt found it, its here somewhere, i hope. tht bitspeak plugin i was tellin u about is Vgood, im sure loads of people will jump on that .

dave: nothing available yet tho, very much in progress… so no idea when i;ll get round to puttin tht out. i been doing some code / hardware updates to the old dsp box, so its now got an 8 bit logic buss so i can direct interface to CA modules, drive it from the cells, + this bus  works all the way up to super quick at the sample clock rate, up to 44.1 & 48 khz. i checked out the bitspeak site, yea interesting, hah! they copying me!! :) anyway, guaranteed their software will sound a bit different to my hardware dsp box. even more definite is that mine will distort / deteriote / fuckup in a totally different way to their software.

rich: glad u keeping up the dsp action, looking 4wd to chk that stuff. i rem u sayin u had some full on ca microtuning epiphany last year!
dave: yea, my other major breakthru last year was getting cellular automata to create self organising / generative microtunings.  u’ve heard some of the recordings already of course via email, but i;ve not published any of these yet. i’ve been trying to figure a way of doing this for many years, but i finally cracked it last year (actually some of the conversations u & i had over email were very useful in getting this method going, made me re-visit a few things i’d previously checked out, but not actively followed up). the CA microtuning method is not based totally on music theory tho. the way i approached it was getting the CA to create its own tuning systems, so its a lot more alien, more like artificial brains making their own freaky tunings. i’ll prob b making this tuning method public at some point, because no one else has done CA based microtunings, so its quite an exciting development for my CA work, finally closing the gap from synthesis / sequencing / control. rich: wot bout yer hermiting lifestyle mode ??dave: regarding hermit mode, i always been like that :) + it helped with the cloak & dagger stuff :) in 90′s lotta peeps used to call me “virtual dave” or “virtual noyze” or just “virtual” … quite funny… i hardly used to leave me studio, except to go to labs, go for for walks, go to pub & come & contribute with the video projectin at some of the rephlex gigs, which was lot of fun! when i was a young kid they used to call me “hypothermia” coz i used to always b inside (especially in summer coz of my terrible hay fever!), and there was this public service ad on the telly which had some old age pensioner sat in a chair with a book with no heating getting hypothermia, weird how tht was how i appeared to others at tht age… so i jus been building up an archive of recordings / experiments / machines over the years tht i’m finally starting to make a bit more well known thanks to your (& bunch other peeps) badgering, and a few obliging/understanding labels + me missus (sarah last, wired lab curator) is always keen for me to get me work out & more widely accessible + we collaborate on stuff as well. rich: yea didnt you an yer missus win some top ozzie experiMENTAL arts award for that piano drag piece?

dave: yea, well it was 2 awards wired lab won for a project sarah curated called southern encounter & piano drag was part of it. was great to finally realise that piece after many years of trying to get a train & track to do it on. we finally did it on a private track in south australia in 2012, and we were pulled by a steam train & buncha carriages. basically we attached a piano to the back of a train, and had it contact mic’d up , like about 16 contact mics i designed and built, and fed em to this big analogue mixer. so i mixed it live (no fx) at EARSPLITTING volume ! sarah said b4 hand she wanted it to be really confronting, it was… some bloke started screaming at me to stop during the performance so i jus thrashed it up even more!, they had to take him off the train when we detached the remains of the piano coz he fainted or passed out somehow, couldn;t handle it … we projected the video of its destruction in realtime into the roofs of the carriages. it was a comment on european colonization of australia, and was bookended with the local Indigenous Ngarrindjeri Rritjarukar Choir singing in their traditional language that i recorded with them in a local church. they gave us permission to use their songs & performance for the piece. whole thing was just very raw… it was sarah’s concept initially & we developed it together, very emotional piece… we been invited to show it internationally, which is very hard coz we need a train & a track to do it on! i gotta little excerpt of it on vid that the conductor took out the back of the train in south australia, chk it out! i’d love to do it with a full size concert grand piano.
rich: wow, i’d go to see that!!!!! its weird how u’ve led such an elusive life , always scooting off to these well out the way places… now you’re way out in the hills in new south wales!dave: i’ve managed to stay as a bit of an obscure outsider & mainly been distributing my music privately between friends/contacts. had a few interesting offers over the years from labels to put my recorded work out, but not really followed it up, been having too much fun in me secret soundlab & doing live / art events. u know… crazy stuff like working with garry bradbury on an artwork called ‘pi scraper’ which was setup on a huge 100ft railway turntable. we contact mic up and play/mix live from the turntable as it spins. proper industrial techno! we also use a couple of massive piezo styli that are attached to the turntable, which play the concrete ground, like a record player…. very grainy & harsh, but surpisingly eerily choral at the same time, weird… a mix of ‘pi scraper’ ended up in the wire magazine. we had the whole thing video’d as well, which still needs editing…  u can get a special exclusive mix on mp3 on the wire magazine site now, this is a mixdown of 3 simultaneous recordings, one of which was recorded by chris watson ==>
 
http://www.thewire.co.uk/audio/btr/below-the-radar-11/7
 
+ u can see a video someone took of us sound checking here :
 
http://noyzelab.blogspot.com.au/2012/11/pi-scraper-exclusive-in-wire-magazine.htmlbe really good to put couple of mixes of that out on vinyl 12″ + be great to do some more live shows with that piece as well. need a proper railway roundhouse for it tho! things r beginning to change these last few years in terms of putting out albums, which i;m quite into doing, espesh since doing me phd, where i was basically given total freedom to do wot i wanted, which was really an amazing opportunity to work within academia tht way, i.e. not doing someone else’s bidding, but really getting to develop my work & ideas. thats where the main chunk of my cellular automata research ended up. at first it was going to be about all my algorithmic/generative work and how it relates to my music, but u have to focus for a phd, so i decided to make it just about the cellular automata work, and in particular on a discovery i made about cellular automata rule space that was supposed to be impossible…

in fact it was my 2nd attempt at a phd. i did get started on a secret one for telecom in the 90′s when i was at the labs, but i ended up shelving that, did get some bits declassified & published as a couple of scientific papers from it tho, which were on spatial audio/reverb for teleconferencing in virtual reality / artificial life environments.

rich: wot bout tht radioactive synth module, you’re really go off on one with that !!

dave: tht radioisotope random event generator module i’m workin on is comin on well… i got 2 lab grade radioisotope disc sources buzzin away, a beta & a gamma source. i got little page ere

http://noyzelab.blogspot.com.au/2013/05/radioisotopes-study.html
+ some test recordings on bandcamp + also used it on tht ‘watch that sprouts watches’ track on the recently released automata 52 album. the cd is sold out now, but peeps can still buy the digital version : https://cataclyst.bandcamp.com/album/automata-52-2rich: oh yea, got them trax,i like playing them both at the same time out multiple speakers REALLY FUCKIN LOUD!!! my neighbours thought a nuclear war had started! they all got freaked out!dave: well i need some more time on the radioactive module (well would like more time on all me modules hah!) + when i get an alpha radioisotope source it gotta b timed right coz the half life on them is really short, so need to make sure have block of time allocated. the alpha discs are made from polonium-210, which only got a 138 day half life. well actually the gamma source, cobalt-60,  aint terribly long half life either at 5.27 years, so my one will b gettin to its first half life soon. here is a couple of bonus pics of it during the testing stage, bit tricky to work with coz have to hold em with tongs or pliers at arms length, i built it in an old 300baud modem case.
 

+ have to make sure i got a little special place setup coz its radioactive, so can;t jus leave em lying about… i made me own special lead housing for em for shielding, u can get specially made up ones as well. funnily enuff the commercial ones are called LSD which stands for lead shielded disc. also coz i live up in the hills where there’s lots of massive granite boulders  i got plenty of natural background radiation to play with as well. i’m really into radioactive things, such a great source of real world “true” randomness & its around us everywhere, theres no such thing as a nuclear free zone! i reckon every synth should have a ‘radioactive’ nuclear hardware section, u know like there’s osc, filter, noise, adsr, lfo etc.. they should just add another bit in there for fully random radioactive action! they should power em from little mini radioisotopes, like them little tiny spacecraft do, get the tek down to prosumer grade!rich: the eurocrack bods should license some of your module designs! like ca, chaos, mudley talker, microtonal osc etc. i’d buy em!dave: be really cool if some of the eurorack manufacturers licensed some of my module designs, had a few enquiries but nothin happening yet… i’m well into it. my modules have totally flumoxed peeps over the years, coz no-one else got anyting like em, they’re not a rehash of the same old standard modular synth circuits like lotta peeps make. but that has also made things tough coz it was hard for folks to get their heads round it. people are gettin bit more sophisticated these days tho which is really good, and now lotta peeps are getting into algorithmic/generative + chaotic & complex systems in the modular/synth world. there’s still a massive gap between wots possible & wot is available commercially… some interesting stuff coming out tho. the radioactive ones r bit hard tho, as anything commercial made with radioactive stuff inside needs special license, do-able tho, jus bit more red tape required. b good to do an album tht comes with a radioactive disc source, then anyone can play with em :) rich: wicked! i jus spotted on automata 52 sleeve notes the ‘watch that sprouts watches’ trk also used your old synton syntovox 221! how did u use it?

dave: tht bit was recorded in 96, used the roland system 100m thru it, so its the main hypnotic synth riff in the trk. got a whole stack of recordings of 100m thru the synton in me archive tht were done bak then, they seemed to have a really good affinity towards each other, espesh coz the synton got its own unique sound + i rek the way can overdrive the synton has cool sound which adds even more to it, wow i soooo miss my old one… synton should start remaking that!!! one of the all time best non-classified lab vocoders for surely with top secret-twiddler rear panel interface… ok speedy j, if you’re reading this, i really want to get my synton back!:)

rich: ok madman, tell me more bout how u have used the synton!!??

dave: well even tho you’re still badgering me to write more, which i;d love to do, i rek i should leave it till u interview me for now (well i’ll tell ya over email as well anyway:), and lets get bak to your stuff and get this interview wrapped up so we can get back to playin on synths!

rich: looking forward to chekin all tht new stuff out!!

dave: we’ve chatted b4 fair bit bout nutty fx/dsp units & eventide in particular, so much so u convinced me to go an get some eventide klob an i luv em! + it gave me a new take on approaching my music work. u mentioned to me b4 tht the h3000 has a special something u like, can u say summink bout tht? its prob early days, but how much of sound difference do u notice between the new eventide h8000 and the older ones (h3000 dse / dsp 4000) and wot can u say bout tht / & eventide klob generally?
rich: its a bit early for me to say but ask me again in a few months as im on all those hard at the mo
4000 i know well and made quite few of my own algos on it.
3000 has something amazing though that few things can touch, i mean just the digital filters on it are insane, engineers must have been on fire when they made that thing.
not enough midi controllable parameters on it thoughdave: any piece of klob I aint mentioned tht u used on this album that u particularly would like to say somtin bout?rich: rhodes chroma, fave polysynth, in love with this synth, id like to mate with it or one of the me expanders.
the cc+ updates r mentil good.
 
dave: oh yea the chroma, funnily enough i scanned a review of that from an old electronic music mag:http://noyzelab.blogspot.com.au/2014/09/rhodes-chroma-review-one-two-testing.html
 

rich: some extras to add

 
dave: WOW! thanks for sending this little tip of the iceberg bunch o studio klob pix in!! ===>>>
THE CLAP -best named module ever?

 
dave: oh c00l u got the digitimer, in the clap module pic?

hah! yea funny thought tht look familiar when i saw u send it! actually matrixsynth

http://www.matrixsynth.com/

emailed me about that ebay listing, asking me if it was worth a punt, so i sent him a reply & also forwarded link to u at same time. little experiment to see who got it first, guess u won tht then! this wot i wrote him :

looks wicked! yea could prob b used with synths, not much info on the ebay listing tho. i’d prob buy it if i had the money. its not a million miles from this ex-RAAF telegraph crypto-data pulse/message gen, which i used on automata 49 – qbf cheksome trak (made from some experiments done withrobin fox, on the floor in my back shed) :

https://cataclyst.bandcamp.com/album/automata-49
do you have any outtakes from your barbican or polish robot orchestra performances?rich: Yes many, not properly mixed down though but heres a couple for starters! this was the very first rhythmic tryouts, they got better before the sofware crashed, next time i will nail the bugger! 2nd is rehearsal for orc version of a saw2 track that never got performed…backwards..I really need to mixdown the others as they friggin amazing if i dont mind saying so myself, esp krakow pendulum piece which turned out way beyond my highest expectations, i felt god or someone was helping me out there, maybe it was just my amazing crew!
dave: have u got an early version of the syro trak for peeps to chek out?? tht would b awesome!!rich: early draught version of syro track attached b4 i knocked it into shape,might b interesting for people to chek

dave: wow thats a great insight into how a trak gets conceived, interesting to hear wot remains & wot gets removed, good one for the musicologists out there too!
rich: didnt know u had 2600
lush
i got 2 …correction 3 of em!
got an early normal grey , then a really early grey meanie[ bootiful!] and a pimped out cms grey 2600 in nice wood case with extra osc and filter, where the speakers go
I did have an orange one sold, deep regret, there was a lush vocal sound i could get by fming thr filter, dont happen on the moog filter ones :( price thru the roof now
i prefer the bloody arp filters, 2der moog ones..

really want a blue meanie, no lusk yet
dave: mine 2600 is bit knackered, although i got it on crutches.. can get
racket off it :

http://noyzelab.blogspot.com.au/2014/08/arp-2600-resurrection-vids.html

yea digup a blooomeanie!
rich: ah ok
they r killer but yeah miss the orange one
fm on the filt , one of me faves,
oh yeah this is orng arp 2600, its a breathing/noise patch , got it well realistic
not on ytube tht i could find blimey
dave: i got a vague mem of being at u bank with u, mary burke & pete kember, he brought some ems patch matrix made by steve thomas, u were telling me a funny story bout going to ems with u dad in the car … can u rephresh me mem ???

rich: synthi a story and synth shops.First time I ever clapped eyes on an ems was a vcs3 in a music shop in edgware road london, age around 14, forgot the name, I used to go up to london to see my sister and just go to music shops, Id stay in them until I got kicked out.
Sometimes Id stay all day in them around denmark street, just playing on synths.
All the owners were such miserable fackin bastards and always kicked me out for just playing on them twats.
I got kicked out of that little one with the pedals in the window on totenham court road by the bus stop, SO many times…
Then one day when i had moved to london, when I was about 25, I went down in the basement in it and they had a roland 100m fully loaded, I think it was around £200, maybe less, I couldn’t believe it I thought it was a joke, I bought it immediately but looked as unexcited as possible, I was soooo nervous, the guy who owned that shop was the worst cunt of the lot and he didnt remember me from when i was little kicking me out of there.,
I just couldnt belive this tight fisted bugger didnt know what it was but he didnt! hahaaha, I thought this was top karma…then when i went back in there
couple weeks later he had a go at me! even better,! he was like you knew that synth was worth more didn’t you! ha i was like tuff fucking titites mate! bye!
so thats how i got my 1st 100m…
anyway vcs3 was sitting there, id never seen anything like that before, I was afraid to touch it looked so alien and utterly amazing.,.
SO then sometime after I realised ems was in cornwall AND about an hour from my house!!! I thought ok this is destiny.
so I got my dad to drive me over there, I was there so long , my dad was getting annoyed but I spent all the money I had buying a synthi A, grey case for £800 !, what they worth now , like 7k or summink??!!
I really wanted the sequencer one but didn’t have enough money, so robin sold me the ‘a’ for £800 then the best bit i drove off with it so excited with my dad, got to end of the tiny lane he lived down realised i left the power cable at robin’s [not an iec cable] so i was like dad please, we gotta go back,my dad was getting so annoy ed by now..so we were driving back and I thought I bet he comes driving after us max speed coz nobody lives down this lane and just then he came around corner and smacked into my dads car !
but the funniest bit he held his hand out the window proudly displaying the power lead ! ha so good.
my dad was not happy, was quite a prang…so embarassing.had to smile..was a good way to robin to remember..he couldn’t forget that!
Anyway so yeah I had a synthi a when i was 18/19 and nobody I knew even knew wot a synth was , none of my mates and they were like what the fuck is that thing, i used to patch it up and leave it running while we smoked it up, many a time…
I learned that synth so well, its such a good synth to get when u havnt got much else, so many tricks you can do on them…and since then I’ve played on a silver later aks one and have to say my beige one sounds WAY better, I think its pretty early, it actually says serial no1 on mine but im sure that cant b right…not checked with robin yet, so u never know!
got one of these recently but have not had time 2 go thru it yet, but it looks soooo good, steve thomas is a top dude!http://www.synthi.co.uk/controlconsole.htmldave: oh yea, thts it.. i sold my cs30, 3xtranny 2000′s and a load of chips and other gubbins to steve before i came to oz. he drove over in a battered motor, i wos hazily wrecked (prob frm comin bk from yours), and we listened to the cs30 for bout half an hour, just runnin on its own… yea, synths r good at that :] & then loaded everyting into his poor motor.

tell me a bit about your experiences with krzysztof penderecki
rich: Last time i saw him , we all got quite bloody drunk…the rest is a blur.

dave: :) ok, thanks ever so much for this MEGA! interview, u’ve been really generous with your time+info. its been great going over all this stuff…anything you would like to end on, parting message?

rich: Yes well it will have to be something not to do with equipment & music, as that’s enough of that for now.

I’d like for the people to put their differences aside in the coming years and unite to change the brutal system we are all currently being controlled under. I think things are going to get ruff in the next few years but i’m extremely optimistic that if people stick together we can peacefully change the terrible system that has currently got us by the balls.
Will we end up with another version of the same thing, lets make sure that doesnt happen.
The only way theruling rich elite can keep us where they want and take even more of our civil liberties away is by dividing us and keep us fighting each other.
it’s wakey wakey time everyone! Don’t be fooled by the mass media.

eat well, don’t be afraid, stay positive, love,learn&create.

dave: ok, so finally don’t you feel a bit guilty about pretending to be richard for this interview!?

rich: nah, rich asks me or couple of his other friends to do most of his press for him , don’t think he did any this time around!
i’ve done several email interviews for him in the past, so im used to it, he always says to say whatever the fuck you like and not even sure if he reads them, he usually gives me some good freebies, I got copy 02 of the Syro limited edition this time, which should be worth a few quid!
laters!