Art + Music + Technology

One of my early podcasts was with Matthew Davidson (also often known as stretta). At the time, Matthew was working with me at Cycling '74, and was also doing some teaching at Berklee School of Music and working on some monome/modular stuff.

Since then, Matthew has left Cycling and has moved into a fulltime position at Berklee, so I decided to revisit our discussion, talk a little more about what things are like teaching at the school, and what it is like for students that are first attempting to take on something as heady as that program. We also get some insights into Matthew's ideas about ensemble work (with modulars!), personal practice and the excitement of teaching as a full-time gig.


Direct download: podcast_125_MDavidson.mp3
Category:Performing Arts -- posted at: 9:20am MDT

OK, I'll admit it. Every time I've tried using a Theremin, the result have been a musical car wreck. It seems like I have no ability to control my limbs in a way that provides the instrument with what it needs, so it sounds horrible.

So therefore, it is really interesting to me to talk to talented Theremin players - and this week, I talk to the best that I know: Victoria Lundy. Victoria is a solo performer and recording artist as well as a member of The Inactivists, and is active in our local Synth Meetup. I've seen her perform in a number of different gigs, and she is alway able to hold people's attention with her personal and voice-like sound.

In this chat, we talk about becoming a Thereminist, choosing an instrument, and figuring out how to play before you get disillusioned and sell the instrument on eBay. We also talk about some of the idiosyncrasies when playing in a group, and even how you prepare for working in a Conduction ensemble. Fascinating details, and a great interview.

You can hear Victoria's work here:

Sorry for the terrible sound on my mic; the Evil Blue Mic - combined with unknowable problems with Audio Hijack - conspire to beat me down again. <sigh> That's gotta change...


Direct download: podcast_124_VLundy.mp3
Category:Performing Arts -- posted at: 7:45am MDT

I really enjoy Andrew Benson's work, even if it is completely unlike anything that I would ever do myself. Maybe that's why I like it, right? Andrew embraces extremes in color, shape and glitchiness, and the result is immediately identifiable as his own. Having this unique voice has put him in the position of doing some impressive and interesting professional work, and I wanted to talk to him about the process - and the difficulties - in making these things happen.

In podcast #19, Andrew talked about his background and influences, This time, he was kind enough to talk about some of his recent work, how he got the gigs, how he kept them, and how he made the decisions necessary to get the job done. He also talks about the process of moving when one has been part of a local art community (a thing close to my heart at the moment...) and how the tech is selected for a given piece or project. If you do art work of any sort, this podcast is going to be filled with information that will be important to you.

So have a listen, check out Andrew's work at, and use that info to jack your professional life a little bit. But one of the things that I came away with after talking with Andrew is "Don't Be Scared" - perhaps the best advice anyone could ever provide...


Direct download: podcast_123_ABenson.mp3
Category:Performing Arts -- posted at: 6:44am MDT

J. Anthony Allen is a busy guy - teaching at a university, in private lessons and at the Slam Academy. He also balances the teaching work with his own composition/performance work, and is the businessman behind some of these ventures. Makes me tired just thinking through his day...

In this conversation, we discuss the differences in teaching in different venues, how someone gets into composition in the first place, and how to manage the balance of composing and commerce. We also talk about developing new performance systems, and J. gives me the scoop on the Minneapolis scene.

This is one of those interviews that makes me want to work harder - or maybe smarter. I hope you find it helpful for yourself! Enjoy!

Direct download: podcast_122_JAAllen.mp3
Category:Performing Arts -- posted at: 8:15am MDT

I first got to know Jesse Terry during a trip to Berlin, and we've remained in contact ever since. The product 'owner' for the Ableton Push, he has been involved with hardware controller design and development since the Akai APC controllers. So when I got a chance to chat with him about his method - and interests - it seemed like a natural fit.

Jesse has a long background with 'knob-ful' designs (he's an old-time analog head, like me) as well as 'pad-ful' designs (he and I also share a background with MPC devices), so he was probably an obvious choice for working on the Push controller. However, it is his attention to detail and tireless search for perfection that helps push the envelope of what we consider 'state of the art' controller systems.

If that sounds like a sales pitch for Jesse - well, I'm sorry. But I really like Jesse's work a lot, and his willingness to talk about the fun and the pain in creating the Push and Push 2 controllers might help you understand why I feel that way.


Direct download: podcast_121_JTerry.mp3
Category:Performing Arts -- posted at: 7:35am MDT

Gregory Taylor was at my house last week to work on an upcoming show, and I pinged him for his third AMT podcast interview. This time, though, I had something really specific in mind: I wanted to know more about how he did his radio show, how he selected music for it, and what he used to determine material that would capture his attention. As before, he did not disappoint!

Gregory's work in broadcasting is quite astounding. He's run the same radio show, with a few short breaks, continuously for 30 years, programming interesting mixes of experimental music on a Madison-based community radio station (WORT FM, 89.9), and has listened to more of this music than probably anyone ever has. His knowledge of both labels and artists is encyclopedic, but his discussions of them are - as always - interesting and story-filled.

Gregory's show, RTQE, is from 9-11pm (CST) Sunday Evenings, and the shows are archived and streamed for off-time listening for up to two weeks. I hope you enjoy this discussion about the development of a community station, Gregory's RTQE show, the loss of NMDS (and its effect on music selection) and having *your* work played on the radio. Fascinating stuff!


Direct download: podcast_120_GTaylor3.mp3
Category:Performing Arts -- posted at: 7:53am MDT

I first heard about the TANK a while ago, but it was recently re-initiated in my brain by Jane Rigler, who reached out about the recent Kickstarter for it. It is a huge (and I mean HUGE) water take from days of old, and it has been re-purposed into a performance/recording space. This effort has been led by Bruce Odland - today's interviewee.

Bruce started this project as a sound artist touring the west, but has become entranced by the sound - and the performance opportunities - provided by The TANK. In this chat, we hear about how the TANK changes the people that work with it, and how individuals become part of a bigger instrument in a way that we don't get to experience in our laptop-based studios, or with our Walmart-purchased musical artifacts.

I hate to talk more about this when Bruce speaks so eloquently about the beginnings and the futures of The TANK Center for Sonic Arts. So listen to the podcast for more insight. And when you want to dig deeper into The TANK, check out their site at:

This is an amazing project, and my thanks go to Bruce for the chance to learn more. Enjoy!

Direct download: podcast_119_BOdland.mp3
Category:Performing Arts -- posted at: 8:36am MDT

I love when one of my chats gets opinionated. It always leads to an interesting discussion, and it always ends up revealing more about a person than expected. Anyone that knows Suit & Tie Guy will know that he's opinionated - galore. But his opinions are well-formed, well-researched (often through hard-learned lessons) and well-presented.

In this interview, we wander all over the landscape. Why do mid-90's Lexicon reverbs sound so great? What makes the Juno 6 so special? How many gigs do you have to do with a Hammond before you won't carry it up stairs? What is the purpose of deconstructing a sequencer into its component parts? All this - and a lot more - is revealed in our chat. Awesome, awesome stuff.

If you aren't familiar with Suit's work, you will want to check out STG Soundlabs to find out more about his modular work (including the amazing Mankato filter and the STG Soundlabs Modular Sequencing System), and the Suit & Tie Guy website for his personal work. It's fascinating to see the work of someone with incredibly broad vision work its way into a cohesive whole.


Direct download: podcast_118_SATGuy.mp3
Category:Performing Arts -- posted at: 8:09am MDT

Trond Lossius has been in a similar orbit to me for a long time. I've known him (virtually) because of his activity within the Max world, but I also know that he was a primary figure in the Jamoma modular patching project. Then later, I found out he was also into a lot of surround environmental work, and I realized that he'd be a good subject for a chat. My friend Tim Place pointed out that he's got a fascinating story, so I went for it.

And I'm glad I did. I really enjoy the stories of people that deal with significant transition in their lives, and Trond definitely has seen this. Having started in the sciences, he transitioned into music composition out of sheer will. He also found a way to pull himself out of shyness, and is always pushing himself by transitioning away from comfortable territory and into new challenging work, technology or collaboration. I really respect this - it can be scary, but Trond has developed it into an artform.

So here's a great interview with him - enjoy! And to learn more about his work, visit his website here.

Direct download: podcast_117_TLossius.mp3
Category:Performing Arts -- posted at: 7:51am MDT

A long time ago, Gregory Taylor set up a dinner hang-out with Arjen van der Schoot, from Audio Ease. They had just released their ground-breaking Altiverb, and it blew away everyone at the AES show. We chatted over pizza, and I learned a little about the process, their plans for the future, and how much fun they were having.

Jump forward a decade (or more...) and I get a chance to catch up with Arjen in this podcast. He is still dedicated to great sound, and is still having a lot of fun. We talk about the process of doing IR shoots, how he chooses a place to record, and some of the complexities of the job (this is one of the few recording jobs where you have to be a little scared of wildlife...). But he also gives a great overview of how convolution reverbs work, how impulse responses are created - and he also gives a great introduction to the Speakerphone plug-in, which is Audio Ease's second product. I now know what I'm getting myself for Valentine's Day!

I've always enjoyed interacting with Arjen, and this was a great way to have a detailed catch-up. I hope you enjoy the chat as much as I did!

Direct download: podcast_116_AvanderSchoot.mp3
Category:Performing Arts -- posted at: 9:25am MDT