Art + Music + Technology

When I interviewed Andrew Benson a few weeks ago, we talked about the video label that he worked with, and the fabulous people he knew from that experience. One of them, Johnny Woods, was willing to be interviewed for the podcast - and I jumped at the opportunity.

A crazy-fabulous animator, modular synth nut and label/economics guru, Johnny has a great vision - and interesting opinions - on a lot of subjects. And I felt like we covered a lot of them; our discussion starts with animation and end with us taking over Silicon Valley. As a result, I'm going to have to go to LA to get the cabal rolling, but in the meantime you get to hear our chat.

Enjoy listening, and make sure you check out Johnny's work at as well as the Undervolt & Co site. At the very least, take a little time out of your schedule to find some work by an artist, share it where you can, and help spread the word about the amazing art that's being made!

Direct download: podcast_127_JWoods.mp3
Category:Performing Arts -- posted at: 9:29am CDT

One of the most interesting and personable people I've met in my journey has be Stephen James Taylor. An accomplished composer and film scorer, he is also on a path that includes research into tuning systems combined with an interest in building unique instruments. The work he does ranges from Disney animation scoring to bluesy solo pieces, and he is able to weave all of his interests into an amazing sonic tapestry.

In this chat, Stephen and I dive into his microtonal interests (including his work with and on Erv Wilson's tuning mapping), his background coming up in the film scoring world, and how he dealt with the various existential crises throughout his life. We also talk a lot about the conundrum of new tunings, the required new instruments, and how a body of work gets created to support them. We also talk more about instrument design, for while Stephen is a wealth of knowledge.

Enjoy, and check out his work at

Direct download: podcast_126_SJTaylor.mp3
Category:Performing Arts -- posted at: 7:29am CDT

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: 10:20am CDT

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: 8:45am CDT

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: 7:44am CDT

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: 9:15am CDT

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: 8:35am CDT

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: 8:53am CDT

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: 9:36am CDT

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: 9:09am CDT