Here is the video interview :
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Just thinking of this kind of setup makes my head spin. Wow!
My DAW autoloads/templates have hundreds of plugins in them — from bus mastering to channel strip, limiting, compression, and spectral sidechain configurations. So they’re there from the start.
Here’s an example: the Roland Jupiter-8 is normaled through an EAR 660 compressor into a Lynx Aurora(n) interface.
What Dave Smith and Kakehashi did in releasing MIDI with no royalty requirement was very generous, and very much the opposite of the walled-garden approach that many technology companies still favour.
Looks like he’s more of a soft synth fan now.
I prefer to use soft synths mostly because staying in-the-box enables me to work on planes and pick up where I left off months and years later.
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Never heard of this!
Digital Performer was my DAW at the time and was very much responsible for the creating and layering of the asynchronous loops and, of course, ultimately, the compositions. DP has a feature that Pro Tools still can’t do, which is the ability to have every track in a session contain their own, independent loops. (in Pro Tools (my current DAW) you can only loop the whole session as one and the loop isn’t permanent). You can assign loop durations and lock them in as characteristics of each track, so every track in a session can be looping completely asynchronously against the others.
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That was a really good read. Thanks 
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I have yet to tire of interviews with Michael McDonald. This one touches more on his observations of indepedent vs. major record labels, a botched attempt along with Walter Becker to form a coke dealing partnership, getting yelled at by his hero Ray Charles, etc
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Deadmau5 interview:
“I don’t really enjoy dance music,” the man born Joel Zimmerman told CBC. “I don’t partake. I don’t pump it in my car. I don’t walk it, I don’t talk it, I don’t breathe it, I don’t get excited about it… but I love the process of making it. I like the technical challenges. I like sonic development.”
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Very nice interview with Moby.
On KorgM500:
Now I use it constantly, but it’s funny that the synth I use the most is the first analogue synth I ever bought.
You can try and build loops with the drum machines, quantise the swing or augment them with plugins, but I’ve yet to find a plugin that does what they do. What makes analogue equipment special is its musicality and, at times, specific range
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Since I have posted several links to new & old interviews in other threads I think I should add some of them here as well for documentation purposes:
Richie Hawtin on making techno in the 90s without a computer (2019)
Drexciya on emphasizing extreme experimentation, independence from trends, and creating significant music (1997)
https://drexciyaresearchlab.blogspot.com/2007/12/1997-drexciya-muzik-interview.html
Speedy J on embracing spontaneity, challenging listeners and showcasing his vision (1997)
Derrick May on valuing originality in techno, avoiding trends, and using old and new technology for innovation (1990)
(I can post a lot more if the likes signal interest)
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Go ahead, please!
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That Derrick May interview is such a gem!
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Thanks for posting these interviews!
I had never listened to any of Richie Hawtin’s stuff and the interview posted led me to check out his early album “Computer Space”. The sci-fi influences discussed in the interview are all over it. Nice stuff!
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BOC on organic and unconventional sounds and unique auditory experiences (1998)
https://web.archive.org/web/19991109112959/www.ednet.co.uk/~ehx/inter/boc1.htm
Juan Atkins on technology, futurism and innovative sounds (1988)
Geir Jenssen on vintage and modern gear, quiet studios and unique ambient sounds (2021)
Kenny Larkin on his creative process, emphasizing emotion and conducive creative environments (1995)
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808 State on maintaining an innovative edge in electronic music (1989)
Adamski on performing live house music with the Ensoniq SQ80 and Roland TR909 (1990)
Liam Howlett on combining hip hop influences with rave culture (1992)
KLF on unconventional recording techniques and their subversive approach to music and the industry (1991)
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This is a really nice long interview with Kiasmos.
I have a Moog, for example, but I never touch it because the MS-20 does everything, without taking too much space in a song. It’s the perfect monosynth, to me. It always fits into a production. It doesn’t need anything on the chain and it still sounds great, which you can’t say about most synths.
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Roger Linn on SonicTalk #808.
KOOL KEITH
98 year old refrigerator
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thanks for sharing all these early interviews, hadn’t ever read this one. nice insight and precursor to them rejecting live shows and any more interviews, as they were perhaps just distractions from the actual creating.
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nice interview with squarepusher from 2021
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thanks for linking that! Great read 
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