Marc Weidenbaum – Disquiet

1. Favourite knob/fader/switch on a piece of gear and why?

Faderfox DJ44

The knobs on the Faderfox DJ44 are, to me, the pinnacle, but what do I know? Faderfox does such great work with its range of devices, and this one, in its little metal case, is an exceptional example of attention to detail. When I read your question a few years ago, when you first sent me the interview request, the DJ44 was my immediate thought — and it remains my answer to this day. I mention it with a sense of the bittersweet, because I’m likely going to trade my DJ44 at some point, because I just don’t use it as much as I used to, but in any case it’s a fantastic device.

FaderFox DJ44 Top view

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

I love the Norns from Monome. I had the original Norns, the one with the metal case, which I bought used, but couldn’t really justify the cost, even used, so I sold it and bought a Norns Shield, which is a cheaper version that lacks a battery, among other differences. I had two Norns Shields for a while but sold one of them. There is now a larger Norns Shield called the Norns Shield XL, which I may trade up to at some point. My choice here of the Norns is a bit of a cheat since the Norns is essentially a tiny little computer that can run a wide array of software scripts, and the Norns isn’t just the Norns itself — it’s also that ever-growing library of open-source scripts that people write for the Norns, and the community of people themselves. In any case, the Norns is fantastic. What would I change about it? Honestly, nothing. 

If I can give a second answer: I love the full line of Buddha Machines and I use them a lot for music-making. 

3. What setup do you bring on holiday/tour/commute etc.?

I’ve pretty much always got an iPad with me. I purchased a used Traveler Guitar Ultra-Light Acoustic last year on a visit to Portland, and it is very easy to bring on a trip. Despite being tiny, it has a full fretboard with an acoustic piezo pickup. I was in Los Angeles for a few days for a friend’s memorial service at the start of winter, and I had a recuperative time in the hotel room with just the guitar, a little Orange amp (the PPC108), my iPad, and the 8mu from Tom Whitwell’s ingenious line of Music Thing Modular instruments. (I played a small role in the development of the 8mu. Whitwell says he started on the project when he read a tweet of mine in 2019 that went: “Isn’t there some sorta readily available very small MIDI controller, like the size of a cellphone, with a couple buttons, a couple faders, a couple knobs?” The 8mu is what resulted.)

4. What software do you wish was hardware and vice versa?

I’d love for the handheld Dirtywave M8 Tracker (no relation to the abovementioned 8mu) to be available as software. I think I read somewhere that such a port may yet happen. I certainly appreciate Renoise, the long-running tracker software, but I don’t think it’d be disrespectful of me to suggest the Renoise interface can be a tad overwhelming. The M8 is, in truth, menu-heavy in its own way, but I’d sure love to be able to use it on my laptop. I would have said the Monome Teletype, but that finally happened on VCV Rack, so I’ll go with another, simpler answer, which is I’d love for the Ornament and Crime module to be a VCV Rack module — and that would include the Hemisphere Suite alternate firmware and, heck, all the alternate firmware options. A funny thing happened in the years since you first sent this list of questions to me, which is that so many great physical synthesizer modules have been ported to VCV Rack, as a result of which this question was more difficult to answer today than it would have been back in 2020. 

As for the reverse, from software to hardware, that’s an even more difficult question, because a lot of my favorite software, such as the Borderlands app, isn’t purely software; these are tools that work because of the physical interface on which they run. An app like Borderlands already is hardware, in a manner of speaking, because it runs on an iPad. However, a distinction can be made between a piece of software-driven hardware that will work until the thing breaks, like a guitar pedal with firmware, versus a piece of software that is dependent on a separate operating system, such as iPadOS in the case of Borderlands, that may break the software when the OS updates and the old hardware on which it ran is sunsetted. Any number of iOS apps fall into the latter category. 

In addition some software, like the Koala app, already have physical parallels in hardware: if I want Koala in standalone hardware form, I could just get an Roland SP-404 (I do want to try the MK II, which does a bunch of stuff the Teenage Engineering EP-133 K.O. II doesn’t). I love Samplr, which also falls into the Borderlands category of being iPad-specific. I love SuperCollider, but it requires a computer keyboard and a screen — I wonder what “hardware SuperCollider” might even mean, right? In many ways, SuperCollider is as tied to a keyboard as Koala, Samplr, and Borderlands are tied to iPadOS. So, no, there isn’t really a piece of software that I wish was hardware. 

5. Is there anything you regret selling… or regret buying?

I had two Technics SL-1200 turntables and a mixer many years ago, and I sold them as our family grew and our home seemed to get smaller. I miss them, but I also couldn’t justify the space, and I still couldn’t today. There’s some regret in that, but also a healthy dose of realism. I trade gear with some regularity, and it feels like pieces are always in flux, so I don’t regret anything I have passed on. If I wasn’t using something enough, then it’s best being with someone else who can make use of it. In fact, I currently have a few instruments on semi-permanent loan from other people who can’t quite part with them but don’t have the space or need for them. 

6. What gear has inspired you to produce the most music?

To keep it simple: the OG Ditto Looper. Or more to the point, a handful of them in combination with my electric guitar.

7. If you had to start over, what would you get first?

The process has been inherently exploratory for me, and it remains so. I probably wouldn’t do anything differently in particular, unless I had started much earlier or much later. For example, had VCV Rack existed before I got into modular, I’d probably have proceeded in a different manner.

8. What’s the most annoying piece of gear you have, that you just can’t live without?

That question pretty much sums up my mixer, a Mackie 1202VLZ4. It’s called a “compact mixer,” but it’s only compact if your sense of reality has been warped by too much time in professional recording studios, which mine hasn’t. The thing seems absurdly large for the amount that I use it, but a mixer is essential and I’m not sure what I could use that’s smaller. I need a lot of ins and outs in a mixer. And that doesn’t count a pair of audio interfaces I use. Maybe there’s a patchbay I could use in its place somehow? Maybe the Teenage Engineering TX-6? (It does pack in six stereo inputs, but it’s priced a bit out of my realm.) Maybe I could combine an Expert Sleepers ES-9 with a mixer module and that’d do it? Maybe, as a friend recommended, I should just trade down for a smaller Mackie, the 802VLZ4, or an equivalent from another manufacturer. Maybe someone reading this will have a recommendation. 

9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?

Hooking a microphone up to the Dirtywave M8 Tracker was, as the saying goes, game-changing for me. As a result, I wasn’t surprised to read that the second generation of the M8 will in fact include a microphone. 

Artist or Band name?

Marc Weidenbaum, Disquiet


Ambient, field recordings, noise


Marc Weidenbaum

Where are you from?  

I was raised in the same house on Long Island from when I was about a week or so old until I left for college. I moved to California after college — first to Sacramento, where I worked for Tower Records as an editor on its music magazines (Pulse!, Classical Pulse!, and epulse), and then to San Francisco. I’ve lived in San Francisco’s Richmond District ever since, except for four fantastic years in New Orleans.

How did you get into music?  

I listened to the radio a lot as a kid. I didn’t have much spending money, so the radio was my connection to music. At some point my younger sister’s friend took pity on me and gave me, with her mom’s permission, a bunch of her own Beatles records, which had been hand-me-downs from her mom in the first place, I think. I dove in, and I never fully re-emerged: it’s safe to say that listening to “I Want You (She’s So Heavy)” on repeat as a teenager rewired my brain. By the time I was finishing high school I had branched out — Talking Heads, King Crimson, Funboy Three, stuff like that. I wrote for a campus music magazine when I was attending college, and by the time I left school I wanted to write full time about music. As the years went on, I came to recognize I’m as interested, if not more interested, in sound than in music on its own. As I think the philosopher Chistoph Cox put it, music is a subset of sound. That’s where my head is at.

What still drives you to make music?  

Curiosity mostly. As someone who primarily writes, I’m fascinated by the idea of communicating non-verbally. Related topic: making music is way more social than writing is. Also, using instruments has helped me understand more deeply the music I write about, and playing has informed the collaborations I do with musicians, as well as the occasions when I interview musicians and other people who work in sound.

How do you most often start a new track?  

I’m usually trying to approximate a combination of sound and signal flow that originates in my head — or more to the point, in my mind’s ear.

How do you know when a track is finished?  

My skills are pretty limited, so I know when something has gotten to where I can’t usefully push it any further. I pretty much stop at the “sketch” phase every time. I think my listening may prefer sketches, as well, come to think of it.

Show us your current studio  

I don’t have a studio, just a few Eurorack cases on a bookshelf by the edge of my desk. Most everything else I keep in a closet and pull out as I need it.

Best creative advice that you’ve ever heard?  

Play something every day. (For me currently that is mostly practicing guitar and trying to become vaguely fluent in SuperCollider.)

Promote your latest thing… Go ahead, throw us a link.

I’ll mention two things: 

First, I moderate an ongoing music community called the Disquiet Junto. Since the first week of January 2012, each Thursday I have sent out a music composition prompt. As of the first week of January 2024, we had reached 627 such prompts, and the Junto keeps going every week. Musicians from around the world participate. I encourage people to sign up and give it a try. You can learn more at

Second, I publish an email newsletter called This Week in Sound. It’s for fellow listeners interested in the role sound plays in culture, technology, politics, science, ecology, business, storytelling, warfare, art, society, and anywhere else it might resonate.

Pattrn – Brice Deloose

1. Favourite knob or fader or switch on a piece of gear and why?

Xaoc Belgrad

As a proper gear junkie I can’t choose just one, but I can limit my addiction to two knobs 🙂 For the feel – Xaoc Belgrad cutoff frequency. That knob is just the perfection! It’s both solid and fluid, the size is perfect for precise dialing (I can play melodies with just with this filter in high resonance configuration, and I even do this live sometimes). If anyone wants to feel what a knob should feel like, then they need to try this one out!

The second one is feature/playability oriented, it’s Shakmat’s Knight Gallop “pulses” one. I love how easily and musical I can play complex beats and percussions with it just by twisting it. To be honest it’s my secret trick for percussions programming… I don’t program, I just play with Knight’s Gallop and I have been doing this for over two years on all my records that have percussion sounds in it.

Shakmat Knight’s Gallop

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

Not really, I like to craft things from the start (or nearly from start) for every track. I love to experiment, jam for hours on my modular synth and then just edit and cut pieces out of all this improvisation, to start building a track.

Pattrn Eurorack

I feel sometimes people are too obsessed by the quest for perfection and forget that it all comes down to context. A “shitty kick’ can sound awesome in the right context. At the end, it’s how it all blends together to create a story.

3. What setup do you bring on holiday or tour or commute etc.?

Elektron Analog Rytm

I always have my Elektron Analog Rytm. It’s such a powerful and compact machine, but is also very fun to play with. Next would be my laptop with Ableton Live (I’ve been using that for nearly 20 years now) and RME Fireface UC sound card.
It’s rock solid, drivers and sound are just on point and I use the bigger Fireface800 in the studio, so I’m very confident with this setup and how stable and reproducible it can be between studio and live.

RME Soundcard

4. What software do you wish was hardware and vice versa?

Tricky question… soft synths wise I love Serum for its flexibility and modulations capabilities and Omnisphere for it’s amazing lush and organic sound, so I’d say these two could be lovely to have in a hardware format, yet, somehow in my workflow I realize that I like the recall features of my soft synths and, for example, I don’t use my beloved Access Virus at all anymore. It has stayed on a shelf now for over 5 years (even if it has midi in/out and I could record all knobs movements as automations).

Access Virus

I think it’s a matter of perspective and your approach to these things. I like twisting knobs on my eurorack to create sounds, but then I love to mangle this audio and simply draw automations (by mouse or controller) in the DAW. It’s like fixing things on a canvas and moving forward with what has been done.

Actually I think it’s nice that some things are only accessible in some format, it forces you to make choices on how to use them and in this frame of ideas, limitation is also a tool to move forward. Maybe i should give this whole question a deeper reflection, but I’m pretty happy with how things are :p

5. Is there anything you regret selling… or regret buying? Selling?

Nothing 🙂 I have difficulties to sell things :p Still got my first Yamaha RM1X collecting dust and like i said earlier my Virus as well. Only thing I sold were some modules and no regret at all.

I spend a lot of time before i decide to buy something, i watch many videos online or try it out at friends, so I only got one regret of buying (and regret is a strong word as it was a very cheap thing and I sold it again easily)… that was the Volca Bass.
It doesn’t sound bad, but I didn’t like the ergonomics and it didn’t integrate in my workflow, neither live or in the studio.

6. What gear has inspired you to produce the most music?

My speakers without any doubt. I’m always amazed when I see studio pics with guys owning crazy amounts of expensive gear and only using tiny HS8 or mini 8010 Genelecs. It all comes down to what you hear!
How can you enjoy expensive gear if you don’t hear it properly. I’m deeply convinced that I can make better music with good speakers and a laptop only, than with a crazy wall-of-modular and shitty speakers.

Kii Three’s Controller

Also quality speakers make you dive into sound, which is so enjoyable, plus the decision making process is way faster, so I’m more efficient and work not only faster but better, which ultimately keeps me in the flow. Actually i have been a very lucky owner of Adam S3XV for over 13 years and just decided to upgrade to Kii Three’s for the exact same reason.

Kii Three’s

7. If you had to start over, what would you get first?

The speakers and of course some proper room treatment.

Acoustic panels

8. What’s the most annoying piece of gear you have, that you just can’t live without?

I don’t have any… A piece of gear simply cannot be annoying or it breaks the flow and this is a no brainer for me. Menu-diving? Hell NO! Or maybe then I’d say the computer. As it’s not an instrument, but it can do everything, but you need to remap, re-adjust things for every track.

I tried some “automap” controllers but i can’t work with these. I’d dream for an ultimate controller for the computer with like nano-bots that build the interface every time you create a new channel or load a new plugin so everything is always ready at a twist of the fingers… maybe technology will be there in a few years from now… but then this thing would become a huuuge console and would create all kinds of other problems in terms of ergonomics and horrible early-reflections from the ‘desk’.

‘Air’ and space in the studio

As I’m a bit of an acoustic freak this won’t work either. Also having space around me and a feeling of “air” or freedom becomes more and more important. When you spend over 8 hours a day in the same room, then when there are too many things much to close to you, it becomes claustrophobic somehow.

9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?

Resampling in Ableton. I love it. Just create a new audio track and record onto it everything that goes trough your master bus. It’s the best trick to create new textures that are evolutions or answers to previous ones. Sometimes I just solo some effects on some return busses and record those, pitch them down, stretch them, warp them, slice them and then feed them back into the same (or others) effects chains. I like to approach sound like clay and really get to sculpt it.

Also fixing things while bouncing audio is again a way to move forward. If at some point you wished you didn’t do it and wanted to go backwards then you have to become creative with new solutions and this is also something I love, as it pushes you out of your comfort zone and often results in a more creative outcome, than if I could just change a note on a midi clip or reopen the filter on a synth for example.

Artist or Band name?



Deep Techno, Dub Techno, Ambient and Acousmatic music


Brice Deloose aka. Pattrn

Where are you from?


How did you get into music?

Started learning the violin when I was almost 4, then discovered electronic music with cassettes that my big brother made me and ultimately started playing with Fruity Loops before diving into Ableton.

What still drives you to make music?

That indescribable feeling of just loving doing it, falling into a vortex and not seeing the time fly. And later to share it with people, spread love and joy while playing and giving the opportunity to people to escape their struggles, their pains for a little time… or simply get out of their day-to-day life.

How do you most often start a new track?

I really don’t have a routine, it can be a loop from some previous modular recording, a preset on a synth, an idea or theme I want to depict, … for me routine is killing the fun and the creativity. Some tracks have been made fully into Ableton with only VST’s, some others are nearly fully made from jamming on my modular synth.

Euroack cables

How do you know when a track is finished?

When I don’t see the point/added value to change something. The structure works and is coherent, I like the sound design and the mix is clean, with depth, space, width and all elements are intelligible.
This is the thing that took me the longest to achieve, the “letting go”. The quest of perfection is the worst enemy and can completely kill a track. The thing that helped me was to start working on many (4, 5 6 or 7) tracks in parallel.

Sony and Sennheiser Headphones

I have a round of listening to all of them and take notes, then I start editing and adjusting what was in my notes (without playing the whole track back). Doing so allows me to keep my ears fresh and avoid the trap that the rabbit hole the loop pushes you into.

Also no spending hours tweaking a sound until the whole track is drafted, because every element needs context. Spending too much time listening to the same thing in a loop is killing objectivity and I tend to get bored by my own work, making me want to change things just because my memory knows how it has been and wants something fresh, but this is not how people receive a “finished “ track.

So avoid at all costs the loop, taking breaks of sometimes days not listening to a track helps. Only at that moment can you really know if doing something helps the track or is just satisfying your brain as giving something fresh to your memory.

Also accepting to let go of things. You can spend hours doing something, if it doesn’t help the track, don’t force it, just throw it away and try something new. Often this works faster and better.

Show us your current studio

Pattrn Studio

Best creative advice that you’ve ever heard?

Start as fast as you can to draft the track in its full length, listen to it from start to finish without stopping to keep an eye on the big picture or the overall story/structure and then at last, if at some point you feel bored, try instead to add something on top, or to find a way to tweak what’s there, to make it evolve and support the whole story.

Promote your latest thing… Go ahead, throw us a link.

Check out a FurtherSession that I did –

Dean Fuller – The Washington Monument Amb

1. Favourite knob or fader or switch on a piece of gear and why? 

The RANDOMISE button on the Korg Opsix
The RANDOMISE button on the Korg Opsix

You want a gateway to all possible multiverses of music? The RANDOMISE button on the Korg Opsix will take you there. 

Maybe you just want to go to the universe next door. Korg has got you covered: You can set the level of randomisation, giving you everywhere from the tiniest variation on your current sound too.

2. Do you have an ‘almost’ perfect bit of kit? What would you change? 

Chase Bliss Dark World

Chase Bliss Dark World. It’s an ugly/beautiful reverb that makes anything sound cool. But … I want it in stereo. 
DARK on the left. WORLD on the right. Let ‘em twist and twirl together. Let them have babies with two heads and two dark hearts . I digress… 

PS. An adjustable loop length on the Chase Bliss Habit would be dope too… 

3. What setup do you bring on holiday or tour or commute etc.? 

If I need to be agile/mobile/hostile I stick with this: Korg Volca Keys paired with a Zoom G1 Four. The Keys was my first synth, and it was cheap. The Zoom has pretty much every standard effect under the sun – and a 30 second looper. I’ve recently added the Arturia Keystep as a keyboard, because the patented Volca keyboard is a flaming trash heap.

Korg Volca Keys paired with a Zoom G1 Four and Arturia Keystep

Give it another couple of weeks and it might be the Volca FM2 instead though…

4. What software do you wish was hardware and vice versa? 

If Puremagnetik’s Driftmaker delay was a pedal I’d pay a ridiculous amount of money for it without a second thought. It adds such a gritty, messed up ambience to whatever it touches. had a hand in it, so you know the lofi is legit.

Puremagnetik’s Driftmaker
Puremagnetik’s Driftmaker

I don’t wish any of my hardware was a software plugin* This is not to say that I’m dismissing the digital side of music making in any way, shape or form. Plenty of great artists use it to great effect.  
I don’t use these tools because I just don’t have much time to play music.  

Booting up a computer, opening up Ableton, selecting one of an infinite array of software synths, worrying about CPU usage or RAM – all of this takes time and energy to deal with. I ain’t in a headspace (or a techspace) where I can do any of that quickly or efficiently currently. 

My hardware setup can go from POWER OFF to ready to play in about 10 seconds. Maybe a minute if I’ve got some super crazy stereo stuff I want to dial in.

 If I had a small, always on computer with enormous processing power next to my synth setup, then I’d definitely be integrating more.  

*although I am intrigued by plugins that work in tandem with my hardware pedals. When I have world enough, and time, I’ll be doing some weird n’ wild stuff with the Chase Bliss Plugin for Gen Loss 2 , as well as a user created plugin for HABIT…

5. Is there anything you regret selling… or regret buying? 

Moog Mavis

Moog Mavis is the perennial underdog of my setup. Don’t get me wrong, it’s beautiful as a single module in a larger modular setup. Oora Music gets a ton of mileage out of it as part of his suitcase of modules. On its own… you don’t have much to work with and I’m not fully ready to commit to it.
In retrospect, I wish I’d saved an extra couple of weeks and grabbed a Make Noise Strega instead. Alas, currently Mavis is a humble lowpass filter for my drum machine.  

6. What gear has inspired you to produce the most music? 

I refuse to read the manual for Matt Bradshaw’s Drumkid because I wanna believe that it has a mind of its own. Sure, it’s supremely limited, but everything it does it nails. I randomise a drum pattern, and now I have a drummer that will flick in a little something extra from time to time. It’s a true collaborator – spitting its endless rhythmic ideas my way to play off. I need a good collaborator with an excellent brain to get my fingers working.  Drumkid is both.


Heck, a lot of the time I mute the drum channel – all I need is the groove that the Drumkid thoughtfully provides. 

7. If you had to start over, what would you get first? 

I started off many a year ago with just a Korg Volca Keys and nothing else for like 5 years. Please note that the Keys sounds like a squealing pig until you grease it with heavy reverb. 

Korg Volca Keys

Can you blame me? I was seduced by that wonderful word: ANALOG.

Now I just want a usable sound that I can dial in quickly. 

If I could turn back time I’d grab a Volca FM instead and have every DX7 preset ever made loaded onto it. Who needs to properly learn FM synthesis if you’ve got some great presets, right? 

Also I’d get a MIDI keyboard for the thing because no-one deserves to be punished with the standard Volca ribbon keyboard. 

8. What’s the most annoying piece of gear you have, that you just can’t live without? 

Chase Bliss Mood

I love the Chase Bliss Mood. I still don’t know what I’m doing with it half the time. I just did a session where it seemed like all the settings were reversed and maybe the thing is trying to gaslight me. I dunno man… 

But when it hits, it breaks through the fabric of reality. Even that basic reverb sounds so weird and warped and wonderful. To say nothing of its DELAY or SLIP modes. 

9. The Most surprising tip or trick or technique that you’ve discovered about a bit of kit? 

Chase Bliss Habit

Treat it right and Chase Bliss Habit can be a mono synth.
Firstly you need: 
⦁ A constant(ish) sound source/tone. 
⦁ Chase Bliss Habit.

Here’s how you do it: 

⦁ Set the MODIFY switches to A1. You are now in pitch delay mood. Twisting between 10 o’clock and 2 o’clock will pitch your echoes down. Twisting it further either side will pitch your echoes up to the heavens.  
⦁ Set the DRY KILL dipswitch up to ON. Now you have no dry signal. This is very important. 
⦁ Set SIZE and SPREAD to minimum. 
⦁ Set LEVEL to maximum. 
⦁ Run your signal through HABIT. 
⦁ I like dragging my input cable over a surface for extra loftiness. Radio static is also cool.  
⦁ Twist the MODIFY knob to get your note of choice. 

Artist or Band name? 



… in retrospect, this name makes me incredibly difficult to search google for. But hey, it’s mine now. 


Lo-fi ambient. Lofi is a fine way to hide my (currently) novice playing skills. 

The Fauna of Lo-fi ambient


[immediately before an exorcism] 

Dean Fuller
Dean Fuller

Where are you from? 

The land I live on was called Boorloo before colonisation. Nowadays it’s called Perth.


How did you get into music?

My parents played me stuff that blew my mind*. My sister played me stuff that blew my mind. My friends played me stuff that blew my mind. I feel obliged to return the favour. 

*specifically, in no particular order: Elton John. Frank Zappa. Queens of the Stone Age. King Crimson. Heather Nova. Foo Fighters. South Park: Chef Aid. The Goon Show. Tom Waits. Goreki. Massive Attack. Godspeed You! Black Emperor. David Holmes. After Dinner.

What still drives you to make music? 

Vanity. I like that people like my work. Shouting into the silent abyss can get dispiriting.  

Progress. Seeing improvement today over yesterday and the day before is awfully gratifying.

Meditation. It’s been a strange few months. I’ve been keeping too much in my mind. The act of creation wipes things away, if only briefly…

How do you most often start a new track? 

Korg Opsix
Korg Opsix

I’ll hear something on my way to work from tybo_ambientsky or shimmery.mp3 or kaicarsonwest do something cool with a piece of gear that I have. I’ll spend the day consumed by the thought. I crib the settings in the margins of my workbook. I imagine all the ways that I can take this and break it and then go ham with distortion and layers until I have an ungainly tower of grain and fuzz. Then I go do it.

How do you know when a track is finished? 

When my darling tells me to go to bed. 


Show us your current studio

Desktop setup

Best creative advice that you’ve ever heard?

Create incessantly and with intention. Be like Prince – record all the damn time, release only the gems. And release gems all the darn time. You are an iceberg; you are a vault. The little that the public sees is supported by the vast volume of work that you toiled on out of sight. Constant introspection and evaluation will make your work better. But only if you make your work.

All but shadows and lights

I’m paraphrasing Father Bronques here. His advice took me from an unemployed student to a photographer charging $200 an hour in the space of a year. 

Promote your latest thing… Go ahead, throw us a link.

I have a YouTube that would love a few more followers. Feeling like long, long lofi ambient pieces to sleep to? Do you need to hear tape loops looping forever? This is the place to go.

Spaceman explorering the synthverse

Also @royriverswhite is a good mate of mine doing fabulous art on an early 1980’s Apple MacIntosh. We’re gonna be doing something weird. Together. Soon.

[Editor: There are affiliate links to the relevant gear throughout the articles. It helps to support this blog. In fact, should you be needing some patch cables or guitar strings. Then clicking on one of the above links and buying any product that you prefer, will help the blog… doesn’t even have to be the ones in the link. Thx]