Only Ruin- Austin White

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

This is a tough one. I’m a sucker for filter sweeps, and I think currently my favorite filter is on the new Prophet 5 (Rev 4) so I’ll have to go with the cutoff knob on that. Honorable mention to the Dry/Wet on the OTO Bam, though. Fully wet on the Bam in ambient mode is heaven.

Prophet 5

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

There are a few pieces that come to mind where one little thing is missing that would just suit my workflow perfectly, but generally that’s what I love about working with hardware – finding the way around those things. Like the (new Korg) ARP 2600 would be absolutely perfect if it had like 2 or 3 more patch points to sent gate/cv in other places, but not having those makes me think more creatively. Also, that’s one of the things I love about eurorack, if it’s missing just add another module.

Arp 2600 with Make Noise 0-Ctrl

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

For travel in the past it’s been a small eurorack case, like 48 hp or something, and a drum machine – usually the Elektron model cycles. But now it’s the Polyend Tracker. I rarely leave home without it. Touring or gigging can be a bit different, I’ll usually want a bigger eurorack case (usually my MDLR 6u 104 hp) and a sequencer of some sort (Tracker, 0-CTRL). Always my laptop, Ableton is there when all else fails.

PolyEnd Tracker

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

Honestly most of the plug-ins and software I use are based on actual hardware, so there’s not much that comes to mind. Sometimes I wish there was a more “player friendly” granular software, something like the Make Noise Morphagene.
That would make an incredible plug in.

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

It’s a constant process with hardware, so not really. Especially with eurorack, there are modules that I’ve bought and not been able to figure out, sold, and then bought again a year later and loved. The one area I have grown skeptical in is MIDI controllers. I’ve tried a few that I hated, like the Qu-Neo. Anything that requires drivers and software for mapping and all of these additional steps kind of drives me crazy. Especially for something that should be fairly straight forward, like a controller.

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

There have been phases of different gear inspiring a lot of music, but probably the Tracker. It’s just completely changed the way I make music and I love it. I’ve already released one EP of tracks all made with it, and I have at least one more that I’m basically done with. It’s just one of those things that I can’t seem to get bored with, and I’m always finding new stuff that I love about it.

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

Honestly I would probably just get Ableton and really dig in first. I had absolutely no understanding of synthesis when I first started getting in to eurorack, and then eventually other hardware. I think having the understanding of what’s happening lends itself to making better decisions as far as purchasing and adding the tools you want to be creative. But since this is an interview about gear, I’ll say the either the Tracker or a standalone modular system like the ARP 2600 or the Make Noise black and gold system.

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


Cables. Audio and MIDI routing are the two things that are always going to be an issue when working with as much hardware as I do. I have everything set up in my studio now so it’s not an issue, but if I ever want to make a change it’s a whole thing. I moved recently and it was a nightmare reconfiguring my studio from scratch, but I’m happy with it for now.

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

Like I said earlier, when I first started with eurorack I knew nothing about synthesis, and very little about electronic music in general. So every time I become more familiar with a technique, it’s a bit surprising. All of the stuff that I’ve learned in modular synths translates to hardware synths, too. Now I find doing sound design on more traditional synths like the Prophet or the OB-6 to be really fun and challenging. Sometimes I get lost just trying to make good kicks on the OB-6 for a couple of hours. Maybe not the best use of my time, but it’s just a way I’ve found to explore a synth’s capabilities more.

Only Ruin eurorack

Artist or Band name?

Austin White aka Only Ruin


Who knows? Genres are silly, and according to Spotify there are like 1000000 of
them. Dark ambient synth and break beat IDM?


Austin White aka. Only Ruin

Where are you from?

Born in Greenville, South Carolina, currently residing in Brooklyn, NY

How did you get into music?

I’ve been kind of obsessed with music since I was a kid. I started playing bass when I was pretty young, and got serious about it around 15 or so. I studied jazz and went to school for upright bass for a while. Before I got into producing electronic music, I was mainly playing improvised and experimental music.

What still drives you to make music?

It’s just what I do. Outside of my family, music is my entire life. It’s everything to me. I can’t imagine living without a creative output, and I’m eternally grateful that I don’t have to.

How do you most often start a new track?

A melody or a harmonic progression, sometimes a texture. Usually I’ll start writing on some kind of poly synth like the Prophet or the One, and then build from there. Recently I’ve been doing more writing on eurorack, where I’ll get some kind of semi-generative or evolving patch going and just resample in Ableton for a few minutes, then chop it up and find parts that I like.

Polysynths Moog One and Prophet 5

How do you know when a track is finished?

I don’t. I get sick of working on it, maybe. I’m terrible for not finishing things, or more accurately for getting a song to a point that I’m happy with it and then never releasing it because I’ve listened to it so much that I hate it. I have probably 3 or 4 full albums worth of material that I’m just sitting on, but it’ll get out there eventually.

Show us your studio

Only Ruin studio
Roland TB303 in blue
Roland TR909 in blue
500 series rack

Best creative advice that you’ve ever heard?

I studied with Reggie Workman a bit in college. Reggie is a legendary jazz musician who played with everybody (Art Blakey, Wayne Shorter, Coltrane), and he had a huge impact on me as a musician. Most of the advice he gave me as a bass player was about space – leaving space for everyone else to exist in the world that you’re creating together. A lot of that thought is just about playing music in a similar way to how you live your day life, drawing parallels between the person you are creatively and otherwise. Producing electronic music alone is a different thing entirely, but I still think about how to be honest with my output and stay connected to my own individual voice.

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

I have a bunch of music (hopefully) coming out soon, but in the meantime here’s some fairly recent stuff I’ve done :

Tracker EP :

Beach EP :

Distant EP :

Always posting jams on IG and YouTube as well, find me @onlyruin

[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw us a comment below…

Martha Bahr – Panic Girl

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

That’s a hard question to answer as every instrument is a composition of different knobs, faders and switches, which are only valuable through their interaction between each other. But if I had to choose one it would be the cutoff knob or fader. I tend to like very mellow sounds especially for inspiration.


My favourite cutoff of all times is the one on my ARP2600, especially with the resonance on maximum. I have never heard a more beautiful and eerie sound.

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

Panic Girl Eurorack modular

That would be my modular system. It grows and changes with me as I grow and change as an artist, and it’s the perfect instrument for those “happy little accidents”, for experiments, for getting to that next level sound design wise.
What I would change about it? Maybe it would be great to make them less heavy all in all, especially if you want to travel with it. 

Eurorack and flower

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

As much as fits in my suitcase. I usually take a skiff with me, my OP-1, an iPad and my laptop, just to have some options when in a good flow.

Eurorack skiff as LP cover with an OP-1 and SM57

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

I’d like to have the René by Make Noise as a Plugin, I love that module. It brings that bit of extra spice to my tracks, that I really like. And the Malgorithm, it’s my go to bitcrusher sound that I can’t get enough of so far. 
As for the other way around I would love to have the Fabfilter plugins as a module, especially the Limiter. It gives you the volume you need without colouring the sound too much, I use it on every track I make as well as their EQ. 

Make Noise Rene

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

Not yet. I surely bought some gear, especially some modules that didn’t fit my workflow after all. But that’s part of the game with modular synthesizers in my opinion, you try, sell, buy, reconfigure and grow with your system (or the other way around?) like you grow musically and as a person throughout life.

Eurorack and a bit of ARP2600

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

I’d say Logic and my modular system. There is so much to explore in each, so many possibilities to learn new things and so much room for „happy accidents.“ 

I spent a lot of time learning Logic as a rookie, I wanted to know it inside out so I can “play” it like an instrument. And there are several things especially in the beginning you have to figure out before you can produce music without having to think too much, like moving the anchor point in your audio regions or how to get an audio file with a different bpm to fit your track or how to set up the Environment for different purposes and so on. While figuring all that out, I came up with one idea after the other of what I wanted to try and explore musically. Back then I spent every free minute with Logic, it was extremely exciting to unlock all those levels of music creation one by one, it’s actually quite similar like getting addicted to a video game.

And modular instruments are just crazy with all their possibilities, it’s an endless source of inspiration to me for about ten years now. I’ve tried out so many modules by now, I couldn’t count them all. I also got some of them sent to me to write articles about for the german print magazine Sound & Recording, like the Yarns module by Mutable Instruments for example. And now I can’t live without it anymore. They are all very unique and special in their own way, it’s exciting and often eye-opening to make music with them.

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

I think I’m pretty ok with how things went and what equipment I got throughout the years. I started out on a PC, learned Logic, Cubase, ProTools, Fruity Loops and Reason at the SAE Institute back then and finally got a Virus TI as my first synth.

The most important thing to me is to learn how for examples DAWs work in general or how synths work in general, so I can translate that knowledge quickly to any other related gear rather than learning just one DAW or one synthesizer in and out and not knowing how to use similar gear from other companies.

That can be pretty helpful especially if your working as an audio engineer or composer and need to work with different tools from time to time.

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

That would be the computer per se I suppose. Especially moving to a new computer can be quite unnerving or when your current one gets too slow for all the tasks you want to do. 

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

That would be modules with which you can do generative patches, that was a real eye-opener for me. The René module by Make Noise with it’s cartesian sequencer was my first experimental module and I still use it in every patch I make. Being able to set the notes of a scale, but randomizing the order in which those notes are being played can make for some very interesting variations in a patch.

Artist or Band name?

Panic Girl 


Electronica, Downtempo, Experimental 


Martha Bahr aka. Panic Girl

Where are you from?

I’m currently living in Munich, Germany.

How did you get into music?

I discovered my passion for music very early on when I was a child. I was utterly fascinated with this invisible medium that still seemed to surround me though I couldn’t touch or see it. I already knew back then that I wanted to spend my life with music, in whatever way possible. 

Panic Girl in a dream of wires

I sang in the school choir for several years, learned how to play the piano and the guitar and was playing in bands when I was a teenager. That’s when I got more and more interested with the equipment that we used like the mixing desk, the effects we applied to our instruments or DI Boxes for example. I just wanted to know how they worked. When a good friend of mine told me about the SAE Institute I knew instantly that this is what I wanted to do. I quit my studies at the university and finally started the Audio Engineering Program at the SAE Munich.

What still drives you to make music?

I just can’t do without it, it has been such a vital part of my being since early childhood. I still have tons of ideas I want to try out and there is always so much exciting equipment out there to explore. And there are also inspiring collaborations with for example Anatol Locker. We make experimental music as Lucid Grain, where we create music with our modular synthesizers that none of us could compose on it’s own. It’s like melting two musical minds into new fresh musical pieces. Inspiration is everywhere I suppose, you just have to learn to see it.

How do you most often start a new track?

I need a sound that inspires me to make a full song out of it. That sound can be literally everything, be it a noise from the coffee machine or birds singing, sounds from my modular system, my ARP2600 or my OP-1 for example. I often seem to navigate towards mellow and dreamy sounds and pads, noisy background sounds like from a vinyl player or field recordings. That initial sound then determines where I go from there, if the track needs drums or if it will be a more experimental one, if I feel like singing to it or if some more field recordings would fit well. 


How do you know when a track is finished?

The composition part of music making is usually done pretty quickly. It’s the mixing that takes up most of my time. I check it on several loudspeakers and headphones and have to adjust it several times, until it sounds equally good on everyone of them. I also find it very useful to not listen to the track for at least one or two weeks, so you actually have forgotten how it sounds. If you then re-listen and still like it, then I guess you’re good to go.

Show us your current studio

Eurorack and Arp2600
Roland Juno-60 and a Casio

Best creative advice that you’ve ever heard?

One of the sentences that stuck in my head for years is that you shouldn’t listen too emotionally when you’re working on a track, especially during the mixing stage. That’s something I still can’t fully control, sometimes I just need to crank up the volume, dance around and go back to work after that. You need a clear and calm mind for mixing to make those technical decisions, to make a mix work. I could for example drown everything in reverbs and delays, I just love how they sound. But it’s definitely not good for your mix, it gets muddy very fast. So I need to hold back and work on the mix from an mixing engineers perspective to get the most out of it.

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

I’m very proud of my latest album “Cake On Jupiter” that I released with Modularfield last year:

[Editor: Beina a musician now a days means taking on many different roles. Which you can see that people such as Ms. Bahr is very adapt at. Do you struggle with the various roles required to be a productive musician these days? And which roles are the most challenging? Leave a comment below.]

[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw a comment below…