Danny Kim – DSKO

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

Modal 008

Favorite knobs would have to be the Modal 008. They are metal, round with a dimple on top. Favorite fader would have to be the Juno 106. Just a couple millimeters makes the filter morph into a different sound. I’ve ridden the cutoff fader for miles. I also like the fader on Roland System 100 Model 101. Old, but sturdy and stylish.

Roland Juno 106

For Eurorack, I’d say my fav knobs are on the Rossum Evolution. They’re kind of similar to the pots on the Dave Smith PolyEvolver.

Dave Smith PolyEvolver

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

Well I guess that would depend on three criteria for me. The character of the sound, depth of synthesis, versatility, intuitiveness of the interface, build quality. I also like a bit of a challenge to learn. But not so complex that it takes forever to get to a sweet spot.

Modal 008

For me, one all-encompassing synth would be the Modal 008. It is the most refined sounding analog poly synth that I’ve played in the past 20 years. It has 15 different filter modes, tons of physical controls at your fingertips. There are no on-board effects but you can dial in some very refined and inspiring sounds without too much difficulty.

Modal 008 with 15 filter modes

Then you have a great sequencer that can trigger notes or modulate almost any parameter with the “Animator” feature. It does have a bit of a wonky menu, that sometimes freezes on a knob turn. I wish I could update the processor to eliminate some of those glitches and give it an OLED touch screen to improve the navigation but nothing’s perfect.
The designer George Hearn moved on from Modal to found a company called UDO. In late 2020, he released the Super 6 binaural synth. It’s a really cool 12 voice polyphonic synth with high resolution digital oscillators. I’m looking forward to diving deep into it this coming year.

Modal 008 Sequencer

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

MPC Live 2

I have a retro MPC Live 2 that is pretty cool because it has a sound bar, is rechargeable and you can produce full tracks on it with some diligence and patience. You can load it up with a ton of samples. It can even be upgraded with an internal SSD drive. I recently got an ASM Hydrasynth Explorer that can take batteries. I think I might bring it next time I travel.

Hydrasynth Explorer

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

I wish there was a hardware version of Absynth. It was one of the most unique sounding synths I’ve ever heard. Sadly, it was announced a few months ago that Native Instruments was going to discontinue its inclusion in their collection.

I think it would be cool to get a software version of the underrated Modor NF-1, since it is all digital and there are ten different forms of synthesis. There are a ton of physical controls but due to its complexity, there’s still a lot under the hood that you have to dive into the menu to find such as the FM operators or formant features.

Modor NF-1

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

I regret selling my big yellow Waldorf Q. I was broke in Hollywood during the actors and writers strikes of 2006. I was a freelance sound editor and had just left the studio I was working at after I had worked on a big feature film called Pathfinder for 20th Century Fox. The strike went on for a long time and eventually I had to let go of one of my first synths. I’ve since owned and sold the Waldorf Microwave XT, original Pulse rack and 2 Pole Filter Pedal.

Conversely, I haven’t been as into the Waldorf Quantum. On paper and visually it looked like most amazing synth ever. But it sounds kind of sterile to me, even with the analog filter. I have a friend who likes the Iridium for its sample playback capabilities, but I generally prefer VCO’s and non-sampled realtime sound sources. I get more of my style of sounds out of synths such as the Moog Matriarch or Cwejman S1 MK2. So I may be limiting myself from the Quantum’s best features. I’ve heard other people get cool results from it. I think I would get more out of the PPG Wave tribute from Groove Synthesis, the Third Wave.

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

Lately, I’ve been really into the Elektron Syntakt. You’ve got 8 digital and 4 analog tracks. Each track can be configured to a different “machine” that is synthesized around conventions such as bass drums, snares, hats, claps, etc. On the synth side, you’ve got an 8-bit SID type of machine, chord generator that can be quantized to different scales, then an analog two oscillator synth. Unfortunately it’s monophonic, but I hope that it gets firmware to allow the combining of tracks allow for 2 to 4 voice polyphony at some point soon. It certainly has the capability with 12 tracks.

Being confined to a set of 8 unique parameters for each synth or percussion machine did a couple things for me: first, it forced me to fully utilize each machine’s sound design capabilities. Since you can quickly settle on a sound relatively quickly with the limitations, you can focus on the writing of notes and beats. The second thing it did was the polar opposite; the limitations drove me to find external/outboard solutions such as polyphonic sound sources that could be sequenced from the Syntakt’s external MIDI machine. The first candidate was an Erica Synths 42hp Pico case. I put a Supercritical Demon Oscillator and Expander with a Pittsburgh Local Florist and a Supercritical Neutron Flux stereo filter in there. So that skiff essentially became the 8th track on my Syntakt.

Eurorack

One of the things that helped me unlock the Syntakt’s capabilities is the Arturia Keystep 37. The Keystep has a great feature which is that you can hold the function button then instantly change the MIDI channel from the keyboard. So you can jump back and forth between tracks in your sequence while you’re writing melodies and parts. You can quantize your notes as they are being played in.

Arturia Keystep Pro (pictured here) and the twin Elektron Syntakts

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

Prophet XL

With my existing knowledge and experience? Maybe a Sequential Prophet XL. It covers a lot of different sounds between the virtual analog waveforms and sample oscillators. If I was starting out, I’d probably get a Juno 106, which was actually the 3rd or 4th synth I first bought.

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

JX-8P

The Roland JX-8P. Big heavy with plywood bottom and plastic ends that have fading metallic paint. Membrane buttons as frustrating as the DX-7. But the pads out of that thing sound beautiful. I was able to get a PG-800 programmer for it, which made it much more useable. The JX-10 is basically two 8P’s and is somewhat strange to program even with a PG-800 since it has two halves. The JX-10 was used by the composer Angelo Badalamenti for the iconic theme song for David Lynch’s Twin Peaks, which was later sampled by Moby for the house track “Go”. I can’t seem to bring myself to sell it, but it’s so bulky that it’s usually sitting upright until I need it for its lush pads.

Roland PG-800

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

Probably the strangest feature I’ve encountered is the countdown menu in the Modor NF-1. You have to make your selection before it finishes counting down, otherwise it exits on its own.

Modular Eurorack in Black light

Technique-wise, one of the coolest things about modular synths is the ability to chain multiple clock and rhythm modules. For instance, I might use the ALM Pamela’s Workout as an initial tempo generator into Vermona Random Rhythm to create a bunch of multiplied clock signals in different clock divisions. From there it may go into Mutable Instruments Grids or the more recent Mystic Circuits IDUM module. Then finally with the 3rd layer, I’ll patch into the actual sequencer be it WMD Metron or Shakmat’s Four Bricks Rook. My goal is to create rhythmic variations for the sequence that can be globally affected with a relatively simple knob or fader movement, which is ideal for live performances. Trying to achieve some randomness but still enough control to make it sound musical. That’s generally where I like to reside.


Artist or Band name?

It was Psinex, then Distco, Distortion Corporation, now DSKO. My actual company is named Distortion Productions from when I worked full time as a freelance sound editor on films and directed concert and music videos for various local LA electronic music producers, classical Indian musicians and the “Inside” video for Detroit’s ADULT.

Genre?

All over the place: electro, Italo disco, synth wave, techno, dub, electroclash, trip hop, ambient. I try not to think too consciously about genre when I’m writing something.

Selfie?

DSKO

Where are you from?

Was born in Palo Alto and raised in Santa Rosa, Northern California. Have lived in Las Vegas, Hollywood/LA and Seoul, Korea. Now I’m back near where I was born, in Santa Clara and San Jose.

How did you get into music?

I started out as a cellist in the high school orchestra. I took lessons from Corinne Antipa, a cellist in the local Santa Rosa Symphony.
Music-wise I was a big Front 242 and Depeche Mode fan as a kid. I actually just saw Front 242’s final performance at the DNA Lounge in San Francisco recently. It was great show and an emotional moment for them saying goodbye on stage. In college, I was a tech house and trance DJ during college in Las Vegas and in LA during the rave scene.

What still drives you to make music?

I’ve always wanted to see electronic musicians and the synthesizer community properly represented from a cultural and artistic standpoint. I’ve been going to shows for many years, but from 2016, I started putting on my own live synth shows in the SF Bay Area, primarily in downtown San Jose in association with the First Friday monthly street fairs organized by Cherri and Brian from Gallery Anno Domini. I built good relationships with synth companies such as Sequential, Make Noise, Folktek as well as some very talented performers from across the country such as Richard Devine, Patrick O’ Brien, Robert Aiki Aubrey Lowe, Lightbath while promoting equally talented locals such as r beny and Haptic Synapses.

My interests tend to pull me towards their origins and pioneers. It was a sort of pilgrimage traveling to the Detroit Movement Festival in 2006 and 2008 and hearing Octave One, Scan 7, Model 500, and many others there. I also had a chance to go to the 2012 Moogfest when it was still in Asheville, North Carolina. It was great to see the Voyagers on the Moog factory line along with the showroom. Those trips were a big inspiration to me as a promoter and artist. I feel like I’ve carried those experiences with me in spirit in all the events that I have held.

How do you most often start a new track?

I used to make a new track every month. Lately, it’s become either a new modular patch video on my Youtube or Instagram. I would definitely like to get back to writing full tracks and albums.

How do you know when a track is finished?

Usually when I can listen to a track repeatedly without getting tired of hearing it. I’d imagine that’s how a sculptor feels by the time they decide when to stop chipping away at the stone. I suppose the difference being that you can’t add back what you remove to a stone. With a track, it’s certainly possible to overembellish it with too many elements.

Show us your current studio

Neon Dragon
A desktop of synths
Studio Rack
Studio Buddies

Best creative advice that you’ve ever heard?

It’s a fairly common piece of advice, but particularly important for someone as easily distracted as I am. Finish your project and don’t try to make it too perfect. Allow for mistakes and imperfections. The pursuit of perfection can lead to becoming discouraged and eventually abandoning something that might actually be much better than you might think. Like many artists, I tend to be very hard on myself.

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

I’ll be performing at SynthPlex in LA/Burbank on the evening of October 29th, 2022. It’s been three years since the last event so I’m really looking forward to it. I’ve got a laser show planned to go with my live synth set.

I’m also putting out the follow-up to the 2019 synth and arts print-only journal called Open Source. It’s taken the better part of 3 years to put it together. One of the most difficult projects I’ve ever worked on because of the ever-increasing scope of it.
It started from around 80 pages and now up to around 130 with original articles, artwork and interviews from artists I admire from around the world such as Robert Henke and Nonotak. By the time the project is finally completed, I think it will be worth the effort. I’m aiming to get it done in time to show at Superbooth next May in Berlin.


[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]


Megan Leber – Modular Mist

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

Lots, but one of them is the “Tone” knob on the Desmodus Versio. Try turning that reeeaaally slowly 😉 Also every fader from Gaz’ modules (Big T Music LTD), they just feel so sturdy and smooth!

Rangoon and Monsoon from Big T Music LTD  eurorack module
Rangoon and Monsoon from Big T Music LTD

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

This is such a hard question! Well, a bit unexpected maybe, but I’m going for a VST here: Cycles by Slate & Ash. It’s just spot on for me, I could create an entire album using just that. The atmospheres you can get out of there, the subtle movements, the gorgeous effects, the sequencer, the granular part. It’s still so inspiring after 2 years of using it. I also love the Xone 96 by Allen & Heath, this mixer is perfect for my live performances.

Xone 96 by Allen & Heath
Xone 96 by Allen & Heath

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

If I have to bring as little as possible I’d bring my Digitone or Tasty Chips GR-1 and Octatrack. But if I’d do a tour I’d probably add something.

Tasty Chips GR-1
Tasty Chips GR-1

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

Paulstretch and definitely Cycles + Landforms from Slate & Ash. Their software is mindblowing! And vice versa: Intellijel Rainmaker.

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

No! 🙂 You can learn something from every piece of gear. If something doesn’t spark joy anymore or stops inspiring you, just let it go. For instance I recently sold my Mannequins Mangrove and Three Sisters and I think many people would have kept them because they’re so hard to obtain nowadays. But that’s no reason for me to keep stuff.

Three Sisters Module
Three Sisters Module

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

All of my granular modules (Arbhar, Morphagene, Monsoon)! And I’d say that Cycles by Slate & Ash inspired me so much, that it really got me to produce regularly again and to feel creative. It even got me looking into modular again until I couldn’t stop myself from buying the first modules. Since I started with modular I got more and more inspired, especially by the granular modules mentioned above. With these modules, combined with a nice reverb/delay, you can create otherworldly soundscapes which can really carry you away and make you lose track of time. Love that!

Make Noise Morphagene
Make Noise Morphagene

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

I don’t think I would have done anything differently, other than getting into modular earlier on. The creativity I get out of that is unbelievable. Oh and I would have put my music out there earlier too.

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

Hmm, I would say the Octatrack? No, I think I could live without that (if I have to). Unanswered!

Elektron Octatrack
Elektron Octatrack

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

My D.O.MIXX (5-channel mixer module by Blood Cells Audio) has 1 aux send. I just recently found out you can switch between pre/post aux per channel, so if you choose pre aux you can cue your channel with headphones. I’ve now routed that aux send to my Xone 96 mixer (on send D) so I can cue every channel of my modular on there and this is huge to me for my live improvs!

D.O.MIXX (5-channel mixer module by Blood Cells Audio)
D.O.MIXX

Artist or Band name?

Megan Leber

Genre?

Techno and ambient/electronic (if I have to put a label on it).

Selfie?

I rarely take selfies! 

Where are you from?

Rotterdam, Netherlands. 

How did you get into music?

I remember I was always drawn to instruments from a very young age. When I was 10 my teacher put a piano (and later a guitar) in the classroom and I was instantly hooked. He taught me some stuff about chords and intervals and let me play after school. Later my parents let me buy my own keyboard from my savings and after that I got my first electric guitar. Never took any lessons, I always played by ear.
When I was 16/17 I got into electronic music production, when I put Reason on my laptop and a whole new world opened up! Soon after that Ableton followed and I got more and more obsessed. Got a few MIDI controllers and my first synth: a Yamaha AN1x. A year of studying Electronic Music Production, a few drum computers, synths and modules later: here I am!

What still drives you to make music?

I just HAVE to, it’s this thing I can’t stop doing. It’s what I love to do most and which will never bore me. As soon as I open my eyes I’m thinking about making music. When it comes to making music I’m a sponge. I always want to know and try more. My mind can be quite chaotic sometimes, but when I’m making music I’m at ease. It gives me this weird (the positive weird) feeling I can’t really explain, like all these endorphins are floating around inside of me. Endless possibilities!

How do you most often start a new track?

It sometimes starts with an idea or feeling in my head, something I want to try out, “what would happen if I do this?”. Sometimes I create a soundscape first, other times I start with a sequence on the Atlantis. What’s important to me is that I can completely lose myself in the sound design and slowly build a “mood”. But I also start without any idea/expectation and just jam.

How do you know when a track is finished?

Intuition. It’s just a feeling of being satisfied with the result. And to be honest there are always things that could have been changed after a track is “finished”. I also have to admit I’m bad at finishing tracks! I’m more of a creator and that’s what makes me happy. As soon as I have to stop creating and start mixing etc, I get bored or distracted and want to make new things… haha. 

Show us your current studio

It’s constantly changing! Here’s one of my most recent pictures, just before I hooked everything up again (cables cables cables):

Megan Lebers every changing setup
Megan Lebers every changing setup

Best creative advice that you’ve ever heard?

Can I also put my own advice here? 😀 Do exactly what you want to do and not what you think others might expect from you. Don’t follow any ‘hype’ because you think you’ll get noticed. Stay true to yourself! 

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

Check out Mystery Circles’ BandCamp on the 5th of June for a nice surprise! 😉 https://mysterycircles.bandcamp.com

[Editor: Megan’s IG can also be found here: https://www.instagram.com/meganleber]


Prior Use – Andreas Bak-Reimer

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

Gettin’ it on with the Roland SH-1

The power switch on the Roland SH-1. It’s an old synth, and the button has a distinct mechanical quality to it. The way it feels, the way it sounds, and the way the power LED lights up immediately – it just feels like getting it on! The SH-1 does that really swell PWM (pulse width modulation) that I enjoy immensely, and simple as it is, it invokes an atmosphere of a simpler time, with a lot of nostalgia to it.

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

My Roland Juno-106 is close to perfect for it’s purpose. Countless 80’s and 80’s emulating tracks have been born using it, and it’s built in a way that grants plenty of sweetspots, and not so many dead ends. Some people prefer non-DCOs, and have plenty to say about the 106 being a budget synth, but mine’s fresh back from service, and it makes me happy.

Roland 106

I sometimes wish it had another oscillator with an easy option for detuning, to get a wider sound from it, but there is a lot to be said about limitations to foster creativity.

… Also, I am not particularly fond of the way the resonance sounds when it’s cranked way up. It’s glassy instead of being juicy – and rarely that’s a good thing. On the other hand, I don’t have any other things that sounds like that, so it’s probably best to leave that unchanged.

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

Roland TB-03

Laptop, almost certainly. I am no where near anything dawless, and don’t have anything that I could arrange anything with, besides a computer. If I weren’t writing, but merely playing around, I would bring my Roland TB-03, or Yamaha Reface CS – built-in speakers and battery operated, they are 1. 2. go!

Yamaha Reface

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

Absynth, Brain, Modular.

Software -> Hardware: I think Native Instruments Absynth. I have had that since forever, and still use it heavily. Also, I would like to see the physical shape/color/layout of such a thing!

Absynth

Hardware -> Software: My brain. Although it feels soft at times, I consider it hardware. It certainly interfaces like 40+ years old hardware (poorly that is), it is sometimes difficult to control when hot or cold, and it’s almost never in tune. Also – patch memory is severely limited. If I could instantly recall patches, production tricks, channel-settings and export/bounce the tunes and sounds directly, like with a lot of software, then… Well, it might take out the fun at times.

Brain

To be serious: My modular setup would be nice as software – mainly for patch recall.

Eurorack modular

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

I never sold anything ever, so that doesn’t apply. And therefore I never regret selling anything either!

I once bought a portable recorder, thinking I could get a lot of good sample material that way. I only did once, but it never made it into a track I finished. I have fond memories of getting up early to catch a few big trucks on big roads going by, though… So, no regrets I guess…

Tascam Recorder

I bought an Ensoniq SQ-R module, because it features Transwave synthesis. Never used that, but it had a nice belltree sound that I used once or twice. It’s probably the thing I’ve bought that comes the most close to being a regret.

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

My trusty iPod classic 80 GB. That’s a lot of late 90’s goatrance… Listening to that is what inspired me most over the years. It had a growing line of dead pixels over the course of a year, and when the line was fully dead, the pixels started working again from the beginning of the line! A year after, the whole display was good again. That is probably my strangest experience with any electronic gadget ever.

iPod classic

If I should channel this to some sort of an inspirational tale, it would something like how the small and weak Hobbits defeated the mighty Sauron – it might appear to be failing, and an unlikely source of victory, but give it some time, and it will surprise you.

That is also why I have never sold anything. You never know.

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

A decent room for working in. Go all crazy thinking about getting the ‘right’ monitors, nice preamps, the perfect cables (ugh!)… But if your room is horrible, none of that matters. I have sunk a fair bit of time into acoustic treatment, and it has made a world of difference.

Foam

Also: time. So that’s it. Time and space – that’s all I want. At first…. Then a Mac.

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

Laptop

Mac laptop

Again, my computer. Ill timed software updates, one too few CPU cycles in stacked projects, failing disks… The woes are many, but I wouldn’t have written a bar of music without it.

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

Roland JV-2080

About 20 years after I got my Roland JV-2080, I realized it was capable of faux PWM. If I set a regular sawtooth wave on one osc, and an inverted sawtooth on the other, and modulate pitch slowly and independently, then it happens. I wish I had known that 20 years earlier, but that would probably mean I wouldn’t have bought my SH-1 (with the fab power button) – so it’s all good!


Artist or Band name?

I have mainly been producing under the moniker “Amygdala”. Goa and psychedelic trance in the old (old!) sense of the word.

Lately, I have been making some drops in the already over saturated ocean of synthwave music. I enjoy that very much, and as a child of the 80s, it takes me back to a simpler time – worries forgotten. The moniker for this activity is “Prior Use”.

Genre?

Many kinds of trance music: Goa, psychedelic, melodic, uplifiting, minimal, tech-, progressive.
Besides that, a bit of synthwave, and the odd “psy-bient” piece.

Selfie?

Andreas Brain

Where are you from?

I am from Denmark – just a tad north of Copenhagen, but most of my music has been produced in Århus. You can really tell what a big difference those 170 km makes!

How did you get into music?

My parents and brother. Music was omnipresent at home when I grew up. My parents encouraged me to take up playing violin when I was 6, and I have had some great experiences with that. When music production became reasonably available to the regular consumer with computer interest, I was hooooked! At first, it was just another thing I could do with the computer, but rather quickly it was pretty much all I ever did with it.

What still drives you to make music?

The two biggest drivers are probably the “flows” and “highs”.

Flow when I can be completely engrossed in production, enjoying the situation, and getting something done which I like and feel as an accomplishment. Time flying as I ignore my body’s attempts to drag me to the loo, trough or bed.

Highs when I hit something that (in the moment) is spectacular – a catchy tune, a sweet timbre, or a really dope fill or transition. It can still make me laugh after all these years, and the surge of energy and motivation I get from that is unparalleled.

How do you most often start a new track?

Sometimes I start with a very simple idea like a tune, a chord progression or a synthesizer patch concept. Then Drums. Then bass. That’s the most usual case, although sometimes I skip directly to the drums. Lately, I have been thinking that it’s not the best way to go, as I am finishing fewer and fewer tracks. I often end up with a pretty decent groove, but lacking the centerpiece idea that makes the track stand out. I polish the rhythmic section and transitions, until there is not space left in the spectrum (frequency and/or mental) for anything else.

So, from now on, I am trying to start off a new track with an idea, and then build drums and bass around that. We’ll see how that goes.

How do you know when a track is finished?

When a track has all the arrangement elements (intro, good stuff, breakdown, great stuff, climax, outro – or some other configuration), I bounce it and listen away from the studio. I make a lot of notes I want to change, enhance, remove, whatever. When that list feels complete, I do those changes. Hopefully I am happy with the result, because at that point I am usually fed up with the piece. I am not one for endlessly tweaking everything, and I have a tendency to detail focus early – which means I “decide” that this bit is perfect, and then unconsciously prohibit myself from editing it (too much 🙈).

I know there is some degree of contradiction in the above, but I’ll just hide behind “you can’t argue art”.

Show us your current studio

Andreas Studio
Andreas synths

Best creative advice that you’ve ever heard?

I bought a CD from Eat Static sideproject Dendron (Merv Pepler). I think he burned the disc himself and mailed it. Included in the package was a makeshift invoice with the words “always experiment” on it. I think that’s pretty good advice. It’s hard, because as time grows scarce I tend to stick to the beaten path, but even though it feels like it’s safer and more productive that way, I get less enjoyment from it.

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

As mentioned above, I dabble in synthwave. Swing by https://soundcloud.com/prioruse and tell you friends.

[Editor: if you want to check out Andreas psy-trance stuff it’s here: https://ektoplazm.com/profiles/amygdala]