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open interview with taylor deupree March 17, 2007

Posted by taylor in Uncategorized.

someone recently suggested an interesting idea to me for the blog here, and that was to have an open interview using the COMMENTS feature. this allows any reader to ask questions, as well as follow-ups.

so, feel free to add a question in the comments sectino of this post and i’ll get back with an answer. it can be music related, life related, food related, anything related. if there’s ever anything you wanted to know that you haven’t read elsewhere, now’s the chance…



1. quirky2 - March 18, 2007

You mentioned recently that you had spent time in the studio with Savvas. Will we get to hear the results? Was it like S.E.T.I. or arc or something new?

2. mjenks - March 18, 2007

what are your thoughts on musical structure (from the level of a single track up to the scheme of a full length album)? are there any composers you think come up with amazing forms?

thanks a ton!

3. 12kblog - March 18, 2007

i was wondering if someone would notice that πŸ™‚ yes, savvas was here late last year for a week and we worked very hard and finished nearly 4 songs… i am still editing them here with him back in Greece. the material is quite interesting… a mix of ambient and pop… sort of ambient, but with vocals, guitar… all of the sounds were recorded live from analog synthesizers and acoustic instruments. we’re waiting until the editing is finished to see what to do with the songs… hopefully it will come out as an EP on 12k…. but savvas and i will discuss that when i’m finished with the edits, hopefully early this spring.

as far as “band name” goes… no, no more SETI… maybe Arc? or maybe just our own names… we havne’t discussed that yet.

4. 12kblog - March 18, 2007

actually… yes, there are some artists whose structure i really admire…and, ironically, these are artists who often use very little structure. 3 particulars come to mind.. and are all very influential on me:

microstoria…. some of vladislav delay’s longer works… and brian eno’s thursday afternoon…

i love how these works just meander.. they just flow and go no place in particular… i like music that goes nowhere..! it’s sort of like music without starts or ends.. and a lot of my own work is like this.. especially some of my more favorite live performances. i like just setting a mood.. and creating beds of sound that can go on for a minute, or an hour, or a day..

maybe some people find this approach boring.. or feel the need for the music to “do something”.. or “go somewhere”.. but i don’t think it has to, not if it’s done well.. (sometimes, i feel i do it well.. sometimes not!)…

there are more artists than the 3 i mentioned that approach music this way, but those 3 in particular are very influential to me.

as far as album length structure.. i generally don’t structure my own albums to have an overall structure.. ie: peaks, valleys, tension, release, etc… but rather my albums are often a collection of works centered around a theme or concept.. although, i do spend careful editing and time determining flow during the mastering process.. in terms of which song should start and end the album (the 2 most important positions, i think)… and making sure the tracks sit well next to each other.. so, i guess there is structure that way.. but in terms of overall album structure, i don’t usually have anything narrative.

5. bkimball - March 20, 2007


I actually have a few questions. They all relate to your aesthetic as well as your thoughts on electronic music:

1. Do you see a general decline of interest in electronic music in general? Obvious examples can be found in labels’ output (i.e. Warp, Type, the demise of labels like Neo Ouija).

2. How do you want your output (personal and label) to be perceived and remembered in the grander scheme of the music world? Obviously, you create or release what is interesting to you, but I would assume that there are some backing ideologies to how you work. (This question might be too grandiose, so I apologize).

3. This may be stated somewhere on the respective sites, but I wasn’t sure: how do you decide to release something on 12k or Line?

Thanks in advance. I’m looking forward to the Pjusk album. Keep doing your thing.

6. 12kblog - March 21, 2007

hi bkimball:

1. oh, not at all… labels/genres go under transformations so much and countless new labels and artists pop up. “electronic music” is far too broad of a genre for it to simply go away. if anything, there is TOO MUCH electronic music out there, since it is getting easier and easier to set up a studio in your home now.

2. hmm.. that may be too grandiose… i mean, you’re right.. first and foremost i just create what i enjoy creating.. and whether or not it leaves some sort of legacy behind? who knows.. definitely not my place to say. i don’t think really think i have overall ideologies… just project by project, year by year.. or phase by phase concepts and influences. i just want to create a body of music that maybe has some impact on other artists now or in the future. it would be nice if my work was seen as important for the time.. but unfortunately history usually recognizes only the biggest and most commercial (even in “underground” genres) people…

3. basically, if i really like something i’ll release it.. regardless of who it’s from… which is why i release a lot of music from new artists (sometimes people forget that artists like shuttle358, sogar, and even chris willits were all debut artists from demos!)… unfortunately, i get a lot of great demos and simply can’t release EVERYTHING i like.. and i can’t really explain what it is about something that makes me want to release it… partially it’s the mood i’m in the day i’m listening to it… but also i’m looking for something that pushes the boundaries of 12k a little bit, while remaining true to what i’m doing at the time… *or* something that’s totally different from what i’m doing at the time. take chris willits “folding…” cd on 12k… that was a pretty radical release for 12k.. it was all guitar.. which was not AT ALL what 12k was about. or, the recent cd by Antti Rannisto.. i love that kind of music.. and it’s obviously a total anomaly on 12k.. but i like that… i want to keep listeners interested.. even if they don’t like everything that comes out.

the Pjusk album i’m really excited about. it’s different, too.. it’s much deeper and “wetter”.. and something VERY narrative about it.. there seems to be a lot more going on emotionally than a lot of the more formal 12k releases…. i hope you like it!

7. fac321 - March 22, 2007

Hi Taylor

A question about the first 12K logo :
was it a Peter Saville / Factory kind of tribute … or not !?


8. 12kblog - March 22, 2007

hi chris,

absolutely πŸ™‚

i eventually thought that the logo was too specific and obvious and that the label had evolved from its image… but it had already become quite iconic so i didn’t want to completely change the logo.. i modified it to be more abstract and to look a bit more organic, almost like a leaf.

9. mapsadaisical - March 23, 2007

[…] courtesy of 12K; you can buy Drape from their lovely shop.Β  There are some marvellous remixes too; especially the Taylor Deupree mix of “Skie”.Β  Speaking of Taylor, there is an […]

10. toryjames - March 24, 2007

Would you tell me about your progression towards digital music production? I noticed you no longer have the Doepfer in your studio, I am curious about how your methods and ideas have changed with your choice of instruments. Is the physical design of the equipment you use very important?
I wonder about this because you put a great deal of thought into the aesthetics surrounding your label and music. The packaging is beautiful and obviously very important. It leads me to believe you might have a similar interest in the look and feel of your equipment. Do the tangibility of music packaging (vs mp3s) and musical hardware (vs software) relate to one another? Or could you be happy doing everything within the computer?
Also, do you think that the availability of computers and consumer musical software have lessened the percieved value of electronic music (and possibly all forms of music)?
Thank you for your time,

11. subbasshead - March 24, 2007

hi Taylor
great to see the first dvd release…
& even better that its PAL!
(NTSC=no two of the same colour)
Relatedly have/do you work in surround at all?
& with respect to Camera Lucida is it 5.1?

12. toryjames - March 24, 2007

Regarding your photographic work: Do you prefer to shoot digitally or to use film?
Thanks again,

13. 12kblog - March 25, 2007

tory james:

yes, i sold the doepfer a while ago.. i just wasn’t using it.. even though it was quite cool.. but it has not so much to do with losing interest in hardware, but just not liking to keep things around that don’t get used. i found myself doing similar sounds with the nord modular, which is much more flexible. it was sad getting rid of the doepfer from a visual/aesthetic point of view (which leads into the next point)… but, practicality won out.

this is a very interesting question… yes, i am very intereted in the physical design of equipment.. so much that it often is a major influence in gear that i purchase from both an aesthetic point of view (the oberheim xpander, for example.. just beautiful)… and from an interface design point of view.

i’ve always firmly believed that objects shouldn’t just be succesful in functionality, but also designed well. you can apply this thinking to everything in your house. for example, you have so many choices when you buy forks, spoons and knives… why not buy some that are beautifully designed, you interact with them every day…

of course, functionality should win out over aesthetics… a fork that looks beautiful isn’t worth anything if it doesn’t feel right and work well (balance, weight..)… fortunately, there is almost always solutions that are both functional and beautiful.

so while i’m very conscious of object design it’s always important to get the right tool for the job. i’m not terribly fond of the design of my Kyma’s Capybara box.. but i wouldn’t give it up for anything..

could i be just as happy doing music on a computer with no hardware? absolutely not… what i’ve found REALLY important to me is a control surface for Digital Performer. (i use Mackie Controls)… i really need the physical interface between me an a mixing environment. having physical sliders and panning knobs is something i’m totally reliant on… i hate mixing and creating music with only a mouse.. or, worse, a trackpad. that’s probably the most important physical device in my studio… but with a lot of devices i’m quite happy with software. i love software synthesizers becuase they often have more interesting forms of synthesis than your standard hardware synth..

although, i’d rather have hardware versions of all of my software.. but they just don’t exist.. except for one.. i bought the Hartmann Neuron software synth when it came out because i always wanted a Neuron and this was an affordable way to get one. however, having the software only makes me want the hardware even more. it’s such a fascinating and original synthesizer, i can only imagine that having it’s beautifully designed physical interface would make it even more enjoyable. additionally, i’m such a fan of the Nord Modular G2.. i’ve had the rack version (the Engine) which has no physical interface at all… i’m in the process of selling it now as i just bought the keyboard version of the G2.. as i’m really looking forward to having the keyboard and knob interface… i’ll be using it even more now.

so.. yes.. in a nutshell.. physical design is very important.. as long as it does not detract from the functionality of something.

your next question is interesting as well.. maybe too much of a question for this forum…. i’ll be brief….. i think on one hand.. music is music.. it doesn’t matter how it was created.. as long as someone enjoys it, it is successful.. and, most consumers don’t know how the music they made was created… so for them the availability of affordable bedroom studios probably doesn’t factor in. however it DOES mean that more people than ever are creating music, and more bad (and good) music is being created… so any sort of flood of a market can certainly reduce perceived value.. but in the end, good music is good music and the best will hopefully always be valued.

i hope i’ve answered your questions OK… felt a bit scattered answering this as i have a lot to say.. feel free to follow up if you need any clarifications.

14. 12kblog - March 25, 2007

hi tim,

the “camera lucida” dvd is not in surround. the work is stereo… i have not done too much surround work yet… 2 installations.. one with richard chartier in Japan (specification.twelve) was in 8 speakers, and “listening garden” installation (also in japan) with christopher willits consisted of 2 5.1 installations.

15. 12kblog - March 25, 2007


at this point i shoot all digitally. although i started and studied with film (i majored in photography at college).. but now i think digital photography is pretty comparable to 35mm and because most of my work ends up in digital layouts the convenience is fantastic.

larger film formats are clearly nicer than any digital image, and i’m still not happy with digital noise (i much prefer film grain).. however, there are some amazing photoshop plug ins ( i use Alien Skin’s Exposure) that simulate different films and chemicals and really give a nice polish and depth to digital photography.

16. snowowl - March 26, 2007

going back to the discussion about structure/form…
i recently came across this great quote by morton feldman that resonates with what you had to say, taylor, about meandering forms and music without beginnings or ends…
feldman once described his works as ‘time canvasses’ in which he ‘more or less primed the canvas with an overall hue of music’
…i love that description


17. earational - April 2, 2007

Hello Taylor,

I’m sure this question will sound like a clichΓ© but I’m making music myself and have been playing many shows lately, although I’m still not very happy about the performance aspect of playing with a laptop so I was curious about your setup to perform live.
What’s the method or software that you run and how do you improvise and interact with your performance? Is it midi or audio based? Unfortunately, I never had the chance to see you performing live (by the way, have you ever played in Portugal?) but I’ve noticed a few things about your production methods reading this blog and I was curious if you work with tools like Ableton Live or rather run a MAX/MSP patch like Fennesz does.
So, I’m sorry if it’s a question you get asked many times, I’m just very inspired by your music and everything I’ve heard from the 12k catalog so since you said we could ask anything, even about food, I took a chance.
Congratulations with the excellent work you’ve been doing with 12k and all the other labels.

Thanks in advance for your time.

Best regards from Portugal.


PS: Check my music at http://nny.pixelnerve.com if you have the time, I would appreciate.

18. 12kblog - April 2, 2007

hi jerome

(no, i haven’t played in portugal yet.. but i’d love to! (hint hint))… and.. no one has asked me anything about food yet! 😦

well, regarding playing live… my performances as of late have consisted of ableton live and a soft synth or two with a midi controller. basically, my live sets consist of piles of sounds, some very long, some very short, from recent works of mine… shortly before the live show (a day, or a few hours).. i arrange a set of sounds that all sound good to each other, no matter which ones are playing… i then get a set of sounds as a starting point…

from there, i take it to the performance and start bringing in sounds, looping them, truncating, etc and building up what i try to accomplish as being a sort of hypnotic bed of sound.. there is improvisation involved as i sort of search for loop points and fragments that are working in the particular arrangement and often try to work towards having the whole output being a series of overlapping loops (short) of different lengths..

my safety net is that i know all of the sounds, on some level, will work together.. however, as i am unhappy with probably 60% of my performances, i find that this isn’t always true!

my keyboard controller will be used to play a software synth (or two) live over the whole thing and i will also capture audio loops live from the synth and work them into the whole mix.

the bottom line is that there is enough to keep me busy and enough chance for error and improvisation to keep it interesting. unfortunately, as i said, i am more often than not unhappy with the way the shows come out.. but i would rather there be a chance for that error and live elements than having it all slick and perfectly programmed.

i create every performance to be unique for that night, so i never play the same set twice (although, when i am in one country on tour for a week i will do variations on the same set)…

my IDEAL live performance, however, is directly influenced by touring with Steve Roden a few years ago and watching him start with a blank slate and build up the entire set using microphones and found objects, from nothing.. into something beautiful. this, however, as i have found out the hard way, is quite difficult to do..

i have performed a couple of times with an empty laptop and some microphones and synthesizers and just built everything up from a single first sound.. it’s very fun, but can be hard to do.

although, when i play live with Ken Kirschner for our Post_Piano project, we always start with an empty laptop and ken’s piano… because there are 2 of us it is much easier to accomplish as i can focus solely on the capturing and processing, while ken plays… as opposed to me by myself trying to do both.

i used to use a custom made reaktor patch for playing live, but eventually found that Ableton was much faster and did what my reaktor patch did better.

the reason i program each set new for each performance is to not only make it unique for the listeners, but also for myself.. and i’ll often try different approaches as i search for the most comfortable, interesting, and fun way for me to play (which i have not found yet after all this time!)…

also, as it gets touched upon in many discussions.. i really have no problem with the stigma of the “boring laptop performance”… i really don’t want to use visuals live, unless they have been specifically made in conjunction with a particular piece of music… because my shows are about listening.. and i prefer people to close their eyes and, if they can, lie down, and relax.. i really try to create a bed of warm sound…

i’m in the process of making my sets for australia next week…

thanks for the question

19. bkimball - April 2, 2007

I really like the idea of building from an empty slate live. As I currently use Ableton Live right now, I would definitely like to explore the idea of improvising a session via recording loops and whatnot.

What kind of I/O interface do you use to interact with your laptop per chance? I have a MIDI controller keyboard that I’m happy with, and I’m looking for a decent audio interface that I sync recording microphone output and maybe have some built-in effects. I’ve noticed a few popular brands (i.e. M-Audio and Alesis) and wondered what you use?

Lastly, what soft synths have you used that you recommend? I’ve heard that Native Instruments’ Absynth is a great place to look. I do have programming experience, so I wonder if Max/MSP would be worth a look?

Sorry for the rambling


20. 12kblog - April 2, 2007


yeah, building from an empty slate can be very cool, if it works, and, if you use any live instruments it can be fun for the audience to watch as well (especially in the case of steve roden’s performances)….

regarding laptop i/o… if i’m not doing any live recording, i simply use the headphone out of my MacBook… i’ve found it works totally fine and i’m OK with the sound. when i do need inputs i have an M-audio firewire 410. it’s a bit beat-up from travelling (only one of the mic inputs works!)…

there are tons of great softsynths.. it sort of depends what kind of machine you’re looking for.. absynth4 is a great synth.. and i’ve come up with some fantastic sounds on it.. i’m quite partial to MOTU’s MX-4.. as it has a more clean sound with less blatant bells and whistles that NI tends to add to their products. also, Tassman is an incredible sounding piece of software…. totally unique… also, WayOut’s ARP-2600 emulation is the most analog sounding and behaving software i’ve ever used… and a totally different animal than the others i’ve mentioned.

max/msp is obviously a very worthwhile program.. although i don’t use it, so i’m not qualified to give it too much of a review!

21. wndfrm - April 2, 2007

alrighty, i’ll bite (pun intended)..

do you find yourself being as creative and experimental (process-wise) in the kitchen as in the studio?

slightly odd query.. but you keep mentioning food, and i myself find that i approach my cooking in a similar fashion.. i tend to shy away from recipes, instead attempting to grasp the underlying and fundamental building blocks of the cuisine..

i find this analogous to working with sound and texture, rhythm on a modular and basic level, as opposed to preset structures/song patterns/etc..


22. ishishiba - April 3, 2007

taylor, this is making interesting reading! i’ve seen you perform twice in tokyo, and wondered about your set-up, so these recent posts have been very enlightening. i especially liked the show that was released as a ltd edition cd, “live in japan”… i heard a version of that set and it sounded wonderful over the sound system.
speaking of japan, what are your favourite foods here? there, another food question! πŸ™‚

23. sawako - April 3, 2007

dear taylor,

does becoming daddy affect or change your way of making or listening music?

does your child have any reaction for the music you create?

since more and more musicians around me become mom and dad recent years, i’m curious to know.



24. 12kblog - April 3, 2007


actually, yes… to me there is a lot of parallels in the studio and kitchen.. i do love to cook, and i love to experiment. i consider myself a pretty good cook, and i know enough basics that i know where to branch off and how to combine and create interesting combinations.

when i was very young, as young as i can remember, maybe 5 or so.. i wanted to be two things.. either a clown in the circus, or a chef… so i guess something about the process of cooking and creating has been in me for a while. as i grew up i would sit in the kitchen and watch my mom cook every night (she’s an excellent cook)… and i loved the process.

it’s easy to draw parallels between cooking and music.. with ingredients (sounds), spices (plug ins/effects.. ha!:))… combinations… amounts and levels are very important.. and it’s always nice to be subtle and not overdo it…

i tend to stay away from recipes as well… if i do use one, it’s only for the technical information like “400 degrees for 40 for minutes, or things like that.. but when it comes to the ingredients i usually improvise.

nice discussion.. thanks!

25. 12kblog - April 3, 2007


favorite foods in japan? i guess it would depend where i am… i had some unbelievable soba in sapporo… and, i guess what i eat most is really late at night meals with lots of friends at an Izakaya.. there are so many small dishes that pass in front of me i don’t know what i’m eating half the time.. but it’s so good… of course, the best thing about these places is usually the company i’m with…

japanese food in general, i’m a huge sushi fan.. which is so abundant here in new york…

26. 12kblog - April 3, 2007


becoming a father hasn’t really changed the way i make music.. stylistically, but it definitely had a massive impact on my life in terms of free time and time management. i can barely remember what life was like when i WASN’T a father… it’s hard to think of how easier things used to be!

my son (nicholas, for those who don’t know), who is 4, doesn’t have much reaction to my music, or interest in music in general. but i’m not really pushing it on him, although i probably will as he gets a bit older πŸ™‚ his favorite thing to do in my studio is strum the guitar, play a harmonica, and watch the meters on my audio interface bounce up and down as he bangs on the keys of a synth.

i’d be lying if i said i didn’t want him to follow in my footsteps, but i think that’s quite natural for a father/son relationship. i’m actually keeping old equipment around specifically for his studio when he gets older πŸ™‚ i would like him to learn electronic music on hardware, although maybe at that point it will be too old-fashioned of me.

27. davedotpez - April 5, 2007

HI Taylor, You mentioned something about Australia? Are you coming here? Where/when can I see you?!?!?

Yours Sincerly,


28. steinbruchel - April 5, 2007

hi davedotpez
you can check the dates here:


there’s also a new ep released by taylor. haven’t heard it yet, but i’m sure it’s wonderful πŸ™‚

ciao, ralph.

29. 12k - April 5, 2007

thanks, ralph!

the EP is called “Landing” and is coming out on Room40. it was created specifically for the AU tour. 3 songs.. roughly 20 minutes. sort of an extension of “Northern”…. no grand new concepts behind it except for wanting to create some nice songs during a VERY stressful time. it was actually quite a difficult release… i wrote/started maybe 9 pieces… only using 3 of them in the end…

it will be available through Room40 and when i get back from AU there will be some available in the 12k shop.

30. aronfoster - April 5, 2007

hi taylor,
was curious as to what ad/da you use or does the m-audio fulfill the need for the studio-live ? also when working on personal/mastering material are you mixing in the box or use external devices such as summing boxes, etc.??

31. 12k - April 5, 2007

hi aron,

the m-audio firewire 410 i only use occasionally live.. not in the studio. in the studio i use a MOTU HD192 with the Black Lion audio analog mod. (totally revamps the preamps and analog in/outs). my main monitor output goes out of the AES digital output from the MOTU into a Benchmark DAC da convertor, that feeds a mackie big knob through which i can switch between my monitors (Adam A7, Genelec 1030A, and a cheap pair of KRKs)

when i master, up until a month ago, i was all in the box using the UAD-1 plug ins, Sony Oxford, Waves SSL, DAD Tape, Vintage Warmer, etc… however, i just got a Manley Vari-Mu, so i strap that across the stereo bus, record my mix through it, and then with that mix that’s gone through the Manley i apply whatever i need from the above plug ins.

i don’t think i’ll go the Summing route… from what i read, and trying to relate it to my own music, which uses very few tracks and is fairly sparse, i’m not convinced it will make a big difference. however, i do plan on beefing up my 2-bus matering chain at some point adding a couple of analog EQs to the Vari-Mu path. my goal is to be able to easily use both analog and the plug ins in any sort of order/combination.. which is a little tricky and might involve a second computer, but i haven’t really worked it all out yet. for now, i’m quite happy with things!

32. blacklightmartin - April 22, 2007

Hi Taylor,

First of all thanks for setting up a 12k blog – excellent idea!

I was wondering whether you still use software such as Metasynth to create and manipulate sounds, or whether that has kind of fallen by the wayside due to real-time software like Reaktor or the G2.

Best regards from Germany,

33. 12k - April 22, 2007

hi martin

no, in fact, i never did get the OSX update to Metasynth.. so i haven’t used it in many years… i did get some use out of it in the early days, but, you’re right, when computers became powerful enough that all sorts of audio software was available, metasynth didn’t catch me as much anymore.

metasynth was definitely one of the early ones.. i’ve considered upgrading to the latest version but really i have too much to deal with already.

34. stvnw - April 23, 2007

Hi Taylor

Apologies if this has been mentioned before, but I noticed Alien8 had recently exhumed the Tim Hecker release from the ashes of Mille Plateaux… any plans to try and reissue Shuttle358’s ‘Understanding Wildlife’ or Dan Abrams’s ‘Stream’? I think both are phenomenal and don’t quite get the acclaim of the (equally wonderful) 12k releases.

And whilst I’m in fanboy mode: any new releases planned from Dan?

cheers, s

35. 12k - April 30, 2007

re-issuing releases can be a tricky business.. legally, as well as just worrying about past distribution and sales… our genre is pretty small, so it’s sometimes hard to find an audience past an initial release…

dan and i have talked briefly about future Shutle358 work… he’s a busy guy, but i hope he’ll find the time in the near future for something new…!

36. quirky2 - June 8, 2007

What happened to nufonix? It was great to be able to get some of those out of print recordings – frame, occur, etc. I guess there were some problems businesswise (I see the nufonix.com site is gone now). Any chance of getting access to more sold out stuff through another service sometime?

37. 12k - June 8, 2007

sadly, nufonix went out of business about a year ago.. they were certainly pioneers….

however, the 12k back catalogue has been available through iTunes, eMusic, and a host of other online sources for almost 2 years now…. go check it out!

38. quirky2 - March 16, 2008

Hi Taylor
It might seem odd, but I’m intrigued – in the Forum thread about dithering I noticed some of the folders on the screenshot – arc remaster, Ludlow music … etc. Are these current projects or just hyper-organised top-level files? Could there be a new version of Giant Clouds (the 88.8 mix is one of my favourite older tracks), or perhaps revisiting prototype 909?

39. 12k - March 17, 2008

i was wondering if anyone would notice some of that… πŸ™‚ they are all sort of things currently being toyed with… GIANT CLOUDS is the old version, it was being considered for a licensing project… Prototype 909 has been reactivated for about 2 years now.. just playing some live shows…. we also did a bunch of studio work a few months back for possible release.. in fact, do a YouTube search for Prototype 909 and you’ll see a few videos i posted from the session.. just fun stuff….

40. soundartist15 - July 7, 2009

hi Taylor, I have three questions regarding equipment.

1. What kind of camera do you use?
2. What kind of midi controller do you use?
3. What kind of field recorder do you use?

12k - July 8, 2009

1. nikon d200 with a variety of lenses, holga 120N with polaroid back, polaroid sx70

2. in the studio: 2 mackie controls for my DAW and a nord modular G2 for knobs and master MIDI keyboard. on tour: korg nano key and nano control.

3. tascam DR-1

41. soundartist15 - July 24, 2009

what are your plug-ins live?

12k - July 25, 2009

not many. a filter on each channel.. usually the built in Ableton filter, usually Waves SSL buss compressor on the master buss, a reverb (Altiverb) on a send, a couple sends with granular choppers, and a couple of special (aka: secret, i’m not telling) plugs on the master buss as well.

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