This article was originally published on Minimal Collective. Read the full article here
Stepping into the studio can feel like a move into the unknown. A realm filled with tangled cables, blinking LEDs, and infinite sonic possibilities. In an era where technology is accelerating faster than ever, musicians must find the balance between creativity and the overwhelming complexity of modern machines. We spoke with techno pioneer Speedy J and Torso Electronics’ co-founder and engineer Mathias Bredholt to philosophise about what a hardware utopia would look like - in the studio and on stage.
From early electronic sounds emitted by a Minimoog synthesiser in Kraftwork’s ‘Autobahn’ (1974), to the ragga-inspired breaks out of the UK in the ‘90s via samplers like the Akai S950, hardware has shaped the sound of today. Over the years, studio equipment has varied in accessibility; the Roland drum machines like the 808 and 909 that birthed techno were readily available and cheap in pawn stores throughout the late ‘80s. Now in 2024, those same machines have become prestigious collectors items.
In the time to present, the number of instruments at an artist's disposal has drastically increased - presenting a myriad of opportunities for some, and an overwhelming decision for others. In the same way home DJ’s studied the three-deck vinyl mixing of Jeff Mills in his ‘Exhibitionist’ video series, budding live acts now have hours of content to consume which has led to a mass uptake in hardware by home producers.
Music in the now
With the rise of streaming and social media, dancers have never been closer to the techniques and gear used by their favourite live acts. But while those in the crowd marvel at alien-like machines on stage, for those using them, it can be hard to find the right piece of hardware. Torso Electronics tries to bridge that gap by making the production journey less daunting, says co-founder and engineer Mathias Bredholt. Together with his Copenhagen-based team, he is creating instruments that lean into modern, generative technology, focusing on a rich music-making process with intuitive interfaces and workflow, aiming to create ‘music in the now’. ‘Our goal was to create an instrument that would give the same expressive freedom as a jazz solo. We want to contribute to the culture of live performing by making it more accessible.’ No sooner said than done, they released the first groundbreaking piece of equipment in 2020 according to prolific artists such as Richie Hawtin, Surgeon and Nadia Struiwigh, as well as contemporary producers like Spekki Webu, Atikka and Loek Frey.
Another great admirer is Jochem Paap, or Speedy J, who we meet in his basement studio in Rotterdam (which is - unsurprisingly - a very impressive studio space). The 55-year-old producer's seminal works, like his album ‘Ginger’ (1993), have been influential in the development of abstract techno and IDM. He now plays a key role in pushing cutting-edge live sounds through his latest project, STOOR. Perhaps best described as an array of mixed media, STOOR operates as a vinyl label, event series and video platform showcasing the best in off-kilter electronic and live techno jams, and was born in this exact same studio (the first STOOR event took place at the end of the studio’s hallway).
From his earliest productions, running cheap gear in the ‘80s and ‘90s, making music ‘on the fly’ was built into his practice using a performative approach. His vision - highlighted best in the marathon live sessions STOOR hosts at ADE (Amsterdam Dance Event) - falls seamlessly in line with the vision of Mathias, as both chart a path towards the future of music production and in-the-moment creativity. But - what makes up a ‘good instrument’? How do you stay in the moment while operating hardware gear? And is it even possible to envision what the utopian instrument would look like?
Creativity by design
The design of an artist’s tool is a key factor in production. To effectively create ‘music in the now’, it's crucial that a machine's interface is easy to navigate, allowing artists to move quickly and intuitively between functions without losing creative flow. Intuition is key to finding your creative flow when working in the studio. Think about playing a guitar or piano, the controls are straightforward. It allows you to engage with the instrument in an intuitive way. Something you’d also want when working with electronic instruments.
That being said, the first impression of Torso Electronics catalogue is peaceful and calm. The layouts are sleek, with small screens that part with any over-the-top information and tiny icons supporting the buttons and knobs. Its minimal design doesn’t feel overwhelming at first glance, which can easily happen with hardware instruments. Speedy J tells us he values the instrument that offers just enough information to guide without being too much: ‘I can stay in my own imagination’, he says when speaking about the T-1 algorithmic sequencer.
Creating without a fixed plan
With Speedy J’s way of working, this is especially important. Between his yearly STOOR events, the artist gives himself time off from any gigs and spends his winter months in his underground bunker studio, working on music on a daily basis always without a plan: ‘The intention is to come up with stuff that is releasable, but even if it’s not, it’s fine. Time in the studio is never wasted time.’ His T-1 machine supports this open-minded, freewheeling studio approach and deep dive into a continuous creative flow, by never being too much of a distraction or even a hiccup during music making.
‘The machine doesn't tell me what to do and leaves enough for my own imagination to interpret what's going on. It's very powerful because you focus on the music and listen to what you are doing, it's your imagination that steers the process.’ With this freedom, artists can balance between functionality and creative autonomy, as they are guiding the process themselves but also receive real-time generated input. Just like when entering his studio without a fixed plan, there is no plan when he plugs in the machine. ‘It's the zone between witnessing and guiding, you are in the moment without knowledge of the future.’
This article was originally published on Minimal Collective. Read the full article here
