Speaker 1: 0:15

[inaudible]

Ed Ball: 0:15

welcome to the first episode of Acetate modulation super beef and the dark sparkler aesthetic modulation is your full aren't your podcast. That covers all the wild and wonderful world of modular, exciting and unusual electronic instruments. And we take a look into interesting sound and visual art projects too. I'm euros dead ball and I'm your cohost Ben Wilson. A better known as deaf kid. As long as Ben.

Speaker 3: 0:39

Yeah. Good. Oh good. We were saying just before we started recording five more super boof videos today. They'll all be online by the time people hear this, so I can think straight again. You've been on fire oven you yet? Well, I've, I've very rudely and stupidly ignored everything. Book super boof video editing, but needs doing. It's timely. Of course I can't hang onto this stuff for weeks. So yeah, just deepen the editing. But it's been great to see people respond. There's videos have gone up some jokes and laughing at my ridiculous thumbnails that I've had some fun with this time as well. You've had some wild from nails. I have seen that. Is it taking too much time to do those? Yeah, I've got really quick at cutting people out of still images. But yeah, I just figured I'm in the video. Let's just do something stupid. I'm trying to find the worst or best facial expressions frame by frame in videos. It's been good from,

Speaker 4: 1:29

yeah. Well I'm sort of glad I grabbed you for an hour or so a couple of days back and we recorded did appreciate especially specialty

Speaker 3: 1:36

didn't we? Yeah, it just a nice look at what the show is going to be. The initial ideas that kind of what was the catalyst for the show, but then also a bit more about each other. And I don't mean any kind of self serving ego for me, but I think you have an interest in history of art and music yourself. I think people like to hear about and have a fairly varied background people might care about.

Speaker 4: 1:57

Yeah, it just gives a bit of background about the, isn't it and a a bit of background about us as well and what we're sort of trying to achieve with the show. So that will be when the show goes live as well. So if anyone wants to dip into that, they can. Well, let me introduce our first guest. He's a musician. Uh, he has two albums at currently. One, uh, was crafted with a Bouclette easel. Uh, he's latest was crafted with a Lyra eight, which I think was a very, very brave thing to do. Ease orange dye into collaborations with choreographers and dance. He resides in Bothell, Washington. In his words, he has an affinity towards tactile electronic music, machines, employees, machines to conjure focused and melodic music. And I would totally agree with that. His Name Is Dark Sparkler, Aka Cole Swisher. Hi Karl. How are you? Hey, doing good. Thanks for having me. Good. How's your day been today? Um, it's early on my end. That's why I asked. Yeah, I'm a, I'm on my second cup of tea, so, so far, so good brain. Yeah, we, we digitally and get a few emails around and you were saying, Oh yeah, as Tsongas can get me tea ceremony in in the morning, I'm going to be cured. So hopefully we've given you a enough time to do that.

Speaker 3: 3:15

Yeah, I'm set. Well, I was just going to say you've probably only had time. I didn't know it was tea, but yeah, probably coffee and brushing your teeth and that's probably been about it with the time difference so far.

Speaker 4: 3:25

To be fair call you sound really awake, so that's good. Yeah, I'm good. Okay, so let's get into our a news section. We sort of will skew it more towards the unusual as episodes go on. But there's one big elephant in the room still at the moment. We are a few weeks out from super booth. So then how did you find super booth?

Speaker 3: 3:49

Oh, it's amazing. I mean it's a big trade show. It's a big music event, but he's still got, and finally I saw the video of gas Williams from sonic state with a genre sales yar earlier talking about how it's, it's an experience and a human experience and it's the people. It's not just another kind of music fair. And I think that's a totally fair statement. It's a ton of work as people will have seen from my youtube channel, but it's really inspiring and motivating for me. It's a real kind of kick up the bum to keep working for the next few months. Grit people, tons of great gear this time. I always find it interest in trying to predict what kind of trends we're on. You know, we kind of have the year of, as I like to call it, you know, Lord or samplers came at once into Yara rack. Then the stereo performance mixes seem to all come at once. It's kind of hive mind kind of group consciousness, people going away and design into similar things, but still with enough interesting twist. I think hopefully people have room to breathe and do their thing. But yeah, I loved it. And Love Berlin as well.

Speaker 4: 4:49

Yeah, I mean it's my second year and eight, you know, it was as brilliant and as bewildering and as hard going and gets all these mixtures that are things isn't it? But something not to be missed. I think it's fantastic. And we have been talking to, haven't we, about how Berlin is perfect for super boob and how it's sort of, wouldn't be the same without it been held in Berlin. No. Even for me, even down to

Speaker 3: 5:15

the bar man in the hotel lobby to the people you find on the trains and trams and just the way that the city feels, the vibe of it. A lot of interesting cultures going on, a good mix of people, very vibrant, just nice.

Speaker 4: 5:28

It seems to be a bit of a gathering place for manufacturers and shops and that, I mean I know that isn't hundreds, but there's a few pivotal people in Berlin I've been attracted towards it isn't there?

Speaker 3: 5:41

I don't know if it's something to do with people that are aware of their part in history for kind of the music scene and electronic music. I went to Bristol for the first time a while ago and that had a vibe about it and I don't know if it's just that they're kind of, you know, public conscious, they are aware of their kind of history culturally with this kind of thing and music. And I mean, not that everyone in Berlin's aware of what Schneider's Louden is and what Andrea Shneider started or even what super boots is, but there seems to just be a vibe about the place, which is great. I love it. Yeah,

Speaker 4: 6:12

well I am not this year, but the year before I was talking to the guy on the uh, but butter chicken standard, if you've been to super Dave, you'll probably know that it's seeking career stuff. And uh, he was actually a writer, a screenwriter, and I asked how long you'd been over he since three years and asked, you know, how comes he said, well Berlin's just this thriving international part of creatives that have gathered there in all genres of creativity. You know, whether that's music writing, theater. And he said, it's just, you've got main Berlin and then you've got like the quarter, we've all a sort of international people there. And he said, it's just this melting pot of creativity. He said, because a Berlin is relatively cost effective to to live, you can actually be an artist and actually live close to the city, which is, you know, a big bonus point. And he said once you get there you meet so many people. Is it in fact I, I feel embarrassed he said because I've really not had to learn any German because there's such a big international community over here. He was just, he was waxing lyrical about Berlin and I think, yeah, I think that's one of the plus points. And then you add into all the places that are opening around the sort of modular scene and people and artists that are there. Cause I've heard by space there, no they aren't.

Speaker 3: 7:38

Yeah, I've spoke with mark verbose before about just the price difference of moving a company from New York to Berlin that's big in it. Yeah. And moving machinery as well, you know, tens of thousands of pounds worth of machinery to build this stuff. I think, you know, was taken over in freight and people said he was crazy but he said he isn't because it's worked out. Yeah. Well about UK or vibe wise, does that vibe come across when you're not there?

Speaker 5: 8:04

Yeah, definitely. I mean it's funny to that cause I did have some friends locally that that went over this year too. And I mean yeah everybody just says it drain too. Like there's just so much to go through and see. But having the best time as well. So I'm, yeah, I think I'm keen on coming next year for sure.

Speaker 4: 8:22

Great to have you over the next year.

Speaker 3: 8:24

And obviously the club scene is huge as well. If you're into techno, you, you need to go to Berlin. Yeah.

Speaker 4: 8:31

This year I was helping out analog solutions. I know Tom he had last minute a guy fell ill that was supposed to help him with his stand. He knew I was coming, so he asked whether I cover his brakes, you know, tea, coffee, have lunch, that type of thing. Um, so I got a bit of worry. It's like for the exhibitors as well this year as well as myself just going and looking at loads of stuff. And that was really interesting. It was a little bit scary because he just released the impulse command, but which by the way is, it's a fantastic thing and I had to sort of get to grips with the impulse command moving a couple of hours potentially he was going to have a break and I was going to be showing people this thing, which was a worry because it's slightly different to sort of a normal straight up sort of unlock synth. It's no got a stereo filter. It's the main sequence there is mainly to modulate and it's got this weird knob that you can turn called the patch knob that sort of swaps over different patches. Great Effects. I mean I got onto the thing and literally within an hour I just couldn't get off it. It was one of, I mean I was really surprised how intuitive it was to play in each. Sounded like there was many synthesizers in that one piece. You did a good video on the actually bend in you.

Speaker 3: 9:54

Yeah, I went with the Click Bait. It kind of wants him for it sounds like far or something like that. I'm glad the video did well too. I saw it come out. I had some things that Robin Vincent of Mater Modular did that I liked and yeah, it was great that patch snob and pre rooting. It was things like sending an envelope to the pitch of the oscillator but only on certain steps. So it felt, it felt like a primitive kind of sing cushion, kind of Bessie kind of log drum tone as it were. And then injecting noise on certain steps and splitting the filters off and envelopes on each side being snappy or longer. And it did feel like kind of, you know, primitive kind of noise, snare pitch envelope kind of Tom, our bass drum sound and a couple of synth riffs go in at times. And I liked how Tom was playing with it from, I think it was the Acharya key step transports in and play in sequences playing off of the modulation sequences. Really did. I mean Tom Stuff's always sounded great. Um, any kind of analog synth. He puts his hands too. It's obviously analogs the core of the company, but some really interesting new ticks on very modular. Actually it felt like hunched over that thing jamming on, it was like jamming on a little briefcase and modular in terms of what was coming out of it.

Speaker 4: 11:06

You'd have to actually to get that sort of thing, the modular, you'd have to a wire up a thoroughly to rack wouldn't you as well. That's, I think that's the nice thing about that thing is quite compact in that way, isn't it?

Speaker 3: 11:18

Yeah. You'd need a lot of offset and attenuation and multiples. Yeah. You'd need quite a lot to make it happen. It's nice when it's just kind of there. It didn't feel very rooted. It didn't feel like, oh here's a preset, turn a knob or nine pre-route. It felt very alive, very jammable and just yes. Saved patch in a whole row of kind of yarrow. Right. To manage that kind of voltage distribution under the hood. Yeah. Actually in that brings us nicely into our first spot, Ben. Yeah. So we've all picked out a module are kind of concept, our group of modules from super boof rather than trying to cover all of the news and the ones I wanted to bring up where this idea of bringing more interesting or different or more powerful kind of mix solutions into a yarrow rack starting with the wrong soundstage, which is 11 inputs, if I remember right. I think it's 11. Just the idea that the jacks to the outer sides of the module, a hard pan left and right and then, you know, cause you come in and they're slightly less pan until you're monitoring the middle frequency. Cause there's, there's a ton of different, the six vcs and seven or more analog filters, high pass and low pass. And just this idea that you weren't like a sound engineer, you think, right. This sound is a bear strum. It wants to be center of the mix. Plenty of low end energy. Right? I plug it in the bottom in the middle, these two high arts, nice bright sounds. I can plan those out. I put them in the top left and right sockets. And He's Kinda like preset mixing, but we've CVA herbal depth. So if you imagine a Fredy Cube where Stereo is left to right, but then there's this kind of z dimension or that dimensioned for depth and that's talked about a lot in mixed environments, trying to create not just stereo image but debt fund a mix and that's what it's doing. Kind of filter in back sounds that are further back in this soundstage felt very alive and being able to CV the depth of all this filtering. You can kind of, it's almost like pushing and pulling the listener from being stood on stage, have a band to have been at the back of the room, kind of throwing them around this space and you could also see the output stereo output level, which was nice. I don't know. For you Kyle, do you approach anything like that ever? I'm trying to think of things as a kind of sound stage.

Speaker 5: 13:29

Yeah, I mean for a lot of the stuff that I use, it's fairly limited in as far as like as many, how many voices I'm using. But I try and kind of use as many stereo effects and things like that to kind of throw them out around movement and yeah. In to set the stage. I don't know. I think it's great. Um, you know what we love about modular is kind of finding those roots by ourselves, by patching stuff. But sometimes you do want something that's just done already that kind of does all the hard work for you. And cause, you know, you could try and emulate this with a bunch of different filters and a mixer, but you know, sometimes you want the pie but you don't want to make the pie crust. You just want to make it fill in. And so it's like, yeah, let's just get the pie crust. Yeah. And do the rest.

Speaker 4: 14:19

Got me really excited. It's a no brainer for me because, you know, being relatively new to same production with my modular setup, I'm trying to build these big walls are sound, but you know, as you guys know, you start adding a bit more based to that and he just gets lost and you get phasey. And, um, do you know if you're filling up all the frequency bandwidth, it just gets mushy and what you think might be a nice add on sound or just get swallowed up. So for me, just think this is absolutely fantastic because I can ring fence different frequencies, but I still want to do this big sound wall type of thing. But I think this will separate the frequencies just really nicely and bring it all together. So for me, I'm really excited about this and again, uh, you know, I've got a mixer or it could be shaping all of this in and mix, but just to be able to go, right, okay. I really want that to be down from the base, this big pad, the from a continuum. I want that to dominate the meat. You know, it's just really brilliant for the way I'm going to work. I'm definitely getting one of these.

Speaker 3: 15:28

Yeah, I probably would really speak to you add as a, as an artist as well, this idea of spares like a kind of Fredy spares finger play into your artwork as well. I mean, but like Kyle said, that you know, using effects and creating space and depth that way you're not taking top end off of yard delays, makes them feel dark or like their trail off into the distance. There's lots of ways to do this nicely, but I think the creative things of, well, Eh, audio modular in depth, what happens when you are to Yorick kind of move forwards and backwards on the stage. There's going to be interesting, but feedback perhaps as well, having these points where you could plug a delair fee back trail in. I know that the low end is not going to get unruly or there's lots of creative ways to use it and Morgan from wrong always puts a lot of grit patch examples in his manuals as well. But I've done videos for mark and where I pretty much just parrot Jess in is manuals and not because I read the manual and Leslie just repeat them, but you do these things and you talk to him about and he's like, oh yeah, there's an version of that you might want to just put on screen if you're looking for a graphic or a patch diagram or, and you look at anything and manage, nailed this, but something else I wanted to mention was the ship module from DPW Dan gave was a rather simple demo of it. It was just playing a kind of repeating ride sample, but it's basically like an SBL transient designer. So compression and dealing with transients and the sustained periods of sound. And again, for producers, certainly we drumbeats. There'll be lots of people that have turned the attack upon a transient designer to try and make something snappy and then mix and it really went to town. You know, this ride cymbal, just kind of pinging away. You could bring it right into just be the stick attack, which again you could do if you triggered an envelope at the same time with your sample and run it through a Vca or you could do these things. But the way that that works when there's lots of sounds going in, you know, full drum beat, a full mix of drawn against the kick drum. I think it's just interesting to see that kind of shipping in the farmer seemed like it could be quite creative, it could just be a useful tool, could just be where to kind of Polish something before it leaves the rack and more interested in kind of abusing it. I like running parallel churn, so having drums that may be gone through it, suck all the cistern out of it, and then they start it and put that underneath. I'll run that into effects I think could be really interesting.

Speaker 4: 17:43

Yeah, and I like, as you mentioned Ben, unlike all these modules that are coming that can Polish your signed at the end of the chain as well before you take it out, your modular, uh, I think that's a thing that's sort of been lacking as any up until now.

Speaker 3: 18:00

Yeah. I mean some of these things don't always have CV so then people will always argue, well why is it in the rack? But there is a certain convenience, certainly p for performers turning up, you know, the brief cares cares with a lid on it taking, you know, the stereo output and that be it. Um, a think that's really appealing of building instruments that feel done are complete. You know, no one, if any of us had an eight to eight and we were going out to do a house Gig, it wouldn't be a raw rate away. None of us are further[inaudible] eight oh eight in the last 30 years. So it does not how we hear these things and I think he's interested in the tone of great modules. It was really hard to pick when you mentioned it, but not having the time to fully just explore super booth for hours. I thought they were interesting and different for the farmer.

Speaker 4: 18:44

I love how you've picked them, especially the wrong the stage. I just think that's genius for me. I've done, I've just got to get that as you say, can abuse them. But you know, you can also use these for really shaping and polishing that sort of final mix out of Yurok, can't you? Yeah, I'm in the sounds, they're just

Speaker 3: 19:01

one final thing from me on it. I might just use it for effects in some patches. You know, this reverb is super wide, this delay is stereo, but I want to make it not quite as stereo by plugging into these inputs in the middle and maybe don't have any filters spare for my pedal that I've got running in a kind of input output module. So I'll just, I'll put it in there and turn the debt folk. I think there's loads of ways to use that. That could be interesting. Do you use any yarrow rock, Kyle?

Speaker 5: 19:27

Uh, I don't, I'm a basically just blue cla right now in a few other little gadgets. So what spiked your interest in it? A super brief Carl. Well seeing that definitely the uh, metro modular guys, Justin over there, it's putting out a couple of different lines of Bouclette modules, summer DIY, which are I think more based on the 100 series. And then you'll have a few built modules as well. And they're, yeah, they're just really interesting. This is nice to see kind of some builders getting into the the four you game and yeah. Like

Speaker 3: 20:04

what was the one that was similar? Well not similar. It's the same thing but similar to the sound stage in terms of creating space and panning.

Speaker 5: 20:12

Yeah, that's the um, it's called the Rubik Cube and that's like a, that's it? Yeah. It's like a dual quad panner signal. Panner or you can switch it into like an eight speaker surround and the dual quad is basically like if you had, I think the idea is to have it for like art installations where you'd have maybe speaker is kind of on the floor on four in a room and then a set that would be up above and ceiling and so you can kind of pan around from top to bottom in all around. But it's things like that only in a, in a single module is what we'd call him Buka instead of like a double wide or anything like that for quadraphonic sound, it's always been either a double like in the 200 d, The uh, two 27 or the two 27. And the original 200 series was like four panels wide. So yeah, it's cool to see that innovation in there.

Speaker 3: 21:08

So there's a few bits though that stuck out for me. There was the, was there a ring mod frequency shifter? I always like a frequency shifter.

Speaker 5: 21:15

Yeah. Yeah. They've got like dual phase splitter and a balanced modulator and I think they're kind of playing with kind of in a way surge patching or there's more points that you can patch in and out of.

Speaker 3: 21:26

Yeah, that kind of patch programmed behavior.

Speaker 5: 21:30

Yeah. Yeah. And then they've got the dual phase shifter and that's, yeah, there's no knobs on that. It's just ins and outs.

Speaker 3: 21:37

They have that over quadrature. I'm thinking affairs, was it the boofy and wheel or something like that. There's quite a job fairs, the corridor, there was some really nice audio stuff going on when Justin shoulders that,

Speaker 5: 21:49

yeah, so I've got really nasty from like, yeah, what I saw in your video. It's pretty cool. And then there's a bunch of pulse outputs to that derive from that, which is always useful for sure.

Speaker 3: 22:01

Well for me it's just nice to see more people getting into other formats and bringing their ideas in a new things. Exactly. Even simple things like a really easy to build power supply for Voeckler, which, you know, it's not an exciting, sexy new module, but it is something that allows people to get into that format. I saw the alm, Pamela's new workout in broker as well, which I know if I had some book or I'd certainly want Pamela's work out in it. That looked interesting, didn't it?

Speaker 5: 22:30

Yeah. And I think he, it's kind of, he's not quite sure if they're going to go into production on that or are they wanted depending on interest. So people are interested, I guess, hit them up somehow, let them know.

Speaker 3: 22:42

Yeah, I'd, I'd like to see it. It probably one of those that there might be, you know, x amount of prototype boards around and if people are interested, they'll go and then they made a judge doing a production run or not. I've no idea if you can fill us in on that. Kyle of the kind of size of the market for booklet is clearly a lot smaller than euro rack. But beyond that statement, I've, I know nothing of it effectively. Yeah. I mean, you know, it's, yeah, it's much smaller. But then, yeah,

Speaker 5: 23:08

the, well there's just not that many builders innovating. So kind of anything new people tend to jump on. So, and kind of, especially with that, there's just not a lot of dedicated clock sources in Bukola so I think people would be interested to have something like that.

Speaker 3: 23:24

Yeah, I think all that kind of tempo integration, you know, 12 outputs that can all be somewhat tempo sync taught random or we don't need to go into a full list of Pamela's features. But it's a really powerful module in Yara that if I could have it in other formats as I explore a bit more this year outside of Yarrow rack, I'd love to have it. I'll tell you what I love about

Speaker 4: 23:46

the Blue Cla is the, the quadraphonic paradigm that has been there since day dot. I think it was known that Don liked the aspect of moving sand around in quadraphonic and I think something severely lacking in the world of modular. I know coma do a sort of quadraphonic don't know. But I really liked the look of that module, that sort of run. Was it eight speakers? Cole, did you say you could run off that? I mean for me as again, as an artist, you know, I'm looking at it as an artist coming into sound and music and to be able start shifting sand around multiple speakers really light excites me. It's like gnostic in the Bouclette world and it's not in the modular. And that's one thing that draws me to boot Cla a lot. The price doesn't draw me to it, but definitely the sound of boot. Clark has got a very distinctive signed I believe. And also that sort of quadraphonic aspect really draws me to boot cla.

Speaker 5: 24:45

Yeah. And it seems like there's a bunch of a stereo staff coming out in Iraq, tons of stereo filters and I think there's I new x Pan from, um, make noise. And so yeah, hopefully keep on branching out because I think kind of quadraphonic sound is, is a bit of a luxury because it's hard to, I mean, you kind of can't reproduce it over files. Like it's, it's more of a performance type thing, but as you know, this community is growing there. The option to do quadraphonic sound is, is ramping up.

Speaker 4: 25:18

Yeah. And I think the more artists do it. Like Caesar and Gianni did the quadraphonic album and she's got like converter and you get quadraphonic on your system. I think the more artists do that, you know, more easy or be to obtain. And, um, I'd certainly like to see go down that road, whether it will or not, you know, cause it is a little bit tricky. I understand that for people to listen to it. But I do love the, uh, the paradigm or from Quadraphonic, you know, that's a, that's a definite,

Speaker 3: 25:46

I was just gonna say, I don't think we'll see. I mean, I doubt we'll see quad systems in people's homes because, you know, if you're running a, even if it's just high five speakers, nevermind, nice monitors to go buy another pair of monitors, you know, it's, it's full on for a lot of people and yeah.

Speaker 4: 26:01

Yeah, yeah, yeah. Like I said, yeah, it's a luxury for sure. I think I, I think, uh, you know, in sort of looking at it from an art perspective in shows, galleries and that type of environment where you can set it up and give people that experience though I think that's a lovely thing to do to move it around an audience like that. He's great. And again, this isn't she on this, she will not do a Gig we'll sheet unless it's properly set up.

Speaker 3: 26:24

Yeah. And that, that that's where I was just going to go over it that it's, you know, it's not something we're going to see in people's homes and about fairly certain of that, you know, not to any measurable amount anywhere. But if it gets from our people out to performances, installations in galleries stages more interesting in performances and witnessing this live on full range speakers as well. You know, I've done some surround work and hat I went and bought a really rubbish pair of like PC gaming surround speakers for a project because I just had to be at a listen at home. I didn't have access to the studio at the time, but that would definitely draw people out I think and our hope it does. Uh, to experience this stuff. What about you ed? Me and Kyle have picked a few things out.

Speaker 4: 27:05

Well, uh, yeah, this brings us nice saying unto our esoteric hotspot, which is a look at sort of the more unusual equipment. And we did debate this a bit talking about the pulse are 23 because the problem is is everybody has picked this I think, but I've just had to pick it because it's such a forward looking, I think piece of equipment that can be, you know, very, very unusual. But Vlad has also done this lovely thing of being able to sort of control it with, see the media as well. I love it. I love it. For this reason. I love[inaudible] because some manufacturers obviously come from an engineering slant, you know, great engineers and they come up with these brilliant things. I think that Vlad is one of those people that comes from it from a pure artistic endeavor. And that's why I love this piece of equipment. He said a couple of things about it. He said it's a piece of equipment to express the times that we live in and it's full of possibilities. And that's really a, an artist talking because if you take it back to the fifties and sixties, there was a bunch of artists called the abstract expressionists and that's exactly the type of thing that they would say that, you know, they want to express the times that they are living in, uh, through their artwork. And Vlad has got that sort of thing going on. There is an artist that wants to create electronic color equipment for creatives and artists, not just musicians, but creatives to, to explore with. And that's really why this thing sings to me. And I know everybody's been talking about it from this super booth, but I know when I very first scene the original video connect about this, not so long after that actually I was talking to Carl on the phone and I said, Oh, have you seen the pulse are 23 and two, which Carl said, yeah, put an order in for it. And that was a long time ago. And I remember coming off that conversation of thinking can't kind of, where he might help flat. I'm not going to put a preordering for it too. So I feel like you know, and you as well Ben, you've talked about it in the early days of its creation. So I feel like we are just in talking about it because we were like really early to the game on it. And I'm also, I don't think it lets us down at super. I thought it was totally amazing. I mean you did an amazing video on it. An amazing performance. What did you think of a,

Speaker 3: 29:50

well I did and I stood in front of a camera and Vlad did, I stood there and looked pretty but I'm not so sure about that. But no, I love, he said to me before we started the video, um, I'm losing my voice. Can I take the Mike? Cause I said, you know, as I do with anyone doing these demos at trade shows that we're a, I'll hold the mic, you can play with the gear. I'll lean over your shoulder with the Mike is one less thing for people that are presenting to worry about and I said that to flood, you know, I'll hold the Michael Sit, we'll talk, don't worry about kind of thing. And he said, can I Turkics I'm losing my voice, I just want to get the mic right up against my mouth effective. They said, yeah it's fine and I couldn't hear him very well but I could hear what he was doing on the pulsar and he'd just give us a great, it was like a performance. I could see Matthew Shaw that was holding the camera pretty much wanted to just follow the camera down and applaud at the end. It took us from kind of, and I don't mean basic as a derogatory negative term, but more basic primitive analog type kick, snare noise, clap higher type stuff through some more interest in sounds and then the loop started to all kind of evolve poly rhythmically against each other, bending time around the mall. It started to feel quite loose and hip hop like a little bit flying Lotus in places that it completely went off kilter sounds on all over the place. It was kind of everything I wanted it to be really from some of those early videos they'd shared that were on the kind of more strange and he sits Terrick side fruit tomorrow kind of standard stuff as well for dance or hip hop producers. And as you said, I like that there's middy on there. If I just want to make a quick B, I like that I can loop it live. It feels like something for a player to do is to, you know, you could sit and play and that'd be our instrument. There is an instrument to be played performed. We've manipulated. I think that just speaks to what Salma are as a company.

Speaker 4: 31:36

Yeah, I think totally amazing. And you know I, I've been sort of messing around with my set up. I've got a continuum league par. I've set it all up into like a performance case. We've a couple of rows of one 68 space for for euro rack in there. And I'm sort of messing around trying to get where I want to be, but then I could see this and I just think, hang on a minute. I think if I took this a couple of good effects pedals, my continuum and Maloo part, I think I'm pretty much done because this can go into a lot, a lot of territories. Carl, again, I know just by coincidence I was talking to you around that time and you've got on it early, didn't you? Yeah, I mean I was, you know, had the lyric at

Speaker 5: 32:18

that point and was so taken by it that it was like, oh, seeing just the very early incarnations of it on a Vod to youtube and it looks nothing like it does now. Any, I don't really have much a history with drum machines, but just kind of being so into his designs. I had to put

Speaker 3: 32:40

my hat or my, uh, name in the hat early for sure. That's a really interesting point. I remember sitting in the cat go in a taxi to the first Super Boof of Alan at MGH and he said, I've made a ring modulator for people that don't like ring modulators. And that was the ring sm sub generate a CP free saturate in mix, a grit expanded ring modulator for those into it or not. You'll do octave shift in effects and all sorts. And this to me in a similar way, it feels like a drum machine for all my friends that are into drum machines. There's something I wanted to ask Kyle that knowing some of Kyle's work, I don't imagine Kyle, you're particularly into drum machines. And I think it's interesting that you know, Matthew Shaw's very much the same. You always kind of says, I don't do rhythm. Yeah. Which of course rhythm and time is part of music. It's unavoidable. But in a similar way, this has really spoken to Matthew and some of our artists that I know as well. So it's interesting that drum machine for people not into drum machines, that's how they should market it. Yeah. Well[inaudible] you know, I think she does really.

Speaker 4: 33:43

Yeah, I mean I think that um, Carl for you, I know it's going to fit in beautifully with what you want to do. Uh, we're going to come around to that in a bit and um, cause you do look at music production from a different stance. Uh, the, and the same with myself. The is I'm just looking to try and do something different. I think this allows us to go into those dark corners that you might want to go to that you know, aren't your normal sort of music that is, you know, purely expression purely about dragging something cat of an instrument. So it can form a path of, of your music creation. And I think that forms in very nasty if we, with the sort of work you do, doesn't it?

Speaker 5: 34:25

Yeah. I mean because I'm usually pretty limited on the voices I have from what I've done in the past. Rhythm tend to just come out of tempo of sequences and, and I, I don't know for a little, a little bit of me wanting to keep things kind of esoteric and not really know what you're hearing. Sometimes just like a straight up snare and kick coming in. They're kind of throws me out of the mindset or of what I want to have come across. But yeah, like with his design, like I think there's enough different ways to to tweak all those parameters that I don't know. I think it'll, it'll fall in line with with what I'm interested in. Yeah. Which actually brings us nicely

Speaker 4: 35:07

find to our art projects hotspots, which we try and bring focus to projects that mix arts visuals and signed together in interesting ways. And I think one of the reasons I wanted Carl on as our first guest is he, you know he really does cover everything we're talking about today in one, I know that again when I spoke to you quite a time ago call you is saying you were on the verge of connect choreography projects, how you can branch yourself out into sort of more art project in orientated sort of expressions. And since then you have collaborated on quite a few projects, which actually people can just put in your name, dark sparkler in Youtube and your youtube channel will come up and showcase some of these things. So, I mean, I would like to ask you and talk to you about that because you know, I'm interested in splicing all these things together as well. Sort of what was the spark that you decided you wanted to go down this road and in fact think your first collaborator with Madison Rose Bristol, wasn't it? How did that begin with you?

Speaker 5: 36:20

Yeah, so since the kind of getting into playing electronic music, you know, being here in Seattle, there's definitely a lot of venues for, for, you know, rock music and things like that. And growing up here, I did that for a lot of years, but kind of transitioning over to here, um, is earn wearing as many outlets for that. And so, but I just kind of started realizing like, I just need to be creative and you know, figure out different avenues and kind of insert myself where I can. And so there is the Seattle International Dance Festival that had this program where they were pairing up a random musical artists with a random choreographer to kind of put them together and give them a very limited amount of time to come up with a piece and then perform it kind of for this kickoff event for the, for the festival. And so, so yeah, I put my name in and they liked what I had and so I got linked up with uh, Madison and that was actually right. That was basically a year ago around this time. And uh, so yeah, we had maybe thinking we were given like 10 hours or something to meet up and figure stuff out and get ready for that, for class. How much Dolly? Yeah, I know. So it wasn't very fun challenge and you know, it was kind of both coming in and know and I have kind of no language around that world of dance or anything like that. So it was just awesome to hear her kind of talk about it and come and come together and are compromises because kind of with the music I do, it's like, I don't know, I like, you're not going to get kind of like a four on the floor dance beat type of thing, which is, you know, not what she was going for anyways, but was really receptive to the music that I do make. And so yeah, we did that project and it was a lot of fun. We had several other dancers involved with that. And then a couple months later there's a module on the spot performance that I was going to do a at this place called gasworks park, which is about a Seattle as you can get your kind of right on the water float planes flying in and out and you've got the space and you'll behind you and everything. And so, so yeah, her, if she was interested in kind of doing another performance there and so we called and yeah, she was up for it. And most of the other people that, uh, danced during the first section, our first performance that we did were up for it. So we kinda just expanded on the, um, first kind of like seven minutes section that, um, we had dead for the first performance and expand that out on a run. I took how you expanded out from there? Yeah. And I don't know, it's, it definitely goes down. Like it's one of my favorite performances I guess just with the patch I made, maybe it's more simple or it just came together with the transitions that I don't know, I got to be more present during it than a lot of times where I feel like I'm just laser focused on what's in front of me. Yes. And so it Kinda got to breathe a bit and yeah, it turned out really well. It was really fun. You really enjoyed the process. Yeah. Yeah. And he's lovely, uh, coming together. We've different art forms, isn't it? And if it all works, it's a lovely, satisfying feeling that you've merge these together. Yeah. And especially, you know, when it, it comes together and you, you get a good outcome, then it's like, all right, let's push it. Let's keep going then. Yeah. So, um, so yeah, that's what it's kind of been about now it's just like, well let's just, let's keep pushing this and keep trying new things. I wanted to ask you about what are the mechanics of working to dance? You know, I've been fortunate to be involved in kind of school and college projects where it's maybe laptop burst and there's a lot of timing. You know, when this happens, this goes off, there's some element of performance, but some element of both of the kind of musicians or the producer of the show and the dancers are performers having to work to a time scale and some of it's improvised, but you're not on a laptop with, you know, a comptroller and all this kind of time in best events. You're on Easel for this. Yeah. So what are the mechanics of, you know, you're putting together a 20 minute dance piece. How does that work? It's, I mean it's a lot of trial and error and compromise, but I do work in a very kind of song format or I don't know, scenes are arcs within the music. So once we kind of get sections down or pieces of music that I'm able to navigate and Madison's able to dance to or choreograph to, it's kind of setting those blocks aside and figuring out transitions to move into the next piece and can kind of be loose because it is, you know, it's modern dance that she choreographs for. So while I can kind of, I am able to recall everything up on the easel cause I make it somewhat simple or figure out ways to not make it too complex. I can play it all in one pass, that I'll make demo tracks for her to listen to you and, and work on. And at the same time I'm kind of refining my patch and figuring it out how to transition from one place to the next. It's a ton of rehearsal and just, you know, it's, it's just repetition and getting it down.

Speaker 3: 41:40

Yeah. Is there still much room for improvisation within that? You know, you farm a piece together, the back and forth and the collaborative work. When you then go out live, are there much elements of improvised moments or is it fairly rigid by that point?

Speaker 5: 41:56

It's a bit of both. On the, on the most recent one we did, I did kind of set myself up during most of it to improvise within the section. So it's kind of like a, I don't know, it's, it's, it's a set timing of improvisation and it literally was me kind of like reacting to her movements with, you know, throwing in FM modulation and kind of making things crazy as her movements got crazier and it, you know, there's a different outcome every time. So, so yeah, there is a little bit of that, but then also also want to recount performing a piece these last couple of ones, multiple times. You do kind of want to have the same, hopefully have the same reading results multiple times.

Speaker 3: 42:38

It's nice that you said that those kind of acts, it's almost like there's events to get to as points on the destination. But the actual path itself isn't too rigid and defined.

Speaker 5: 42:46

Yeah. So then they'll, they'll hear those musical cues and then can kind of shift into the next piece of the dance.

Speaker 3: 42:53

Yeah. As I alluded to earlier, y'all very much, I kind of Uber guests that touches on all the points that you want to touch on for this show at one of which is the kind of featured Bandcamp artists. But before we get onto some of Kyle's kind of Solo music can on dance related work, of course being episode when we don't have any, but we'd like to have some listener questions for up and coming episodes, whether that's specific to me, our Ed, a guest that we've had on, we can always go back and ask questions, production gear, music performance within the range of people involved. I'm sure there's a ton of knowledge we can pull on. Do get in touch. Um, Easter tone, modulation.com everything's on there that you might need to know. You'll find us on social media as well. Do leave us some questions or comments and we'll get to them in future episodes. But going back. Yeah, I'd be really interested. Yeah. But just going back to Uber guest, Mister Swisher, the Swiss army knife. Yeah. And you really nicely fought this out into, you know, we've touched on Soma, uh, which has led into Kyle's work, but then your last album cow was some effects and a Lyra eight, which I think is a really brave move recorded to tape as well. Yeah. From the start you've done an album that was on the easel and I love this idea of here's an instrument that I'm going to perform on, you know, through a series of effects and tip and creating a sound. What led you to the library rate kind of after the easel?

Speaker 5: 44:14

So it had the easel for I think around seven or eight months or so. And the easel kind of, or sorry, the lira had kind of caught my eye just, I think for a lot of people just seemed very strange and, and fun and wanting kind of perform regularly and have longer sets. I felt like even though I do a lot of live patching with the Easel, I wanted to bring something in else into my setup that maybe I could then trend like hop over to the lira and you know, get another 10 minutes out of out of it. And so that was kind of like the main idea of getting the lira and also, I mean I guess with was saying earlier with the Easel, I do kind of try and focus things and make arcs or make songs with several different, you know, it's not like it's the first chorus verse, but you know, there's part a, part B, part c. So maybe when you're kind of listening to it multiple times, you're gonna hear that and might stick in your ear a bit. And that was really a challenge with the lira for sure.

Speaker 3: 45:20

Yeah. This is, I know beast. I know angel, the album's called on dark sparkler,[inaudible] dot com we can link to this in the show notes and on our website as well. It's interesting that it's clearly not just building on a loop, you know, that dance music tends to do and certain modular performances and there can be great, but you're right, again, like the performance for dance, there's definite kind of hit points and events that are coming around. That's a really hard instrument to commit into tip as well. I think it's an interesting thing and I mean, is it, is it sound, is it process? Um, why tip? I mean, it's a lovely nostalgic thing.

Speaker 5: 46:01

Yeah. I won't lie. It's like it's a, it's a bit in the style Gia. I mean, I, I got into it with, um, the easel because I just thought, oh, it'd be cool. You know, this instrument was designed in the early seventies, you know, what would it be recorded on? And um, and I had some access to some tape machines. And so I started getting to that. And you know, it's a, it's an, it's an odd process, but I also kind of think of it and it's motivating for me. It's inspiring rather than just to kind of bringing up the darn hitting record and, and letting it go. I mean, I don't know if maybe ed can speak to this as a painter. I think probably the difference between like painting on a piece of paper or actual canvas or a wall, like whatever the kind of medium is that you're actually painting on also is inspiring for you.

Speaker 4: 46:50

Yeah, definitely gives it a sense of space or, yeah, even down to the paint that you're painting with so you know what you're painting on and you know what you're painting with really does shape where you're going to go with it. I mean, very much like the, the Lyra would have absolutely shaped your sonic exploits would net because it's an absolute beast or would've thought to time and to cajole into, you know, where you want it to be. And you know, paintings very similar as in that you have to sort of cokes and control your medium into being where you want it to be. And of course you can, you know, you can do the same thing. You could do port trait in gloss paint and why can't, you know, I use a lot of timing and acrylic and in oil. Um, it's just that those are just going to be slightly different processes and they are going to look very different at the end of it. And I think that's what I love about your process with the ease or, and with the Lyra and I got a sneaky suspicion the, the, the 23 might be going that direction as well. I love that you take those and you just take the raw raw essence of what they are and you sort of can towel that that is leading you. I mean you're obviously, you've got all your creative input into that, but they are leading you down a road as well. And I, I love that interaction between the two with both of your albums, but just coming back to the Lyra, was it like trying to wrestle with a wild beast or did you sometimes let it do its own thing, you know, how did you get on with them?

Speaker 5: 48:24

Yeah. Then that's the whole, I mean I, yeah, with every kind of song on there, it's, you know, a lot of happy accidents. Then just kind of, you know, coming up with some crazy sound that would happen. And then it's like, oh, like I can make something musical out of this. And then like wanting to keep on pushing like, let's see what, you know, what would be a part B and Whoa, that would take me somewhere else, but oh, can I really get back into part a and all right, I can. And so it was just a lot of building and I do everything, you know, it's all single take, which is a big reason kind of working with the real real tape is somewhat easier. Like I'm not multitasking or anything like that. It's just, you know, one and done. But, but yeah, I kind of, yeah, letting this lira do what it wants to do is fine. But I, I tried to figure out spots where I could tamper it down and really make stuff musical and then let it open it up and do what it wants to do.

Speaker 4: 49:20

I think that's what attracted me, you know, a year or so ago and we started talking because I'm trying to find a way of how I can transpose my art into a musical form and use the same techniques that I do with painting and apply those to music. And I see you sort of do that naturally. You sort of are again looking at that medium and let in that medium flow, but sort of taming that medium. And I love how you say that you'll give you something and then you will have to work with that. And it's very similar to my process of painting. You know when I start painting something he'll come up, it will be at happy accident and you just think, Whoa, Whoa, okay, I'm going to integrate this. So I think that's why I connected with you sort of a year or so ago because I did see that in your work and also just to take one piece of equipment and go straight to tape on that is sort of what I would have loved to have done if that, you know what I mean? I may end up doing that just because it's a very pure and, and

Speaker 3: 50:28

in a world of, you know, really high production, we've lots of layers within music. I find it really refreshing and very upfront and honest creatively and, and same wise. And I think I love the, the whole of that process really. I mean, what do you think then all of that, this idea of the instrument being a collaborator, something to react against, play and perform against. But one thing I did want to ask Kyle, you know, your two albums in a kind of ease allowed them and that library album, if you like, do you think your affects and the reel to reel are going to become your offering? Is it gonna be, you know, one man

Speaker 5: 51:07

reel to reel[inaudible] is this, is this dark sparkler?

Speaker 3: 51:14

Do you find, I mean, you, you may have planned it out this way, you may not have, but is that going to be, or could it be your sound this, you know, running an instrument to tip through your selection of effects and spares that you create with the tip and the effects?

Speaker 5: 51:29

Yeah, I mean as my[inaudible] stuff has kind of been growing, I don't know. I still love, I like to perform a lot. So then I like to come up with songs and stuff that I can perform all at once in like I said it kind of, I think it does lend itself to tape quite a bit because I'm not going back through and really like massaging out certain parts like all the warts and screw ups and weird happy accidents that happen within the patch or are kind of there and very honest. And I don't know, I like that. Like, I mean I love very well produced music but I dunno, I find my passion isn't really in front of the dog kind of tweaking things. But it's not to say that I probably, you know, at some point we'll want to start multi tracking things and, and come up with kind of more sound design specific stuff cause it's kind of hard to get really specific sounds and then be able to transition out of those sometimes. So kind of for the time being like yeah, I'm thinking we keep on running with the tape thing, but I don't think I'm going to like plant my flag and be like, this is me all the time.

Speaker 3: 52:43

Yeah. I like the idea that if, if you do go into the Daw, you found your somewhat voice and sound with the tip and it will still be part of something somewhere. Even if you are running to tip and then putting that into a daw. It feels to me, and again I may be entirely wrong with this, that that's now dark sparkler as as a sonic entity. That's kind of part of it for the gear nerds that I'm obviously massively self serving and serving into with me making gear demos. What are the effects that you've used on the album?

Speaker 5: 53:13

It's actually not a lot. I really just am using the uh, even tide space pedal and kind of tweak those algorithms to death for everything and then a full tone to take

Speaker 3: 53:26

echo machine. Yeah. So it's like a big, I mean it's, you know, built for guitar, but it's got some tubes in there and actual tape been around, which, yeah, so it's kind of tape on tape a lot of the time and that will give a lot of grit and grime because I don't change out the tape until like it actually, that stuff falls apart and staff. So that gives a lot of interesting modulation on its own. That's the whole point for me with Ted, I have a small collection of tape echoes growing. They sent and the could probably all do with a new tip off the point I'd use a paddle or a plugin or something else. If you know that there's great tip emulation, I'd use that if you wanted it to be more pristine. But tip like I like the grunge. Yeah. Yeah. I mean, yeah, there's like, I think that new Strommen Volante has been the only thing to kind of like turn my head a little bit just because of the, the form factor of it. I think they've really nailed are there some way to really nail in that degradation? Especially, we like the sound on sound looping. Um, a few friends really interested in this idea of it just degrading down and I think it's maybe something guitarists thought makers and which you saw off as kind of electronic artists wanting to loop tip back on itself. And maybe that's why these pedal makers haven't fully explored it. We have Atlanta looks great. Yeah. And you know, maybe also kind of you're probably busy playing the guitar too well in that, you know, having hands free to kind of tweak staff on the uh, on the tape machine too. Cause it is kind of Nice. I mean I play guitar through it all the time as well, but having it kind of on the desk with me and be able to get itself oscillating and you know, run the time variance around it's um, kind of can become its own voice itself. Well that speaks to how you perform I think with the instruments and had been a collaborative thing that it makes total sense in my mind that the effects are part of that as well. It's not just the yeah. To I do. I mean it is very hands on like they kind of are a little instruments in a way where I'm tweaking those constantly as well. It makes sense. I didn't imagine that, you know, asking you about the effects. It will be I, yeah, just put a splash of reverb on from x piece of gear at the end.

Speaker 4: 55:43

Even down to the reaver batch leased space. I've got space and when I originally got my boss stocks dealer looking at rate, I thought I was going to produce these amazing signs with it. And of course you know it's basic analog voice really. You are patchable when I got space and Polish on because it's got the MS 20 sort of filter on it, if I put that through that, the actual internal spring reverb in that and then come from the spring reverb out into space, the spring reverb almost sounds like a away folder and the, it just catches the space so nicely with filter. It just brought everything to light space. It is an amazing instrument in itself actually, isn't it? We've all those algorithms. Yeah. And a lot of ones that I, you know, I was like, ah, treble river. Like I'll never use that. And then I use that all the time. Yeah, yeah. It's amazing. Yeah. You go through them and you think, oh no, no, don't you and then you listen to and you go, Ooh, that could be something nice in there. Brilliant. Well thanks a lot for coming on call. It's been great to talk about both of your sort of passions, which is, you know, obviously the gear I'm making at what I call, you know, beautiful, honest albums out of that gear with very simple sort of recording process and also your movement into arts and dance and choreography. Um, it's been really interesting to you. Yeah. Thanks so much for having me. I'm looking forward to the show that takes us into the don't miss out section. I asked Ben quite a time ago because I always miss up and coming modular events. For some reason my radar's not very good for them. And I asked Ben or you know, you've got sort of a calendar that has got all these upper come in events on and they went, oh no, but that's a really good idea. So don't miss out is a hopefully our calendar that will be on the website that we will pass any up and coming events wherever that sympathy it's modular interest in events and hopefully I'll have some sort of sharable calendar at some stage that you can directly put your information into. But for now if you've got any events that are coming up, please email me with them. I can put them into the calendar and also as a note any up and coming projects. Ben, I think this is sort of a good idea to have. You've got like this brain I think has just got them absolutely clued in and you know them all. But um, for people like me, I miss out on so much. Yeah, it's something I should have done a long time ago. Even for just my own events, nevermind anyone else's. But yeah, I like the idea of this podcast and show being about art as well. And that in future episodes when maybe super boof isn't as close and dominate in for the whole scene, that will have looks at mixed media or arts as well. The fact that it could be music, it could be tech, it could be a modular event. I like the idea where this kind of space to go, you know, mixed interest. Best to see what's coming up. I'll rattle a few off just to give people some debts. The Brighton Modular Festival, which Andrew Dorff holes in Brighton, UK is July 19th and 21st right and modular meet dot code or you care for that one. I don't know of anything sooner. Listeners can let us know about that one. The weekend after that, 26 to 28th of July is Dhea shared festival, which is a really lovely family friendly festival up in North Yorkshire and me and Myla melodies and look, we'll no computer this year as well. Me and the Alex mylar. I've done it for the past two years. I'm glad we're

Speaker 3: 59:22

both doing it. Plus, Sam, look, mom, no computer this year. We'll be in the science tent far the free days, kind of I think few hours on the Friday and then 10 well fall, I think Saturday and Sunday we'll have a lot of the modular[inaudible] kids can come up, play out in a adults can come and play on it. I think we're all doing something in terms of performing at the festival. Think I'm going to do another kind of meditative yoga ambient modular session. Again, I think Sam's play in and Alex are playing live performance. It's not a meditative yoga thing from looking, well not computer. And then modular meets leads is August 17th and 18th. But what about you Kyle? Is that the modular on the spots? Fairly active and modular nights in Seattle, right?

Speaker 5: 1:00:03

Yeah, that's a monthly thing now. The modular nights and it's the first Saturday of every month. And uh, now that the weather's gain a bit better here, the modular on the spot series of starting up. So I think the first one is on June 15th at uh, cal Anderson Park. And, um, I think it's around like the second, I forget, I can speak, but yeah, if you go to Monterey, seattle.com you'll see kind of all the dates there. Then we're going to be playing the one in August. It's kind of in conjunction with this other light art festival where we'll kind of a modular on the spot set. It's also going to be in quad, which is going to be fun and nice and it's going to be, yeah, a bunch of crazy light artists projecting stuff around us. And so yeah, there'll be a ton of fun. Fantastic.

Speaker 4: 1:00:55

Well, as we close upon the show now, I'd just like to say that the show will be out every fortnight. The main social platform we'll probably use is Instagram. So keep your eyes out on our mat and as we said at the beginning of the show, if you're interested in knowing where the show's going and a bit about our backgrounds, then we have a recorded, uh, pre show special. So we take a listen to that. But before we close out, is there anything you're in call that you'd like to tell people about up and coming in? Any promotions? Um, yeah, I guess just that the, um, the lira album came out earlier this month in May, May 10th and obese. I know angel and so that's on Bandcamp. And then I'm actually

Speaker 5: 1:01:38

venturing out on my own podcast with my friend Robert Stanifer and it's going to be a monthly book club podcast called source of uncertainty. So yeah, you can find us on Instagram at source of uncertainty and we should be having the first episode out in June and uh, the first guest will be Todd Barton, so,

Speaker 4: 1:01:58

oh yeah, we could probably do that. That's a start, isn't it? Yeah, a better way to start messing around then you, I'm really looking forward to that because again, you know, this thing about drilling down into nice subjects within the community of modular and signed it unusual equipment. I think there's room for loads of interesting stuff they are and it'd be really

Speaker 3: 1:02:20

interesting to sort of listen to your take on Buechler something that I, you know, desperately want to want to get into. And I wish I had got into from the very start. Really. So yeah, I'm really looking forward to that. Yes. Ben A, have you got anything coming up? Well, likewise, I'm looking forward to the podcast from Kyle. I'm hoping to delve into Buco this year. Maybe you can let me come and ask some really new be silly questions. Love to have it. Yeah, no understanding the thing and looking a bit daft while doing it. No, not in particular. I mean a ton of videos as you can expect. My life is on youtube near enough all day every day. But yeah, just, you know, it sounds like a really goofy, silly thing to say, but just people keep being the good people that we are in this scene. It's really inspiring, really motivate and it certainly keeps me wanting to churn content out on work of a ride wide arrange of people keep doing what everyone's doing. It's great. Yeah, life is good in the same foiled it feels. Just before you go, I know that you'd sold out of your module. Is there some more back in in the shops now? Yes, there are actually good timing on that question because a few people had been messaging about that patchwork, which is a, I've not been, but it seems to be a great shop out in Kyle's neck of the woods in Seattle, have off assembled and DIY units. They may do a DIY workshop or just sell the kits. I'm not entirely sure. Funk in the UK has the Iwai case. They ship worldwide on Mat tech modular, how some assembled modules and they're going to be shipping out in the next few days to a ton of other stars, so anyone that wanted a deaf kid mutes module, best thing to do is just ask the shop. If they don't stock it, ask them if they'll get some in. We will have some stock left, but yeah, second batch is kind of out and going out as we speak. Brilliant ban. Really enjoyed that first show. Yeah. Really good for me selfishly because we don't know each other that well in the pre show. Yeah. To hear your story and how art has been your background and how music was something earlier in your life that you've kind of rung back round to. Yeah. Not For me. People don't need to listen to me ramble, but painful should go listen to the podcast here in your background and how I can be part of what the show's about. You know, mixed media, not just music, technology and music. Well, call. Thanks so much for that.

Speaker 2: 1:04:32

[inaudible] is really much appreciated. Have I've really enjoyed talking to you today. Yeah. Once again, thanks for having me guys. Have a good week all and see you in a few weeks' time. So yeah.

Speaker 1: 1:04:53

[inaudible].