Synth Design Podcast

If you'd asked me 3 months ago what Expert Sleepers might release next I would have never have guessed an analog module. Yet, Andrew Ostler, the designer and engineer behind Expert Sleepers, did just that -3 analog modules in one week. In this conversation, I learn about Andrew's vision and what drives him to work on a certain module.

This recent analog exploration started with a resonant 2-pole filter (yep! not 4-pole). This lead to the two additional modules - a sine core VCO and a phaser.

Side note - my video is slowly going out of sync during this recording. This is because I tried to used Andrew's local recording in an attempt for better sound. His sound is great. That's what's important!

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Disregard the convention in the search for playfulness - probably good advice for anyone who's looking to innovate. In particular with instruments, where playfulness is key to inspiration, prioritizing the experience over the "perfect sound" might lead to happy accidents.

Gentle Wham and his older sister (or brother, however you wanna see it) Liquid Foam, are both quite special in that sense. Their sound is gritty and surprizing and their visual style, typography and icons reflect a bold artistic vision that does not conform.

Gian, from Herbs and Stones, started tinkering with electronics at an early age. But it was only recently that he has taken the step to make his own instruments.

In this conversation, we go through the various prototypes that lead to Liquid Foam. We touch on an unreleased filter 👀, and end with his latest creation - Gentle Wham!

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The Korg MS-20 filter has so many clones that it's hard to count. So why make yet another one? Unless... It's not really a clone.

If you want to release an instrument to the market you might want to think beyond a basic synthesis building block. Sure, designing a filter circuit, an oscillator or a wave folder is a fun exercise. But, with so many basic modules out there, it's hard to stand out.

Steve's MS-22 from ThreeTom modular can serve as a good example here. Tom Verschooten from Threetom Modular took the MS-20 filter as a starting point and added a clever modulation matrix that makes it quite a unique filter that fits nicely under a 4HP panel. This is a good example of a worthy engineering and design challenge that pushes the modular space forward.

In this interview, Tom explains the various phases that lead to Steve's MS-22. He also touches on the importance of clear documentation, as well as the personal touch that can make a small manufacturer stand out.

Tom's process is quite unconventional (for instance, skipping the breadboard phase altogether). Listen in to learn more!

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Archil comes to instrument design from a composer perspective. In the last 3 years, he has been designing mechanical instruments in search of new sound and performance techniques.

His instruments are all about tactility. Using simple, yet effective, circuits to capture the sounds of everyday things and turning them into building blocks in his music compositions.

His latest instrument, the Poet Pilot, uses eight large touchpads and knobs to control motors. The motors can be attached to virtually any object or material to turn into an electromechanical instrument - from a drum machine to a drone synthesizer. This makes the Poet Pilot a very versatile tool that's highly intuitive and performance-focused.

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Guitar effects are a gateway drug for synthesis, and we've gone a long way since the first distortion stomp was introduced around the middle of the last century.

David Rainger's take on the conventional guitar effect is inspiring. He brings a fresh perspective on how one could shape their sound, using not only a combination of electronic circuits but playful interaction methods.

In our conversation, we cover a couple of pedals. Among them, the Minibar, which is a distortion that works only when liquid is added to the circuit. The Snare Trap, inspired by the old Simmons Clap Trap and turned into a guitarist's personal drummer. And the Drone Rainger, which is a complete drone synth hidden inside a delay effect. The pedals are well thought out in terms of sound and interaction, but also in their visual style which makes them stand out from the crowd.

David shares his (very analogue) design process, most of it done on paper, and working with a local metal shop to realize his unique enclosures.

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Make Noise interfaces are like a riddle. They remind me of minimalistic art pieces from the early 20th century - inviting you to question geometric compositions of mysterious lines and shapes. These instruments purposefully do not give a straight answer but hint towards a direction one could take.

This is a deliberate design decision that aims to shape the way musicians use a Make Noise instrument. The design invites a particular kind of composer - one that will dare to explore an untrodden path, in the search for exceptional sounds and performance along the way. The interface is like a guide, a map of sorts, that can be read in various ways.

The Strega, in particular, is interesting because of its unconventional signal path. This is not your traditional "voice", to say the least. Placing the delay/reverb in the center of the circuit directly affects the interaction with the instrument and the kind of sounds that will come out of it.

In this conversation, we dive into the challenges of designing an instrument like the Strega - a synthesizer that was made in close collaboration with artist Alessandro Cortini.

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Anyone who's into generative music knows the Turing Machine, by Music Thing Modular. A random looping sequencer that shaped the way we play with zeros and ones, creating melodies, modulation and cross-rhythms.

In this conversation, Tom Whitwell from Music Thing Modular, shares the creative process behind the Turing Machine. He also discusses other modules like the Minidrive, which is designed around the Minimoog overdrive circuit and initially inspired by the legendary Grampian Spring Reverb overload.

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Hannes Pasqualini from Papernoise is responsible for some of the most iconic Eurorack interfaces out there. From Mutable Instruments and Alright Devices all the way to Hexinverter and WMD, Hannes’ brings clarity to complex functionality.

Visual design takes a prominent role in Hannes’ work. In this conversation he is sharing his design and prototyping techniques and even going through the Mutable Instruments visual identity manual (oh, yes!)

Although not mentioned in the conversation, Hannes’ designs more than interfaces. Check out his portfolio for illustrations, motion graphics, visual identities, logos and more.

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Wes, from Stem Modular, designs his modules for educational purposes. Not for music education, but for science lessons. Making theoretical concepts less intimidating and bridging gaps between theory and practicality. Students can learn by listening, playing and seeing how waveforms behave.

Stem Modular is designed to be accessible. The case and panels are all made out of laser cut wood to reduce costs, but also to reduce plastic waste. Each case incorporates 2 headphone outputs, one on each side of the frame, to make it easier for 2 students to learn together. Sockets inputs and outputs are tightened with different nut shapes to make it easier to distinguish, but also to make it easier for visually impaired students to interact with the instrument.

This is a truly inspiring conversation on a topic very dear to my heart - education. I hope you'll enjoy it!

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On the edge of industrial design and art, there's an intriguing space where craftsmanship meets abstract thinking. Where a designer tinkers with materials and creates experiences that reflect on society. Brian Alexander (or Trace Bloom) has been working in this space for over 30 years. Creating devices that encourage a different kind of performance. Every instrument tells a different story. They are unique in material, form and technique. The process requires observation and exploration outside the conventional.

This is a unique conversation that goes into the philosophy of creative expression. Where do we get inspiration from and how every little experience in our lives can inform our next design.

This episode isn't only for synth design enthusiasts, but also anyone who's a maker, creator, musician or an artist. I hope you'll find a good dose of inspiration in it, and go make something remarkable.

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