Matt Stanfield

I was reading an article on the Chip Collection blog and it made me smile because it was at the same time true and untrue. Now, the post is a tongue-in-cheek look at gear, out-of-date hardware and soforth, but it brings up something I feel strongly about: It’s so NOT about the gear.

Technology is great- anyone can have access to the same software and sounds that the “pros” use. The good side of this is that the playing field is somewhat leveled. The bad side is that everything sounds the same, and the overall quality of music is decreased. A quick tour of Myspace will yield hours of sub-par programmed tracks that use the same Reason presets. So what separates the good from the bad and the ugly? Creativity. Uniqueness. Individuality. Attention to detail. So, your music sounds like Royksopp? Great, but I’ll listen to Royksopp if I want to hear Royksopp. Give me something I haven’t heard before. Great bands and artists have a unique sound.

I’m a professional musician. Like most, I’m no prodigy, I don’t come from a “famous” music family and I don’t have a wealthy benefactor. The music industry is tough, and I work hard. I love what I do, and I love that it provides for my family. They come first. That means clothes, shoes, food or medicine for my daughter come before the latest plug-ins. It also means my gear list is relatively short when compared to a lot of guys. But that can be a great thing.

How can having no gear be such a good thing? Well, it forces you to be creative (a novel concept these days I know…). In my case, having only a few keyboards at my disposal really forced me to use them in non-standard ways. Instead of simply running a preset through a plug-in, I had to learn how to actually edit and design sounds. In the process, I discovered, quite by accident many times, new approaches, edits and processes that have become a huge part of what I do on a track these days. My favourite things are those that I have yet to hear on other records- things I think (or hope) I am doing first. Wishful thinking? Probably but perhaps no. Lots of gear, while being fun and novel, can be distracting. The other thing about having tons of gear is that, depending on how you came about that gear, it can hold you back.

Consider the chap who goes out and buys a roomful of gear. Now, he must work extra to pay for that gear, often having to do things that are severely draining on time and creativity, instead of being able to simply CREATE. And then, even worse, is the possibility of that gear being out of date and needing to be upgraded by the time it’s paid for. So how much did it really help? Then there’s the guy who has a minimal setup but knows how to make it rock. The limitation demands creativity. Before long, people notice. Not too long after that, he can afford any bit of kit he desires!

I’m somewhere between the two; I’ve made my share of bad gear decisions but I like my setup now. Some days I catch myself thinking “It would be great to have…”, but at the same time, I’m really thankful for a modest studio, because I know to some degree the lack is what forces me to up my game. Now if I can somehow get that modular I’ve been wanting, or that OP-1 synth…

But how does it sound? No bother, even if the OP-1 just sits there it’s bound to inspire something. The sound examples found on the website and various web locations seem promising. For now, here’s what it has: a synth, a sampler, a motion sensor, a built in mic and speaker, a sequencer, a great display and an awesome look. Yes, please.

Back in November I made the switch. No, not operating platforms or software, but the switch to a standing studio. Keyboards and control surfaces are now at standing height- at least the majority of them- my rhodes and upright haven’t moved. It took a while to get used to the change; my legs were a bit sore for the first week but in the name of good health I pressed on. I resolved to try it for as long as I could, and to go 6 months before making any permanent changes. My Axiom, computer keyboard, mouse and screen are propped up on a box; it’s covered with a black sheet but it’s still decidedly lo-fi. I’m now crossing the five-month barrier and I’m completely sold on the idea. I love the freedom of motion and the fact that my back no longer hurts.
So now I’m looking for a standing height desk, and the options, as you may guess, are a bit limited when compared to standard desks. I may end up ordering a desktop surface from Ikea and building the frame myself, we’ll see. More to come!

I’ve had a number of people ask about my studio setup. I’ll say one thing- it’s fairly simple. Diapers, toys, clothes, food, school and the myriad other things that come along with family tend to take priority over synths, software, mics and preamps. There are those bits of kit that are indispensable; here’s a list, although it’s probably not all-inclusive:
I’ll start with my upright. It’s always on, ready to inspire. Unlimited polyphony and infinite tone. The Fender Rhodes. Calm, cool, and unassuming. Still can’t be beat by a plug-in. Mine is a 54 key version. Anyone else have one of those? My weighted controller is a Yamaha MO8, and I really like it, especially for the piano-type sounds. It doesn’t sound like a plug-in. Sure, it’s kind of kludgy to program, but it weighs considerably less than the MOTIF. I bought it a few years back for a tour; if I knew I was never going to move it I would want a MOTIF, but only for the expansion. Maybe a MOTIF rack is the answer to that… Anyway, back to the original topic. Ableton would be next. In a worse-case scenario, give me my laptop and Ableton. In a second-to-worse case scenario, give me my G-Media and Native Instruments plug-ins. I probably turn to those more than anything else, especially the Minimonsta, Oddity, Absynth and Pro53. Other softsynths would be the Olga, from Schwa Audio, and the Thor synth in Reason. Last but not least is my MG-1. I’ve modded it so it’s not exactly stock; it’s old and quirky but wonderful. My small controller is an M-Audio Axiom. Full-featured and built like a tank. I got mine a while back; three years without a case on the bus and several countries later and it still works perfectly. One of the knobs is crooked, but that happened when a bandmate borrowed it for a weekend.
There you have it. I should probably include my converters, which are Mytek. I should also mention my headphones, the Senheiser HD280. Not the greatest, but good enough and not so expensive that I’m afraid to throw a pair in my backpack.

If you aren’t using one or seven plug-ins from the folks at Stillwell Audio, you’re missing out. I have to admit, my fascination with cyrillic makes these plug-ins virtually irresistible, but even those with no cold-war interests will find them wonderfully different. The 1973 and the Olga are two of my favourites right now. I won’t say the ‘73 sounds like a real one, but it sounds really, really good. I love the high end boost- tons of gain and never harsh. It’s quickly becoming my first choice when I need a non-obtrusive eq. The Olga, on the other hand, does obtrusive very well. It’s a relatively simple 2-oscillator synth but the accessible parameters are the ones you want. The best thing about it is that it probably sounds nothing like you have in your current synth line-up.

I have the honour of being part of the sessions for Ellis Paul’s new record. Ellis is an incredibly talented singer-songwriter out of Boston; he’s the kind of writer that makes you want to either go write great songs or stop trying all together! Produced by Sorted Noise, the record is a great blend of folk and pop, and it’s due out sometime in 2009. What am I using? My rhodes, moog, se-1, upright piano, and various pedals/software. The Abbey Road Refill is getting some playing time, too- see if you can hear which tracks use real piano and which use virtual. A few of the tracks even have subtle Ableton trickery! (Ellis is a folk guy- nothing too crazy…)

I thoroughly enjoy chocolate. Good chocolate. High-test blends with no milk. The form I enjoy most: liquid chocolate. If you’re ever in Asheville, NC, try the liquid truffle at the French Broad Chocolate Lounge. They serve several flavors; Indian Kulfi is my fave- rich chocolate with hints of cardamom and pistachio. You can also find a selection of wine and various cheeses if the mood strikes.
In Nashville, go to The Cocoa Tree. I was quite sad when they moved from downtown Franklin to the new spot in Germantown; they were a few blocks from my studio space, and there’s never a bad time for a cup of Mayan Hot Chocolate. I had a mild addiction; the move was probably for the best.

My WSG blog is featured on musicfromouterspace.com. Thanks, Ray!

A few times a year, my back refuses to act normally- I’ve got a disc that’s supposedly de-generating. I guess we all have discs that are de-generating but one of mine is moving at a rate that exceeds the norm. The best thing for me is exercise (walking specifically), hydration, and stretching. The worst thing is sitting down, and musicians tend to sit around. A lot.

A few weeks ago, all of a sudden, my back decided to start hurting. Really hurting. With deadlines to meet and music to make, I recalled an article about productivity as related to work posture. I took an hour and re-arranged my workspace so I could do everything standing up. Maybe it’s the fact that blood and oxygen flow more efficiently when standing. Perhaps it’s that I can bust my insane dance moves while I edit a vocal, or just the novelty factor of a new set-up, but I feel much more productive. Now my feet hurt. :)

I finished my WSG, or at least I have it in operating condition. What’s a WSG, you ask? It’s an all-analogue sound generator. I created a separate mini-blog in honour of this occasion which documents the construction of my WSG. You can view it here.

Other than the ones you make, where do you get your sounds? (You do make your own sounds, right?..What better way to be original…) Do we really need another site offering downloads of sounds for production? We do if it’s PureMagnetik.com. This is the best site I’ve seen in a long time. You can buy single sets, various bundles, or sign up for a subscription which entitles you to anything they release. A basic subscription is 6USD per month; pay monthly or, for a discount, a year at a time. The best thing about PureMagnetik is the focus on electronic-type sounds. The other great thing is the fact that they cater to Ableton users. Sounds are available programmed and formatted for Ableton, Logic, and Kontakt, which means virtually every sampler is supported. Also- the user interface is modern, uncluttered, and easy to use. Head over to Puremagnetik; get started with a few of the free bundles.

Alright. Creativity will win out every time over stacks of gear. I’m not a latest-greatest kind of guy and I work with a minimal setup. However, I have to write something about a piece of gear (or rather software) that has transformed how I work and create. I started using Ableton about a year or maybe 16 months ago, and it has really transformed the way I work. I know that sounds like a quote from a catalogue but it’s the truth. I can listen to the first thing I created with Ableton and it’s as if a switch was thrown in my brain. A good switch. Maybe it’s my appreciation of German engineering; perhaps it was a fresh perspective or maybe the software is the best match I’ve found for how my mind works. Whatever the reason, I love it and it’s my main creative (not recording/mixing) software. So go ahead, call me a sell-out, but I’m happy to give recognition to a great thing. Speaking of German engineering, Waldorf, after closing it’s doors and then re-opening, has released another winner in the form of the Blofeld. Nicely done, although my personal favorite is still the Microwave XT.

In the ever changing, never ending adventure that is my work, I’ve recently found myself writing and producing for a few Latin artists. It’s great and I love it but there’s one small thing: I don’t speak Spanish beyond being able to order a taco at Las Palmas! I love being the only gringo in the studio, or sitting down to do a track and not having a clue as to what the lyric is about (at first- I’m learning as I go…) The good thing is it’s all turning out well. It’s also a great illustration of how music can bridge the gap between any two things that are seemingly non-compatible.

I just finished the soundtrack for House Of Wolves. For all the movie fans out there who are thinking, “I’ve seen every trailer but I’ve never even heard of that one…”, don’t despair. It’s not a movie (yet); it’s a book. A soundtrack for a book? Yes! Why Not? House Of Wolves is the second part of a five-book series by Matt Bronlewee. Ancient texts, secret societies, codes, maps, forgotten World War II Nazi strongholds… it’s great stuff. The soundtrack is a very organic/ambient/electronic work, with vocals on a few of the tracks by the Tactus Cartel.

I’ve started working on a project called Tactus Cartel, and I’m trés excited about it as it’s very much my own creative vision, I wouldn’t go so far as to say it’s a solo record, but I am the driving force behind the production and writing. There will be other honorary members of the Cartel of course; I trust my instincts but collaboration sometimes yields a higher quality result. The first of the honorary members is Dave over at Bristow Design- he’s helping with visuals and probably writing as well. The second honorary member is Paul, although he doesn’t know it yet. My main goal with Tactus Cartel is expression- it’s a moody electronic/ambient/pop sound that lends itself and is primarily aimed to film and television. What you’ll hear is basically what happens when I sit down and make music without the usual input from label/a&r/management/radio/marketing/wardrobe/catering… Not that input and collaboration with the label side is bad- it’s a necessary element in creating something that everyone can be excited about.
While I’ve had this project in mind for sometime, I’m just finding the time and creative vision to pursue it. Creating something that is rooted deeply within yourself and then putting it out for public consumption is highly exciting and at the same time quite unsettling, but the initial response has been wonderful. Perhaps it’s because I finally have something to offer in the songs I am writing, or maybe people are drawn to purity as far as artistic expression. Well, perhaps that last thought is a bit utopian but here’s to hope.

Hotels are inspiring. Let me restate that: nice hotels are inspiring. Leave the TV for another day- I love sitting down in front of a big window and building a track. Looking out over a city at night is almost always inspiring- the lights and the abstract motion of cars on roads below help filter the days’ events. I started the track for ReBuild on a night such as this- I remember singing the vocal idea right into the built-in mic of my powerbook. Sounded awful, with the fan noise and the track coming back through the speakers, but it was there when I got home. Home is better than hotels, but I don’t mind a good hotel.

I just flew home from Orlando today, so I’m thinking of my unofficial audit of the TSA. I fly somewhat frequently, so I’ve decided to conduct the following test: every time I pass through security, I leave a bottle of water in my backpack. (Just for the record- bringing a bottle of water, or any amount of liquid over two ounces, is prohibited). I haven’t conducted the test enough to generate a percentage, but I’ll just say I’ve had bottled water to drink on several flights. Yesterday I forgot to carry water, but fortunately for me the TSA agent confiscated my shaving cream- my fault for leaving it in my carry-on. This morning I carried orange juice in the outside mesh pocket of my bag. Kudos to the Orlando TSA for allowing my juice to go by unnoticed.

I’ve started the assembly of a WSG. In addition to the normal circuit, I’m going to attempt a few extra modifications. My grand plan is to document the construction, then use it in a few tracks for all to hear. Yes, making my own analogue sound generator does make me a nerd, but I’ve been a nerd for some time now. I’m just a cool nerd. Who among you would NOT relish taking a bunch of random electrical components and, armed with a solder gun and vu meter, form a unique noise making device that boasts a totally analogue signal path? See, you’re a nerd also. I’m putting mine into a small suitcase-type enclosure, in Synthi style.

Writing about the Synthi makes me think of EMS. Check out the website for some cool old-skool photos. Looking through the list of great EMS synths reminds me of London- one of the first EMS synths was even named the Portabello at first. What is it about London that fascinates me? Of all the places I’ve visited, London is where I would return first. Something about the city resonates with me, and I feel more at home there than I do in my own city. The pace, the diversity, the underground, the history, the style, the curry… if you go, skip the traditional tourist stuff for a while and simply walk around. One of my favourite things to do is buy a brie sandwich; my customary London lunch- one Brie and tomato sandwich around noon- has the ability to sustain me well into the evening, and it makes for an inexpensive (£2) lunch. And don’t forget the Punjab on Neal Street. One thing about the UK- it seems there is a higher level of preparedness on the part of the audio teams in clubs. They take what they do seriously and it makes for a great experience.

I’m reading again (it’s a book which should be read and re-read) the book Celebration of Discipline by Richard Foster. What a powerhouse book! Some say Foster goes to far over to the side of mysticism, but I disagree. True progress often involves breaking through the norms of what is acceptable and living in such a way that may attract skepticism. This book is full of concrete, practical information on deepening your spiritual life. Having just completed the chapter on simplicity, I’m struck at how that concept can and should cover all aspects of life. A simple life is a peaceful life, a life free of distraction. A life free of distraction is a productive life. That sounds good to me.

Glasgow. Must go back.

Kensington High Street