"You are famous as a user and collector of analog synthesizers, but computers made it into your setup list very early on as well. How would you describe the role of the computer in your creative work?I started using computers around 1984. Prior to that I was using analog sequencers like the Roland MC-4, which is essentially a 4 Channel triggering device. I started to use computers with a software called UMI, which was made for the BBC Micro computer, a machine that was employed for basic education purposes in the U.K. The UMI software was a 16-channel MIDI sequencer that I used for years on the same computer. Even though technology went way ahead of me I stuck to the same piece of equipment. The reason for that was that its limitations really helped me to make the right decisions when it came down to making music. I couldn't get thrown over by having too many choices and that helped me focus on what was important in the song. When I moved to the U.S. I started using Logic and Max/MSP while I was waiting for all my equipment to arrive from the U.K. That's when I really got into software synthesizers. It was the first time I read a manual in my life. A rather difficult experience.
How did you come across Native Instruments?
That was by recommendation from Martin Ware of Heaven 17. We worked together and he recommended Absynth and FM7 to me. I loved Absynth right away because it was so different from anything else. Then I got into Reaktor through Gareth Jones, who was another producer I worked with. He explained to me how it worked. At first I was a bit put off by the idea of creating your own synthesizers. Initially, I couldn't be bothered to do that because it sounded like a lot of hard work. But I soon found out that it was also a lot of fun!"
You can find the full interview here.
