Where do you source your sounds from?
Mostly all sounds are self-synthesized, with very little sampling being used (sampling consisting mostly of classic drum machines such as the Cheetah MD16 & Roland R8). Digital synthesis methods such as additive and pulsar are dominant and preferred. Marcin Pietruszewski’s New Pulsar Generator is the most prominent sound generation tool being used. In the rare instance that longer form samples are used, they are time-stretched, resynthesized, and/or granularized beyond recognition.
What would you say is your guiding philosophy when it comes to sound design?
Design is perhaps an improper word to choose, as much of the process revolves around guiding semi-aleatoric sound generation into place rather than forcing its hand. Embracing unexpected outcomes is very important. This creates a more surprising and exciting environment. Very little are sounds crafted from proposal; they’re attained via the relational position to their counterparts. The composition of the music becomes self-propelling.
The goal is to de/re-contextualize physical space and temporal awareness via these dynamic digital sound synthesis environments. Aesthetically, plasticity and buoyancy are favored, and at times these concepts serve as metaphors. Keeping spontaneity in mind, sound is formed from the ideological prompt of creating synthetic beings that operate in a semi-organic fashion. A sound simulacra, which will shift and contort at chance.