“If I record something, I still do it very freely. I’m not into going too much into detail. For me, the overall expression is more important than little details.” Max Lauderbauer database. Continue reading

“We have parts played by a string quartet and overdubbed with four different synth voices; you can double it and have them weave in and out of each other so you don’t really know if it is the real instrument or if it is something else. People are unable to put their finger on what… Continue reading

“I’m kind of more into old reverbs, especially 12-bit reverbs that don’t sound too realistic. Modern reverbs that are too realistic are a little bit scary for me because you have a kind of uncanny valley that sounds so realistic it feels uncomfortable. It’s nice when the reverb is a bit crappy—it’s more relaxing for… Continue reading

“…If I record something, I still do it very freely. I’m not into going too much into detail. For me, the overall expression is more important than little details.” Max Lauderbauer Over 200 entries in the database now. Continue reading

“And it just seemed like the more I did to them—the more I tried things with them—the more ideas seemed to come out of them. To me, that’s the really interesting part of making music. The mixing part and finishing tracks…that’s not the interesting part. It’s finding details in things: that’s what really interests me.… Continue reading

“This is how I master everything: I have this [FL limiter] Maximus on the reverb..But there’s this preset I’ve made over the years that just compresses the low, mid, and the high–I’ve got that up really high. To mixers and engineers: they’ll probably look at that and get disgusted. Because this is like rural behavior:… Continue reading

“I use Ableton Push to arrange, structure and build upon the field recordings, layering them with new sounds to create different environments and soundscapes. Then I’ll use Ableton Live to sort out the recordings I did that day and make decisions on whether I need to edit, mix or cut sounds to create new recording… Continue reading

“The actual aesthetic of insane digital sound processing is not really where I’m coming from, I’m much more interested in textures and how sounds which probably shouldn’t work together are able to bend and cooperate. How sounds, once you’ve built some rudimentary programming blocks, just get let go and form the genesis of how ideas… Continue reading

“You have to understand that the breaking point of some of the equipment, and the breaking point of some of the ideas, they are very close to each other.” John Cale database. Continue reading

“I try to make everything myself. Even when I just sample, I really try to program with the sample so that I’m not just reveling in the sound of the sample so that it doesn’t sound at all the way that it did before rhythmically. I try to somehow breathe new life into it from… Continue reading