User video from YouTube, using Circle like an analog modular synthesizer doing real time live sound design….

We are now accepting beta testers for Circle OS X Lion 64 Bit. Please send through a mail to support@futureaudioworkshop.com requesting access to the program.

Mike Huckaby has created a series of tracks using Circle and also released the preset sounds that he used in their creation for you to freely use in your music. Download the presets from the link below and also read Gavin’s interview with Mike, where he talks on the roots of his music, the process of designing sounds and also his views on music software.

Download Mike Huckaby’s “Made With Circle Synth” Presets:
http://www.futureaudioworkshop.com/downloads/Mike-Huckaby-Made-With-Circle-Synth.zip

Mike, for our readers who are not familiar with you and your work, can you tell us a bit about what you do?

I’m a Detroit Dj, producer, sound designer, and teacher of Ableton Live, and Native Instruments products at Youthville in Detroit.  Youthville is a privately funded organization for students between the ages of 11-19.  

Who and what inspired you first to start making electronic music?

It was in the water in Detroit.  You can relate any of your life experiences to Detroit electronic music if you live here.  I started out on all of the classic analog gear, and it’s a back-to-basics approach. However, the combination of software and hardware is the best setup in my opinion.

You are from Detroit, which is known for its rich musical tradition going back to Motown and further. How does this translate to your music, is it an influence?

Absolutely. Most DJs and producers from Detroit grew up with Motown influences by artist such as Stevie Wonder. Stevie Wonder was the bridge between Motown and Detroit electronic music because he experimented heavily with synthesizers.

Being from America and producing electronic music there when it was not popular, how do you feel about mainstream US music fans finally accepting electronic music?

It’s all a win win situation for me. If my audience grows concerning my music, thats fine with me. I just will not change my musical style for the adaptation of late comers, or for anyone as a matter of fact.

Broadly speaking, techno is about creating new unheard sounds, house music is more about melody and traditional instrumentation. You seem to be comfortable in both camps. What are your thoughts on this balance, between technical music and traditional instrumentation.

I think its important to have the ability of being able to play a real instrument, and having the knowledge of music theory as a part of your background. You can draw a lot of things sonically and tonally from the scale, which then can be applied to software programs, vst’s. and synthesizers.  Its a reciprocal relationship. Tones excite chords, and chords excite tones.  In order to take advantage of this reciprocal relationship, you have to have an understanding of musical theory.  Its important for me to maintain a balance regarding deep house and techno.  There is a lot to draw from each other instead of making distinctions regarding them. This is far more important when it comes to sound design too, you can’t think in limited terms, or else you will never explore the sonic possibilities from the horizon of so many sounds.

Tell us about your studio setup?

The Waldorf Wave, the Waldorf Blofeld, Korg Trition Pro 88 Master keyboard, Roland S 770 Sampler, Ableton Live, Reaktor, and several software programs, if needed. I still love my Roland S770 sampler. The filters in it are super warm.  Its impossible to get that sound anywhere else.  The Waldorf Wave is my master synthesizer. I am still learning about some of its functions.

When writing a track, what is your process?

I can start a track around any element or any musical part. It always changes. I can find inspiration from many sources and things.  As I’ve said before, there is a frequency, or subconscious musical undertone that can be applied to every human experience. Once a person realizes this, the sky is the limit in terms of inspiration.

Do you follow the latest developments in music technology?

Yes. I don’t always feel like I need to embrace everything, but I do follow the progress and development of new kinds of technology. People need to be aware of becoming imprisoned by the marketing claims behind so many products. The most important thing to consider is if a new form of technology can improve your workflow, or creativity. If it cannot, then you are simply being marketed to. I have had to separate myself from the fictitious marketing claims of so many products. Some products can have you endlessly embracing a certain aspect of a product that is absolutely unimportant to you, your workflow, and regarding the style of music that you are trying to create. The key is to realize this, and to customize a program specifically towards your needs. This is one of my major concerns regarding music technology.

What were your initial thoughts regarding Circle?

I really like the aspect of placing the “circle ” on to the destination, or target for modulation.  No other software synthesizer has implemented modulation in this way. This is a great way to learn synthesis, and to understand what the desired result will sound like. All the user has to do is simply drag the circle onto a destination to see what the desired result will be. I’m starting to think in terms of this process mentally now. Whenever I’m in front of a piece of gear such as my Waldorf Wave, I mentally imagine placing a circle onto the parameter being modulated. This is a great third eye perspective in terms of synthesis.

Are there any certain features you like regarding Circle?

Yes, there are quite a few. Obviously I like the Circle concept, but i also feel that the arpeggiator within Circle is amazing. It is possible to get some killer sounds from using it. This was one of the main reasons that I selected my first example preset for the showcase.  I also like the mouth filter, and variety of user waveforms. Circle comes included with some great waveforms for sound design. The LFO waveforms are also quite unique. These are some great features included with circle. The user needs to explore Circle quite extensively. It packs a lot of hidden features, and houses 4 oscillators!

What style of music do you think Circle is mostly suited for?

Circle is equally great for house and techno. I think i have only scratched the surface in regards to programming circle. I can see using this in my routine workflow. It’s user interface is very pleasing to the eye, and its structure, and signal flow is great.  I have a nice amount of items regarding a feature request, so time will tell if any of these features will get implemented. If they do, all users will be able to benefit from it, and thats for sure!

Can you please tell us about your approach to creating the presets you made for Circle, and sound design in general?

I started from scratch regarding all sounds heard in both sound examples i created for circle. I made several sounds that i kept evaluating, reviewing, and eventually discarded. I kept improving upon existing patches that i created until i could eventually use them, or discard. Some were used for studying purposes, and experimental sound design and concepts. I owe much of my synthesis training to learning Reaktor. It is because of using Reaktor, that this sound programming opportunity has been offered to me.

So therefore, i already had an early start when i began programming Circle. The user interface of circle immediately made sense to me.  I was able to identify what the synth was capable of producing by simply looking at it. Again, this is something that studying Reaktor has afforded to me.

Circle is a great synth and it was a pleasure working with the team.  It is also a great pleasure to know that the guys have donated copies of Circle to Youthville for the students too.

For our readers who are not familiar with you yet, can you tell us a bit about what you do?

I am an Irish musician, music producer and dj living in Berlin. I release records on labels such as Permanent Vacation, Buzzin’ Fly, Mirau and Internasjonal.

What inspired you first to start making electronic music?

I began playing instruments from an early age and this developed into messing around with early software, recording guitar and voice and basically experimenting. A few years later, around the time I started playing my first dj gigs in Dublin I discovered Ableton live and fell in love with it immediately. I guess I started to make electronic music as soon as I started playing out in clubs. Discovering I could develop pieces of music from start to finish on my own was a great feeling. The creative freedom it afforded me was like nothing I had experienced when writing music before. Since then I have been irretrievably and unashamedly hooked, now being able to make my living from it gives me great joy.

You are from Ireland, which is known for its rich traditions of song in music. How does this translate to your music, is it an influence?

I think as my music has developed it has become more personal and where i come from is of course a big part of who I am. Ireland has a great culture and tradition of music and it is something I like to celebrate and integrate in my music.
My upcoming album on Permanent Vacation features my vocals on most of the tracks. I think there is something in how I sing and write that is intrinsically Irish and it is something I want to embrace and develop. In our increasingly integrated and international society it is becoming more and more important to maximise your differences when making music or art. One easy way to do this is to embrace your cultural heritage.

Tell us about your studio setup?

My studio set up is quite basic really, I have a Macbook Pro running Ableton Live, various vsts including of course FAW Circle, Adam A7 monitors, a Focusrite Saffire Pro 24 dsp soundcard, an Akai Mpd 32, an M Audio Axiom 49 midi keyboard, a Vermona Drm1 MkIII drum machine, a Fender Stratocaster, some microphones etc…

When writing a track, what is your process? ( do you program drums first? Do you sit down at a set time and say “Now I’m making a track” or spontaneously rush to a your studio…)

I make music whenever I can, which is usually most weekdays. I have also learnt that sometimes it is good not to work. I think it can be counter productive to work when you don’t really feel like it. I sometimes start off with an idea like a vocal melody or something but I am just as likely to start by making a beat or writing some chords. I try and steer clear of specific systems and just do what comes naturally. I also let the songs develop at their own pace, some are done in one session, some I come back to 50 times before I make a break through and they take shape. I like the idea that the music has a life of it’s own and that the songs develop when they are ready too.

Do you follow the latest developments in music technology?

I do and I don’t. I believe strongly in making the most of the tools you have at hand rather than constantly updating your studio and having to learn how to use the latest vsts etc. However I do like to try new things and want to buy some analogue synths as soon as possible.

What are the biggest issues you have with music technology (if any)?

Checking email/facebook when in the studio.

Recently when discussing application ideas with one of our favorite electronic acts, Juju & Jordash, we asked a simple question of ourselves: Is there a way that modern technology allows us to present the atmosphere of a live show in some way that is more immersive and engaging than the current traditional static mp3 or CD. Looking at the elements that make up a live show, we identified some important aspects: the element of surprise, a randomness that is present in live performance that tends to be less evident in studio recording sessions. There is always an element of improvisation in live performance, where the artists create different versions of their songs on the spur of the moment. Another aspect we also felt that was missing was the recreation of the visuals from the live show, which are of increasing importance in capturing the atmosphere of an event, especially in electronic music. Taking these elements we then formed the idea for the application: instead of releasing just a static audio recording of a live event, why not create an interactive application based on the performance’s music and visuals. This idea then led to the process behind the creation of the iPad application with Juju & Jordash, The Infinite Music Machine….

On the night of the show, we will record each of the 8 audio channels from Juju & Jordash live improvisation session. These “stems” will form the basis of the audio that the application generates when running. The application will take these different audio elements and combine them in new and random ways, creating another improvised random performance of the music or in some ways even continuing on the performance. The visuals projected onto the stage during the performance by Juju & Jordash will be used as the visualizations within the application and displayed on the iPad screen while the application runs.

If you are in Berlin this coming Friday, why not come down and join us. If not, we’ll be updating our blog with news of the event and subsequent process of creating the final version of the application.

Juju & Jordash Present:
The Infinite Music Machine

Performers:
JUJU & JORDASH ( Golf Channel, Rush Hour, Dekmantel )
HINODE

Visuals:
Paul Skawinski

Bar and Dj before and after the performance. Free entrance.

Location:
Feed Soundspace
Hobrechtstraße 65 | Hinterhaus, Etage 4 | 12047 Berlin-Neukölln

Facebook Event:
https://www.facebook.com/events/241412592610929/

Radius is a new commercial sound pack containing 100 new high quality presets for Circle. It covers a broad spectrum, containing techno percussive sounds, drums, dub step wobble basses, tech house chords and plucks, nu disco arps, pads and build risers. It also includes TB 303 bass line sounds, FM bass sounds…we could go on but why not check out the audio demos for yourself!

Purchase from here:
http://www.voltagedisciple.com/circle.html

Gavin.

For our readers who are not familiar with you yet, can you tell us a bit about what you do?
I am a berlin based musican/producer/singer/songwriter/dj.
Stylistically I do electronic music in the broadest sense because I only use my music software and my voice. So far I have releases on Oliver Koletzkis’ Label “Stil Vor Talent” and am currently working on my debut album.

What inspired you first to start making electronic music?
When I was a kid and I listened to my favorite music I was always like „how do they do this? how are they creating those sounds?“. It all started with that curiosity of how electronic sound is being created so I can eventually do it myself. To afford a good music/sound production during the late 90s was still a luxury and only accessible to a limited group of people. The thing I love about today and about music software in general, is that it is accessible to everyone. It is quite affordable in comparison to when I was a kid. So it all started with the curiosity about how my favorite tracks became the tracks they were. Music was always my passion and so I wanted to produce it as well. I was fascinated by the idea to be able to retain something. To retain emotion and make it last forever. So to record electronic music for me is to capture a moment, an emotional state you are in. You record that moment and you code it through sound and then you put it on a record and it is in the world forever. I love about doing electronic music that it gives me the feeling to freeze time. It is something universal for me. I can play a beautiful song on the piano, but then when it´s finished it´s finished. It´s just gone. Anyway, my parents gave me my first music software when I was 16, that´s when I started to experiment with different music software like Logic, Reason and Ableton. What I love about electronic music is that the possibilities are endless, you can always create a new sound. Its kind of limitless. So it never gets boring! On top of that I find it amazing what role pure chance can play in the process too. Sometimes a sound just happens accidentally without being planned. This is not possible with any other kind of instrument. I mean you can put objects into your piano and change the sound, but at the end of the day a piano is a really limited instrument. You will never get over a certain point of sound.

What are the biggest influences to your music?
Sound wise it has always been the city of Berlin with it’s tremendous night life culture of course. The input you can get here in one night is just insane. I love all the productions of Dirk Leyers, his productions were also one of the firsts I came in contact with. I am also still very much fascinated by Kraftwerk because it is so timeless and you can still find their traces in almost every piece of electronic music. They were just visionary, they build their own synthesizers and created a unique sound. Which is still so modern nowadays. Stuff like this is just unbelievable. Also I really love the productions by Ame and Pantha Du Prince. Lyrics wise it´s mostly personal experiences with relationships, everything that has to do with love and the nightlife in Berlin. When it comes to lyrics I love the German lyrics of Aim of Design Is To Define Space, Kraftwerk, Ideal, Nina Hagen, 2Raumwohnung (only first album), “Neue Deutsche Welle” in general…but also old romantic german tales and poems. I am really interested in combining the german language in a poetic way with electronic machine sounds.

Tell us about your studio setup?
I have a so called bedroom studio where I write my music, before taking it to a professional mixing studio. At the moment it consists of my Macbook, an external sound card, two monitor speakers, AKG Headphones, one Rhode Microphone, then some midi controllers, mixer and a keyboard, the music software Ableton Live and lots of different plug ins like Circle and different Arturia synths plug-ins like ProphetV and Analog Factory.

When writing a track, what is your process?
This can really differ from track to track. But I usually start with the melodies and harmonies, then I add the beats and then I add the singing voice and lyrics at the end. I do the first drafts really quick by only using presets and then I exchange the sounds later on and refine them when the core idea is finished. 

Do you follow the latest developments in music technology?
I am really interested in how music apps for the iPad and iPhone are going to develop. I really liked the Garage Band app for the iPad as a creative sketch pad. I hope these things are going to become more advanced or open to producing more personal styles. I´d love to do live gigs with an iPad for example. I think it has a great potential. I read about girl bands in Japan who only use iphones and ipads as instruments i think that is super fun. I also heard the read that Damon Albarn is recorded his latest album only using apps. But i don´t know if this totally true. That must sound shocking now to music technology fans, but as I said I think you don´t need to be a total tech fetishist to create great music. I admire people though, who program music software and are researching on new sound possibilities. I think I would not be patient enough myself. But I´m lucky that there are people who create all these tool for musicians. I especially love the sound aesthetic of Circle. I see myself as artist as a kind of  “player” who combines the cool sounds that are handed to me. And I can then play around with them and put them together into a piece of music like a some one playing with a jigsaw puzzle, but one without any picture on the box! As I said the possible combinations are endless!

What are the biggest issues you have with music technology?
I am not a tech nerd and so I love music technology that is easy and intuitively to use. I don’t want to have to have to get a masters degree in math before I can start to use it. That is what I like about Circle for example and also the Arturia analog synthesizers.

Drawing Circles is a commercially available Dubstep sound bank for Circle, from the company Loop Based. These sounds are not only an impressive demonstration of Circle’s capabilities but also a true innovation since it is the first professional Dubstep kit made for it. Loop Based have given us with some free sample presets from the bank for you to use in your music.

Download link:
Sample Drawing Circles Bank

Install Instructions:
Copy unzipped folder to the “Presets” folder in the Circle installation directory on your hard drive.
Copy the contents of the unzipped “Wavetables” folder to the “Wavetables” folder in the Circle installation directory.

Purchase Link:
Purchase Full Drawing Circles Bank on Loopbased

The first in a new monthly Circle artist focus, we chat to the upcoming UK bass and dubstep producer iO. Hailing from Guildford, iO has been causing ripples in his scene, with some high quality remixes and productions up coming in the new year. Below is a sample of the punchy bass rework of Warrior One’s 90′s sounding jungle track ‘Fyah’, featuring dnb favourite Ayah Marar. It’s out Jan 9th on Black Butter Records.

For our readers who are not familiar with you yet, can you tell us a bit about what you do?

Im a young producer from London, and make house infused electronic music -under the name iO.

What inspired you first to start making electronic music?

I started out writing in bands, and got a bit frustrated with the limits and boundaries that exist within that framework. So about 6 years ago I started playing around with computers making music.

What are the biggest influences to your music?

I would say that my surroundings, the people that i spend my time with, and the gigs I go to all influence me. I try my hardest not to draw inspiration from other producers in the same genre. Just because i think it can be easy for electronic musicians to end up mimicking and sounding alike. It’s extremely difficult though…

Tell us about your studio setup?

Well I record bands, so i have quite a large interface (Apogee ensemble). I have a load of nice mic pre-amps and stuff, but they don’t get used a whole lot when I’m writing electronic music. I use the KRK VXT6’s for monitoring, and have a load of other systems i reference on. Then pretty much everything else is in the box! I have a pretty old rusty Mac which i run Logic from, with a couple of choice synths (FAW Circle being a favorite). Apart from that the only other thing that sitts in my studio, is my Rhodes. Its an MK1, and I’m in love with it.

When writing a track, what is your process?

I try not to have a set ‘process’, just because from my experience, when I stick to a template, my ideas start to sound formulaic. I usually mess around on the piano until i have a chord progression. Then I might see if I can add an accapella, then write the beats around the rhythm I’ve come up with. Occasionally I will write some beats first (if there is a style I’m trying to capture). But for me personally, I find it a lot harder writing melodies around drums…but thats just me. But usually I try to have an idea before I switch the computer on.

Do you follow the latest developments in music technology?

I try to, but it seems things fly at a million miles an hour nowadays. I try to keep up to date with the latest plug-ins and soft synths. But there is only so many one producer needs! I’m still trying to hone my skills with the tools that I’ve got.

What are the biggest issues you have with music technology?

Well i think we live in exciting times, and there are many amazing things happening within music technology. But i think the fact that music production software has become so widly available in the last few years, has lead to production values falling, and in my opinion this is one of the reasons why electronic music isn’t valued in the way it has been in the past. I will always try my best to deliver quality not quantity. But i dunno, maybe today thats not the best model follow!

From Sun-Ra to Pink Flyod, musicians have been looking to the heavens for inspiration in their music. Sound designers also have been inspired, realizing its lonely beauty in sound, through atmospheric electronic evolving sounds. We are happy to present this free bank of space inspired sounds to you, designed by Proxima IV.

Download link:
Eclipse Circle Bank by Proxima IV