How do your approaches differ in each context? From your perspective, is there an advantage in the process of designing audio tools for software versus hardware platforms or is that the hardware you may prefer? I’ve made about 18 of these, and have generally built things I need in my production work. In 2000, I decided that plugins would be more modular and accessible, and started releasing these under the soundhack brand. It contained soundfile convolution, phase vocoder time and pitch changing, binaural filters, varispeed and other filters. I wanted to make unusual spectral processing available to me and others. SoundHack is a freeware Macintosh application that I wrote in 1990-1. T.E: That’s a big question, but I’ll try to succinct. And as an extension of that question-what is SoundHack, and how has it changed over time? I got a call from Tony after the NAMM show and he invited me to collaborate on a module, which became the Echophon. I told Tony about my plugins, which he checked out later. I thought that was really cool, and we had a nice talk about it’s design, granular synthesis, the modular scene, etc. T.E: I met Tony at the NAMM show when he was introducing the Phonogene. The MN crew New Year’s Eve 2019 Party Tom you had originated Sound Hack and developed many essential plug ins, how did you meet and start collaborating with MN? I guide the development of our instruments, working with Tom where digital signal processing is required and the entire crew assists in beta testing and development. Our CEO Kelly steers the whole operation and is largely responsible for the growth that allows most people to actually have and hold a Make Noise instrument. They are Walker, Pete and Lewis with guidance from myself. The media team handles all photos, videos, website and social media. Technical Support and service is handled by Devin with help from myself and Walker. Many of the day to day tasks are handled by our Office MATHS, Natasha. They purchase, receive, build, calibrate and test everything we offer. R.: The production crew is Jake, Jon, Mike, Newt and Sam. Would you introduce us to the MN team? How many employees, who? Doing what? I’ve made most of my electronic music tools under the name SoundHack (since 1991). I have a computer engineering degree from UIUC, but self-taught after that. I’ve been a musician, music software and hardware engineer, DJ and recording engineer. Tom Erbe: I’m a professor of electronic music at UCSD. I got my first synthesizer manufacturing experience working for Moog Music and went on to found Make Noise Co. Tony Rolando: I am a musician and self-taught analog electronics engineer. Can you please briefly talk about your background? We want our instruments to be an experience, one that will require us to change our trajectories and thereby impact the way we understand and imagine sound.Īlso, we think what we do is fun and we hope you like it, too. We see our instruments as a collaboration with musicians who create once in a lifetime performances that push boundaries and play the notes between the notes to discover the unfound sounds. He invents computer music software and hardware, most notably the sound processing application SoundHack, the many soundhack plugins, and several ground-breaking synthesis modules developed with Make Noise Music. Tom Erbe has ben deeply involved and dedicated to electronic and computer music research, and creation. Heavily influenced by Buchla and Serge he managed to design and build some pretty strange, but thoughtful modular synthesizers. Make Noise was founded in 2008 by Tony Rolando, a self-taught electronic musical instrument designer who got started by obsessively reading amateur radio books at the public library, building electronics for artists, working for Moog Music, and playing in bands for many years.
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