> How do you think vacuum tubes find a use in the modern recording studio?
Tubes have always been synonymous of warmth, so i see them as a way to humanize and embellish digital or rough sound sources, but the beauty of them is that you can go the other way as well and stir up something calm into a mess, or even just add a bit of attitude.
There are as lot of tube based pieces of gear out there, but i feel that when they’re utilized in instruments it becomes apparent how the tube instabilities becomes an advantage,from a creative point of view.
> What attracts you to Metasonix?
I need to be stimulated to be creative. like a child with a toy. I have never been a “i need tools to materialize my ideas” kind of guy. Ideas come to me from playing around.
Metasonix instruments are alive, in a way. They’re temperamental, they might take a while to give but when they give it, it’s something completely unique that i have never found anywhere else.
Again, it’s not just about the distortion, which can be found in various colors here, but more about how Eric designed his instruments taking advantage of vacuum tubes’ instabilities as opposed to trying to correct them or force them into something they’re not.
> Can you compare Metasonix to other companies making tube euro modules (Erica Synth, Trogotronic etc) or other tube gear?
Most of the other tube gear i have used is either studio equipment or guitar related, for the most part designed following the historical design paths...great sounding, refined, but not much" new”. I haven’t found a manufacturer that approaches tube based designs for instruments in the vein of Metasonix. perfect balance between euphoria and frustration....the reaction that keeps on giving...you need both aspects to evolve.
> And what's your opinion of the current saturated eurorack market?
I stay away from most of it. I work with systems that i can call instruments, from single manufacturers. I like the idea of one designer approaching it all.
I like to keep them small-ish, in order to really learn them and utilize certain modules in ways you wouldn’t if they were part of a bigger system.
My opinion is that modules are becoming more and more complex, and there are so many of them, so affordable, that you could plug something new in any week, and satisfy the need for new sounds.
There’s rarely a chance to develop a dialogue with the system where you understand its limitations and stimulate a way to grow your own language.
Being stuck with a few modules or one single instrument for a long time, learning its flaws/advantages, working around them or with them....these are the things that trigger personality and style growth, musically.
It’s like cooking a recipe only once...you’ll never really master it nor learn all the nuances of the dish unless you keep at it and find ways to make it interesting...you know?
I am not against Eurorack and the amount of possibilities available these days. I just think it shifted the user’s strength from quality to quantity, creatively speaking: everything sounds super rich and complex, ever changing, with a multitude of sonic colors....like using an immensely varied vocabulary, but not saying much that is meaningful in the end.
I think there’s more diligence required from a user’s side in order to really develop your own voice these days, given the number of readily available tools.
And here's a photo of Alessandro's D-2000 and S-2000, in the studio: