Sonik synth 3
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In general we wanted to try to find new answers to old problems… We also took a choice selection of our own ‘weapons of choice’ including a Moog Voyager, an EMS Synthi AKS, a Fenix modular, and some favourite special effects like the Moog MuRF, some Earthquaker Devices harmonizer pedals, and different types of ambience processors- a Boss RRV-10 which I’ve used on and off since Spacemen 3, and the Boss Tera Echo- again, a new type of ambience processor that gives very squeezed sounding effects, kind of a special watery cross between a warped reverb and delay. They also had a bunch of instruments & pairs of the 3 or 4 best Neumann mics. The studio had one of those massive Neve desks and all the side-cars loaded with dozens of tone Equalizers’s, recording Pre-Amps and Limiters. We were recording at an old radio studio in Lisbon, Portugal called ‘Namouche’ (Bullseye). The album sounds great, can you tell us a bit about the gear you used in the studio? The chance to see “what if…?” and reap the results. I always joke to him, “it’s the hardest… but the best.” We definitely set a hard task for ourselves and challenge our technological abilities, as well as musical ones, to the max.
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It’s only occasionally I feel fully 200% aligned with who I’m working with, that extra level where you’re coming from slightly different perspectives and disciplines, and I’ve always felt that with Panda Bear. I know we both have high aims, and even if we don’t always reach them, the fact that we ARE reaching is really important to me. Knowing he’s kind of chill and easy going puts more pressure in a weird way to deserve it (that’s all in me and not his intention). He certainly knows it’s my favourite thing to work on his stuff he has a real generosity in collaboration that I think bears him good results.
![sonik synth 3 sonik synth 3](https://www.nstuffmusic.com/images/product/large/ae00-32633.jpg)
I think there was a point where Noah thought I’d be a useful adjunct and 2nd opinion (working solo in a vacuum of self-questioning is always a tough place to inhabit). The Grim Reaper LP sort of followed the same process. So we started a general convo about music and collaborating and stuff and that eventually led to him asking if I would help him out mixing Tomboy for LP release. I noticed on the inner sleeve that he’d thanked maybe 100 bands and artistes that he felt were influential to him- including Spacemen 3 – so I emailed him to say I loved his all records I could find and if he was interested I’d be jazzed to do some shows or maybe a collaboration. I bought the record and really loved it and started to backtrack. I first heard his stuff at a friends birthday when the Person Pitch LP came out. The Grim Reaper is the second album you’ve worked on with Panda Bear, how did you two start working together? Recent mastering includes Sun Araw, Wooden Shjips, Merchandise, Lakker, Walls, ODMB, The Spectres, Peaking Lights, and Velcro hooks. Production-wise, recent projects include Dual Split, Vacant Lots, MGMT, Cheval Sombre, and Panda Bear.
#Sonik synth 3 plus#
Plus collaborative projects with- amongst others- Silver Apples, Delia Derbyshire (Radiophonic workshop), Stereolab, Magnetophone, Kevin Shields (MBV), Eddie Prevost (AMM) & Aaron Coyes (Peaking Lights).
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My own projects as Sonic Boom include Spacemen 3, Spectrum, and EAR. I’ve been making and releasing records and performing shows since the mid 80’s. I’m a musician, producer and mastering engineer. For starters, can you tell us who you are and what it is you do?