When and why did you start to make spectrum music?
It's hard to say now. It was in 2000 year, I've been finishing
my studying in the music school. We have a group 'crazy codes',
a club of associates, to be more exact, and there were all
categories of creative people (I mean coders, artists,
hardwarers), but there was no musician.
So happened, once I've been sitting at home, reading the new
issue of Born Dead, Pulsar (Di at that time) called me by phone
and began to bother me asking to make music. And I had a
strange thought at that time, that everybody make music on
Basic. Of course, I didn't want to involve myself into this, so
I tried hard to reject until Pulsar told me that I just have to
load a program with a strange name - Pro Tracker.
So, right after this event in 2000 year I began to make music.
I suppose, the first technical experience you gained exploring
someone's tunes for samples, ornaments and other tricks. Who
was that spectrum musician who influenced your music and whom
you can call your teacher?
I can say without any doubts that my first 'teacher' was
Mast / FTL. His creations I explored for hours - searched for
interesting technical ideas and tricks, I had a notebook where
I put them and learned while being at school lessons. By the
way, this notebook is still alive - I keep it as a memory about
turning me into a musician.
Also, I can note the influence of Black Grrove. The CIC group
had a very tight contacts with the Perm guys, so they often
exchanged with their works. In the same 2000 year J / CIC
brought a lot of BG's tracks, which I also listened and
analized.
And MMCM affected me too.
What was the first music editor that you used?
Pro Tracker 3.4f
What do you think about your past as a spectrum musician, what
important moments in your progression can you note?
2000 - the very start - all compositions are very primitive, so
it's a big shame to show them.
2001 - the year of my 'ressurection' in the music sphere. It
was February. It was close to the birthday of J / CIC and after
3 months of lazyness I sat down behind Pro Tracker and made a
remix of 'Milaya moja' song:) And then was a breakthru - my
attendance to the ASCII party and so on.
2002 - my acquaintance with Nik-O. And after that during the
next 1,5 years (until May of 2003) he influenced me much.
Anyway, he put a lot of efforts to make me move and develop
instead of staying at one place. He gave me as many advises as
no one else did.
2003 - the year of my musical tastes' change. I was a popsy guy
before, but till September I greatly changed. I like trance,
ambient - everything is so obscure. Though I make pop, but
mainly on Pulsar's requests. I think, when the litpack of our
litgroup 'Vtorye Miry' will be released, you'll hear, how I've
changed.
How do you think, do you have any fans, and what do you think
they particularly like in your music? Would you like to say
some words for them?
I don't know, whether I have fans or not, cos I got letters
saying that somebody like my music only from few people.
Although, there are some. What to say? I am what I am and I
won't change under any pressure.
What musical instruments do you use (if you ever used) during
composing prosess? Do you have any experience of musicmaking on
other platforms? What do you think about it?
I often use my 'Yamaha psr 540' sinthesizer - mainly for drums
and bass parts. And my bayan for solos.
I have some experience of musicmaking on the other platforms,
though it's not too significant. I should say, that nothing can
replace Spectrum as a machine for composing for me yet. It's
more interesting and pleasing to compose on Spectrum, than
somewhere else.
Do you like to criticize yourself? What is the weakest spot in
your techniques (rythm, melody, arrangement or something else)?
I have one weak spot, I think, - it's envelope. I am often
displeased with the way I use it in my tracks, but I can't do
anything. On the other hand, many of those, whom I contact
with, like my envelope. What about rythm and melody - I've
never had a lack of ideas for this stuff.
What kind of music do you listen, what bands / projects affect
you, what moods and feelings you try to put in your own
compositions? Remixes: what do you think of this?
Trip hop, ambient, rock, pop (a little). I adore Portishead and
Radiohead, I'm fond of Red Snapper and Metallica, respect
'Korol I Shut'.
The feelings are different everytime. For examle, my 'Highway
to Sky '(3rd place at ASCII'03) - I see a huge highway, leading
to the sky, with the racing sportcars, passing each other, they
horn, collide ... To be the first in Heaven! Before I made this
track I spent some time in a car, moving on a highway and these
feelings were realised in this track.
I try to put those feelings that I have while composing. I
can't remember any track made against my moral conditions, it's
unnatural for me.
I think remixes help a musician to develop his techniques and
ear. I make it mainly when I like music very much or if
somebody ask me to do so.
What music compos did you participate in, what was the highest
rate and what do you think about your achievements?
What parties? There are a lot of them, ok, I'll try to mention
all:
ascii'2001 (2nd'n'5th place), cc'2001 (couldn't pass the
preselect), phat1 (13th'n'14th place), ascii'2002 (2nd'n'6th
place), forever'02 (13th'n'16th place), CAFe'2002 (18th place),
phat'2 (?), antigue toy (7th place), ascii'2003 (1st'n'3rd
place), forever'2003 (8th place), paradigmuz'2003 (3rd place),
CAFe'2003 (13th place)
However, I can say that at CAFe'2003 the sound system was too
weak for the whole hall. As a result, the drums were too quiet
(The right channel). This also happened with many other tracks
with silent instruments.
What do you feel when your track is playing on a party? Are you
concerned with sound equipment, people that vote or it doesn't
bother you much?
I guess, the only thing that bothers is to hear my track
playing correctly. Nothing else. Of course, I want to win, but
fairly - at CAFe'2003 I put no marks for all of OCA works to
be honest at least in this aspect.
Do you have any interesting ideas about the future of spectrum
music? Maybe there are some hardware or software innovations
that you would like to have?
Newart is develping the idea about new tracker, supporting the
frequency of 100 times per second music reproduction. I think
it will give a new stimulus in the AY music developing. Also I
long for a 6 channel editor for double AY from Himik - it will
be the real breakthru in AY music. SO, there are a lot of
hopeful prospects here.
What is the most interesting aspect in spectrum music composing
for you - to perfect your skills within the bounds of one
'Style' or 'genre', or to continue the thorny path of
experiments with sound and techniques?
I experiment often for the last time, but such tracks form an
independent field in my creativity. I commonly try to realise
the idea that appear and develop during its realisation. To
hold to the certain style, I guess, is not for me. Anyway, I
suppose, that I have no personal style, cos I compose different
music.
Can you tell us some your original ideas that you want to
realize in your music, maybe you want to make a demo or a game
soundtrack, maybe just to try what you have never tried yet,
the new field of applying your talent?
No, alas, I have nothing to try. I realised myself in demos,
games and for the press. There are some funny ideas from AlCo -
to make a channel track or a sample track. However, I've
already done the last, I'll proceed with the first now:)
Oh, almost forgot, I dream to make a track with two opposite
moods, harmonically tied to each other, for a few months. I've
never done it before.
What do you think about co-operative composing, is it
interesting for you, whom would you like to make music with?
Please name three authors among the contemporary spectrum
musicians that you like most.
I tried for a few times, but it didn't come out. It's
interesting, but requests the similarity of styles of both
authors, otherwise it can result in a full mess.
Nik-O, Miguel, D-Juice.
Can you say some words of advise for those musicians who are
just starting out? 17.
To become a good musician you need to work much, take the
experiments. No need to repeat the old tricks - try to figure
out your own to put your personality in your tracks.
