I’d like to know about your studio equipment (hw and sw) and your method of work.
I keep a lean studio. Since I play the synthesizer, tin-whistle, guqin (Li MingZhong), theremin (Moog Epro and Etherwave) and sing, I pull together what I need as and when I need them.
While in the USA, I have relied on my power horses; G4 Powerbook, K2661, AKG C3000 and Yamaha O1X brought over from Singapore, OB12 bought in the UK and Alesis monitors purchased in America. The K2661 is an intuitive synth and provides me with many levels of programming options. Together with its 4 independent effects engines and live performance flexibility, I really don’t need much more. Vision DSP and Cubase SX have been my sequencers of choice for digital tracking. I use effects pedals and units with my Theremin and Guqin.
I work from inspiration and with what I have rather then acquire a synthesizer because of its sound library. This is much more challenging and interesting. A broad exposure and understanding of how things work is a must in my method. After that it could begin with a project requirement, a lyric, an instrument, an idea.
You will notice that “Shueh-li’s Xenovibes” the CD has its own theme and emphasis; the more ethnic-electronica style I felt obligated to reproduce in “Music From Another Land” for it became what the mainstream public came to expect.
What kind of fx you used for the theremin in “Music for another Land”?
The Theremin is basically modulated with distortion, flanging and heavy delay on the album. I start with the basics and build the effects to serve 2 purposes; the CD and for concert performance.