One thing that strikes me when listening to Bipp is how everything is carefully tuned - from the drums to the bass and the lead and even the little metallic sprinkles - and twists and turns to the drive of the song. With electronic dance music, the different layers are usually very apparently there. You, on the other hand, seem to make it seamless, with just the right amount of interesting Kelvin-Helmholtz-instabilities between the layers. How do you do it? Do you have to bring it all together in your mind before you start fiddling with the instruments?
In terms of splitting/layers within music, absolutely. I'm rather fixated on this idea of a a monophonic, elastic, full frequency range morphing composition. The language of electronic music shouldn't still be referencing obsolete instruments like kick drum or clap. No one's kicking or clapping. They don't have to! So it makes more sense in my mind to discard those ideas of polyphony and traditional roles of instrumentation. It seems wacky to me that most DAW software is still designed around having drums/bass/keyboard/vocal presets for production. That's what I find liberating about the Monomachine. It's just waveforms that can be pushed into shapes and materials and sequenced. Just like a sculpture machine. Not like a computer pretending to be a band form the 70's or whatever.
Are the metallic sprinkles or any of the other Bipp sounds made on the Monomachine? Any of the Lemonade sounds?
Yeah, Lemonade is a fair bit of Monomachine. Some of the essential Bipp sounds are Monomachine also. The elastic parts. Most ideas for sounds are initially worked out on the Monomachine. Sometimes those techniques will then be replicated on the computer if a certain soft-synth is more stable or flexible in a certain way. But I really like the Monomachine for two things. Sketches and sound design. I sketch out loops/rhythms and melodic ideas. By being limited to 6 monophonic lines you have to constantly take away things that aren't important or adding interest. Also the fact that all percussive and melodic elements are synthesized and you have the ability to copy machine or copy melody means that a melodic line can become a percussive or vice versa or the material of a sound can be altered or layered. The other aspect is sound design and obviously having various synthesis methods being controlled by the same group of parameters gives you a lot of control and flexibility with regard to tones and timbres. You can just take a bassline made out of elastic and try it in metal. At least that's the way I think of it. It's the machine I feel most fluent working on if I have an idea for a sound. I can experiment with it most quickly there. Like I've synthesized ideas for latex, balloons, bubbles, metal, plastic, elastic all on the Mono. I wish it had the Overbridge thing too.