December 1, 2024

T.Raumschmiere – ‘I don’t give a sh** where it comes from … analog, digital, a cow’s fart … who cares?’ – Tech-Talk with DJ Wildhoney

0
t
🇺🇦 Side-Line stands with Ukraine - Show your Support

T.Raumschmiere is the electro-punk project of the German techno-producer Marco Haas. He runs his own label Shitkatapult and very recently released his latest album “T.Raumschmiere”.

SL: How long ago did you buy your first keyboard ever? Which technology did it use (MIDI, 3.5″ floppy disks,…) and do you still own it?

MH: The first machine I bought was a Roland MC-303 in 1996. It is based on samples of the 303, 808, 909 and Juno series. It had a sequencer so you could do complete tracks with it. I also had a distortion pedal and a flanger pedal. The first keyboard I bought was a Moog Polymoog which I got very very cheap from a music store in my area that closed down and kicked everything out. I do not own both of them anymore because after a while I used all the functions and sounds and wanted to hear something new. Also, if I’d keep every machine my studio would explode right now. So I sell old shit to get new one …

SL: Which computer(s) and software do you currently use in your (home)studio?

MH: I use a 27-inch i-Mac and Cubase with one RME Fireface 800, and 2 RME Hammerfalls connected to it. Since I use the computer mainly for multitrack recording that’s ok for me. Even on mix jobs it’s still ok. I have some analog outboard connected.

SL: Can you describe all synth gear and hardware you use nowadays? Which piece is the most valuable for you?

MH: That would be a long list. As mentioned above my studio is packed with shit and it changes all the time. My most valuable pieces at the moment would be the Korg MS-10, the Vermona Per4mer, the Chaos-Engine, the Koma RH301 and the Dave Smith Poly Evolver.

SL: When performing live, which keyboards and software do you use on stage?

MH: It depends on with what project I perform live. When I do T.Raumschmiere rave sessions I mainly use an MPC1000, 3 Kaosspads, 1-2 Monotrons and a microphone. When I do T.Raumschmiere ambient shows I use Ableton Live and a Korg MS20 Mini or a Monotribe.

SL: According to your opinion, which are the most legendary synths ever produced?

MH: Well I guess that’s a question of taste and how you want it to sound in the end. And it doesn’t have to be vintage to sound good. For example I’m a huge fan of the Memorymoog, the MS-10, the Juno 60. But I also love the Dave Smith Poly Evolver, the Vermona Per4mer or the Dreadbox Erebus.

SL: And which are according to you the biggest synth artists/bands ever?

MH: Hm, at the moment I highly celebrate Esplendor Geométrico. But there are so many good synth bands out there …

SL: Share with us the worst case scenario that ever happened to you live on stage or in the studio!

MH: Sometimes I wonder why there never was anything bad happening to me or my equipment on stage since I jump around like a maniac and pull water (and other liquids) everywhere. Really, I must be a lucky bastard (knock on wood). I really can’t remember a major fuck up. Or I was just to drunk to care and just went on with the show and what was left. Improvisation is part of the job.

SL: The unavoidable question: do you prefer analog or digital synths more? And what’s your opinion about the virtual analog concept?

MH: To be honest: I couldn’t care less. If it sounds good I don’t give a sh** where it comes from … analog, digital, a cows fart … who cares … Most important thing is that you have a good song/idea. If you write a bad song/track you can have the best analog and/or digital equipment in the universe and it would still suck.

SL: Isn’t the digital technology evolving too quick and becoming too complicated for artists nowadays?

MH: It is. But you don’t have to follow that, right? I mean come on, we’re not slaves of the equipment/software industry.

SL: How will the future of creating electronic music look like?

MH: I have no fuckin clue.

author avatar
Filip Wildhoney

Since you’re here …

… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. Unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can - and we refuse to add annoying advertising. So you can see why we need to ask for your help.

Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.

If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.

The donations are safely powered by Paypal.

Select a Donation Option (USD)

Enter Donation Amount (USD)

Verified by MonsterInsights