The Case for Character: Why I Design My Own Creative Tools
In the world of electronic music, we are defined by the tools we choose. Whether it is a vintage hardware synth or a modern VST, the interface between the artist and the sound influences the final result.
While many believe that a classic piece of gear like a DX7 sounds different in every artist's hands, I believe that in the software world, creativity is deeply tied to software design. It isn't just about the sonic output; it's about the layout, the workflow, and the speed at which an idea can move from your mind into the DAW.
For the past 20 years, I've navigated the independent music and multimedia sectors. Recently, I've found myself moving away from "industry standard" tools to build my own. Here is why.
The Problem with "Everything" Synths
We live in an era of incredible power. Plugins like Serum or Pigments are marvels of engineering — they can do almost anything. However, that limitless potential can often become overwhelming.
When I am in the middle of a session, I don't want to get bogged down in a complex modulation matrix just to find a starting point. Making music, for me, is a physical and visceral experience. You need to be quick to capture an idea. If you spend three hours designing a sound from scratch, the initial spark is often long gone.
I find that I often go back to specific plugins because I love their "voice." They aren't trying to be everything to everyone; they have a specific character.
Avoiding the "Standard" Sound
There is a certain fatigue that comes from everyone using the same tools. If every producer is using the same saturation or the same wavetable synth, the music starts to share a certain DNA that can feel, frankly, a bit predictable.
I wanted to create something that didn't exist yet — combinations of effects, specific distortions, or randomization capabilities that I had only ever imagined. By building my own tools, I can access "inspiration machines" that provide a unique sound that hasn't been heard a thousand times before.
Workflow as a Creative Collaborator
My goal with All The Machines is to build plugins with distinct quirks. I want a tool that I can load up, use a default preset, and immediately find a sound that resonates.
I am particularly interested in randomization. There is something beautiful about a plugin that responds to the "sporadic energy" of a performance. It turns the software from a static tool into a creative collaborator that can surprise you.
From Personal Use to Public Release
Initially, I built these tools for my own professional scoring work as Theatre of Delays. I needed specific sounds for dark ambient landscapes and cinematic textures that I just couldn't find elsewhere.
But as I developed them, I realized that other creators might find these "inspiration machines" useful too. If a tool helps me work faster and stay in a creative flow, there's a good chance it will do the same for someone else.
There is still so much space in the plugin world for new ideas, unique interfaces, and — most importantly — character. I'm looking forward to sharing these new tools with you very soon.
Originally published on Medium