Setting up this new interview series ’20 Questions’ has been a total pleasure so far, it’s great to learn more about the makers in our space and to see more of them than the products they release. Continuing the series here we have Graham of Sonocurrent, someone who’s modules look and sound fantastic while providing useful functions to be creative with.
01 How would you introduce yourself to someone who has no idea who you are and no idea of the modular, synth, & music tech spaces?
When asked what I do by someone who might not know about music technology, or even music in general, I simply say that I design electronic music instruments, and this usually leads to the right follow-up questions if people are interested. We might then talk about modular synthesizers, which many people have actually seen or heard at some point without knowing it or thinking much about it at the time, or perhaps we just talk about different forms of electronic music, which can often be a better entry point to understanding what the instruments are.
02 How would you introduce yourself to someone who is aware of modular, synth & music tech worlds?
I would still describe myself as an instrument designer, and some keywords which will likely come up sooner with someone who has more specific knowledge in related areas might be: Eurorack, performance controls, ergonomics, user interface, experimental music, sound design. At some point the conversation will likely involve quite a bit of talk about distortion, and potentially various forms of heavy or extreme music, although I do listen to quite a broad range of music.
People might also be interested to know that I have previously worked as a graphic designer, photographer, book artist and hand bookbinder, that I became involved in electronic music in the early and mid-nineties, took a break from trying to make music for some years, and came back to it around 2013, after which I also started to think about making instruments in some manner. I also play—to some extent— keyboards, bass, guitars, and some percussion, and I am still working on the music I keep saying I would like to release someday.
03 What were your early influences for getting into what you do now?
Some of my earliest influences regarding electronic music and sound would be watching Doctor Who and seeing the first Star Wars film. Early synth-pop would have had some influence, more for the sound design than the songs, and at some point I would have been listening to quite a lot of metal but shifting into what we generally call industrial music as well. I am naturally drawn toward sounds that are unconventional, experimental, and sometimes extreme, and I think that long arc from 1970s science fiction to early 1990s industrial music had a common element of exploring what sounds could be, how the structure of a sound might affect us at least as much as rhythm, melody, harmony, and so forth.
That feeling of exploration and experimentation naturally leads from constantly looking for new music to thinking about the possibility of making some of it too, and perhaps for me that eventually became thinking about making the instruments as well.
04 What was the first thing you created either as Sonocurrent or something for yourself?
In terms of early development, I actually started by filling a notebook with drawings for various utility and control modules, because in the modular context, these are the functions which are often most exciting to me personally. The open architecture of a modular system: initially undefined and endlessly redefined, is the primary appeal of the format for me, so the sort of connectivity functions some people refer to as plumbing are especially interesting in terms of exploring something that might not be possible any other way. Similarly, exploring utility functions in the modular world which are not typical in more traditional synthesizers is part of that journey too. The question for me, whether making my own music or designing instruments, is always about curiosity and discovery of something unknown, and while something like a more traditional keyboard can certainly lead somewhere new and different, that experience might be more about composition, performance, etc. For me, with a modular system, the architecture is like a seed that is planted, with sound design and structure growing from that potential and being my primary focus. Naturally, there is plenty of overlap, but if I would have an idea of an interesting bass line, I would probably just walk over to a keyboard and play that, perhaps tweaking the sound a bit at first. When I want to wander a bit more in uncharted territory, I will head over to the modular system and start a fresh patch. So, connectivity and low-level functions are actually very exciting to me, because that is where constantly redrawing the map really happens for me when making music.
Performance controls, and the physicality of an instrument, are also very important to me, so I also spent quite a bit of time in the beginning making drawings and models to consider some ergonomic questions, establish a layout system that I felt would work well over a range of modules, and with my graphic design background, some attention to the visual identity of the modules and brand just felt natural at this point too. As an aside, I like to have some sort of identity for any project before I progress much with it; even just something like a working title or name helps me feel more connected to it in some way, and then I can go about getting to know it better and figuring out what it is really going to be.
So, with a notebook full of drawings and a few cardboard panels with knobs attached sitting on the desk, I did have some doubts about my first product offering being something that might be viewed as too utilitarian, and I moved on to the M T2D distortion module, and looking ahead to the next question, we can look at that in more detail in just a moment.
05 What was the first product you brought to market and how was that received?
The M T2D dual triode distortion was the first Sonocurrent release, in 2019, and it was reasonably well-received at the first few events, despite the brand being new and unknown at that point, so that was encouraging as I was still getting started on the business side of things. Almost everyone who tried it in person liked it quite a bit, and felt that it was something different in terms of character and range. This was very important to me, as I felt most other distortion modules at the time emphasized a specific, distinctive sound, but were not as versatile as I might like sometimes, so creating a distortion module which could be relatively extreme as well as more subtle was a key point in the design. I also wanted it to be as playable as possible, not simply a set-and-forget effect at the end of a signal chain, and it mostly fulfilled that need as well.
It was a little more challenging to get the online visibility and response to a similar level and feeling as what I would get at the in-person events, and social media is still something that occasionally makes no sense to me. There was also the global pandemic the following year, which unfortunately came right as everything seemed to be picking up momentum with the business, so that was a setback which had little to do with the module, but certainly impacted the follow-up.
06 How did making that first product influence the next one? Any lessons learned to pass onto others?
The next modules, the M C3A and C GF4, were already in mind as I was finishing work on the M T2D, so that span of development feels more like one window in time, and there was not so much reflection on the first module to feed into the design process for the next two. I did already have a few small refinements in mind, such as improvements to the LED indicators, which made it onto the next modules. Some changes in suppliers made things a bit smoother with regard to manufacturing too.
Over the years, I have thought of some interface details for the M T2D which I would do differently now, and there are a few additional features which did not fit in the original design but would be good to have—I have had a few requests for these too—like voltage control of the feedback levels and tilt functions, and bypass switching. I am comfortable with making modules that are a bit larger than average—this one is 18HP—to favor a better control layout for live playability, but I thought adding even more controls and making the module over 20HP would be too limiting in terms of other considerations: what fits reasonably in most artists’ live cases, for instance. This also leads to the question of expander modules, where perhaps we can have all of the extra functions available for those who want them, and a more compact core module for people who do not need every option; I might be more inclined toward that approach now than I was at the time the M T2D was developed.
Perhaps the greatest feedback I carry forward from the earlier releases is to have as much artist feedback and testing as possible when developing a new instrument. When I started out, I did not know many people in the industry, or have much of a creative community around me where I live, so I was quite limited in who could help me with testing and constructive criticism. One of the greatest experiences in designing instruments is to see how someone else will use it in a way you never imagined, and it is very helpful to see some of that during the development process too.
07 Would you say you make things for yourself? How much community influence comes into play with new ideas?
Community influence is important, but it is indirect. My initial concepts often come from something I would like to use, which either does not exist, or perhaps does not exist in a way that I find satisfying, and then the concept will evolve from that based on discussions with others and what I see and hear happening in the scene overall. I do not set out to make things exactly to fit my own needs, and I do not chase after trying to make something tailored to what I think someone else wants; there is some sort of triangulation going on to make a best fit given all available input.
08 How do you decide on the value ranges for the controls or CV inputs on your modules?
In many instances, 0 to 5V seems like a reasonable baseline. Some cases call for something else: for instance, the crossfade voltage control inputs on the M C3A crossfade array expect -2.5V to +2.5V, which matches several of my most-used LFO modules from other makers for a full sweep; anything greater can be attenuated down as needed.
I could make a case for a higher range on something like a VCA, because many envelopes will peak higher than 5V, although I am a strong proponent of having onboard attenuators for all of the CV inputs so that can always bring things in range anyway.
09 Generally speaking, what do your products offer that others don’t?
I believe my consideration of the user interface and the physical feel of the modules stand out a bit. Many other modules might sound great or offer some unique function, but do not have an interface which is intuitive and comfortable to use in as many circumstances as possible, in which case I find a module like that much less appealing to play with. My design process, after coming up with the overall functional concept, is to then create the best interface and work back from there to other technical details. Ultimately, the modules need to feel good in the hands, look inviting to explore, and with a reasonable amount of familiarity will become a natural element of whatever you are trying to do creatively.
10 What are some of the challenges in manufacturing, any tips to share?
One problem that arose with the M T2D was that the initial batch of faceplates was entirely unusable, and dealing with that particular contract manufacturer was very frustrating and rather slow, so while I revealed the module at Superbooth in May of 2019, I did not actually have any units to ship until August of that year, which was naturally very awkward, especially as I was just getting started and everything felt a bit precarious until orders were actually coming in and shipments were going out.
Later, with the C GF4 set, there was an error with one line mysteriously disappearing in the copy of the bill of materials which was sent to the PCBA manufacturer, resulting in some very time-consuming hand rework to correct all of the resistor values.
I imagine the initial lesson from these examples is to always verify everything, and then verify it again, whether we are working with someone we do not really know or working with a trusted and very capable partner, because any of us will make a mistake at some point, and with so many details involved in these processes, any small error will likely have a major impact.
Overall, it probably comes down to maintaining good communication, not only in thoroughly keeping track of technical matters, but in building strong human connections as well, which is the part that might not get discussed as often and is actually even more important in the long term.
11 How do classic instruments and designs influence your own work?
There are certain classic instruments over the years which influence both my design work and my music, often in terms of architecture and workflow. I had occasional contact with an EMS Synthi A during my undergraduate years, and that was probably my first experience with a truly semi-modular architecture. I have always admired the visual and physical interface of those instruments as well. The Arp 2600 always seemed inspiring at a distance somehow, although it was only a few years ago that I first played one—it does indeed meet expectations, incidentally.
There are several classic synthesizers I have been able to play at some point, and most of these were great instruments which inspired musical ideas in some way, but not always the design work I am doing now. Generally, I am probably most drawn to looking at interfaces, the feel of the controls, and especially the architecture. I remember the first time I saw a Kawai XD–5, and the fact that amplitude modulation between drum samples was a possibility on that instrument was a very interesting design choice, especially at a time when so many sample-based synths were rather limiting in their architecture.
12 Do you find inspiration in areas outside of the one you work within?
Absolutely, and beyond music I read and look at a broad range of visual art, design, architecture, and film. As a child, I imagined I would be some sort of scientist—astronomy and physics were most prominent—and I still enjoy science and especially the natural world, whether that means watching the night sky, listening to insect songs, birds, frogs, or just taking in an inspiring landscape; what exactly makes a landscape inspiring could be a topic for a very long conversation too. I would not exactly say that I am deliberately looking for inspiration for instrument design in art or architecture, or the design of lamps, or power plant control panels, or birds and insects singing or flower petals and seed pods blown along the edge of the street, rather that everything comes together in my mind and will naturally shape whatever comes back out.
I also have some degree of interaction between senses, and I often find that I can mentally concentrate on one medium while doing something in another: a good idea for sound or music will often come to me while working on something visual, and interesting visual concepts will occur to me while playing music, so this probably relates to taking in as much as possible through different senses and types of expression. Changing focus of senses or media is also how I can relax when I need a break.
13 What would you do if you weren’t designing and making gear?
I honestly do not know, and I promise that is not meant as an evasion.
Something else in a technical role which supports other artists doing what they do would probably still be satisfying.
14 Whose equipment besides your own inspires you and why?
This is a difficult question in that I have met so many great people who are all designing some very interesting instruments, that choosing another modular brand invariably omits mention of someone else who is also deserving in some way. That being said, and with the hope of finding a balance of giving a meaningful answer and not just listing everyone I know and appreciate, I would say within the modular universe there are a few brands from which I could assemble a full case of only their modules, and be quite content with it: Joranalogue, Frap Tools, and Xaoc Devices all just feel very natural and appealing to me in their system approach, interfaces, range of functions, and visual aesthetics, so if there would ever be a single-brand case challenge I would probably choose one of those.
Outside of modular synthesizers, a really well-crafted guitar or bass is very inspirational. The physicality is more direct with these instruments, naturally, and the materials can be engaging beyond how they sound. I have a PRS Custom 24 which was really quite a stretch for me financially, but I bought it anyway because it just felt right in a way that is very hard to express in words, and it is also quite beautiful to look at, so there is an emotional transition which happens when picking up that instrument and I think something like that should be the goal of any instrument design: for an artist to just feel empowered to create something because the instrument sets them on that path.
Also, I will mention the Kerwax Replica, because while I have not had the opportunity to use one of these processors, the front panel design is impressive and inviting, and I would definitely like to hear one in action someday.
15 What was the last product you created?
The C GF4 and C GF4e set and the M C3A are the latest modules to be released, and it has been quite some time now since those appeared. I have had several different concepts in development since then, some of which I put on hold for various reasons like supply chain or manufacturing concerns, and some of which I set aside because something else came into the market and I felt my design could use better differentiation. A few of my ideas also just exceed my current technical reach, so they are waiting for me to catch up with myself in that regard, or to find an alternate design I will be content with.
16 Rather than ask “what’s next?” Where is your current inspiration and thinking for your future?
I have long been interested in semi-modular systems, and that is something which continues to stay with me when thinking about new instruments. The concept of a guided introduction to the instrument, by way of a default architecture and normaled connections, appeals to me as an entry point for people who are just getting started, or are those who are simply looking for a quick inspiration. The semi-modular approach can still be rerouted and repurposed readily to be something else, retaining the potential to go in a completely different direction in the hands of a more experienced person who wants to explore freely. It also seems like an interesting interaction to be able, as a designer, to suggest relationships, paths, and methods, while simultaneously encouraging the user to ignore as much of that suggestion as they see fit.
I have also come to realize that some of my concepts really should be implemented as digital modules, even though that is not an area of experience for me yet, which points again to why it has been so long since I have had a new announcement. At the same time, this feels like a tremendous opportunity because I am finding new inspiration for things I would not have been thinking about if I were constraining myself to pure analog designs.
One other inspiration and desire for the future: I have always liked the feeling and workflow around rackmount processing—dynamics, EQ, and so forth—and I have some ideas which would fit nicely into the larger panels of a 19-inch rackmount format rather than Eurorack. Without getting too specific, I will simply say that I have something a bit more unusual in mind than just switching over to designing attractive equalizers.
17 What’s a piece of music you’d like us to check out?
The latest Puscifer album, Normal Isn’t, is one thing which has definitely been holding my attention lately. The songs are great, and the production is outstanding. I also saw them on tour quite recently: they played the entire album, which is a bit unusual, and I was struck by how powerful these songs were live, as well as the staging and production. As a more personal note, my mental health has been a challenge in recent months, and this album managed to help with a change of direction in that regard, so with all of that in mind it is the clear choice if I limit myself to one recommendation.
18 What is something unrelated you’d like to mention for people to check out or be aware of?
I am not certain this is sufficiently unrelated, but in February I saw an outstanding exhibition of Australian Indigenous art at the National Gallery of Art in Washington DC. It has now moved on, and I recommend it to anyone who will be close to any of the other venues; there is also an exhibition book available for those who are not. https://www.nga.gov/exhibitions/stars-we-do-not-see
19 What’s a question you wish I had asked?
Perhaps something exploring intersections of music theory and technology, although a specific question eludes me at the moment as I have left this question last, and it is now quite late.
While my depth—and memory—of music theory is nothing exceptional, I have had a few great conversations along these lines over the years, and I would be interested to see more discussion of how theory and technology interact, feed back on each other, and so forth.
20 To end the questions here’s one from the previous guest and what’s a question you’d like me to ask the next guest?
Question from Jon-Mark of Apollo View (our previous guest) // What tool, resource, or piece of knowledge do you rely on now that you wish had existed when you were starting out? And is there something that still doesn’t exist that would help others on their journey into making synths?
One piece of experience I would like to have gained a bit more quickly was to relax more at the trade shows, and enjoy the whole experience beyond the essentials of having something to present, constantly minding the table, and making sure everything looks perfect. With Superbooth coming up again—in less than two weeks as I write this—it feels timely to mention how that event has always emphasized the exchange of creative ideas and fostering connection within the community, not only a showcase of products. I first went to Superbooth as a visitor in 2017 when I was just starting Sonocurrent, and again in 2019 for my first event as an exhibitor, and I really felt an affinity with that mindset from the beginning. However, it took a few years for me to really loosen up and take a bit more time away from my table to see more of what other designers and builders are sharing, to catch part of a performance or presentation, to just eat properly at some point during the event, or to stay out entirely too late afterward, because at all of the events I have done over the years now, some of the best inspiration and strongest connections have come from the experience beyond the exhibit area.
…which is not to evade any particular wisdom regarding development and manufacturing—I am still very much working out all of that myself—but rather to emphasize the social aspect of how we develop as people creating new instruments, and the importance of why we have set out to do this in the first place.
Question from you for the next guest // What is the most interesting trade show interaction you have had to date?
Thank you to Graham for taking the time to answer our questions, I really enjoy reading these back and preparing these posts to share with others. Head to https://www.sonocurrent.com/ and you’ll find everything related over there.
