INSIGHT 007
MIKE SHANNON
MFA: Can you walk us through your creative process when starting a new project? How do you find and develop your ideas?
MS: I usually start with a bass hook or a melody and then write from there. I’ll make several variations of that hook with MIDI and then start searching to make the right patch.
Interesting - so sound design often follows the initial idea. How do you balance technical skills with creativity in your process? Are there any specific techniques, tools, or processes that you rely on?
For me it’s all about finding that memorable hook that usually comes from different combinations - sometimes it’s playing it out on the keyboard when there’s something really specific in mind. But quite often I rely on sequencers to help find what I’m looking for.
Nice - sequencing technology has come a long way when it comes to finding new material. So what happens when you hit a wall in the studio? What are your strategies for getting unstuck?
Same thing - I often turn to sequencers to give me some inspiration. I’ve really been into using software sequencers to help when I hit a creative wall. I’ve really been into using Manifest Audio sequencers and then recording the MIDI to another clip in Live and then creating variations from there.
That’s awesome to hear. I find recording them to MIDI and editing the result can be quite fruitful as well. So can you share a particular project or track that challenged you recently, and how you overcame those challenges?
I’m actually working on the second version of a remix right now for an Australian producer, Sammy Alexander. Sometimes with remixes you need to add some additional production and personal flavor to the mix. Usually this can come easy for me but in this case Pattern Engine really saved the day. Just got the right inspiration I needed to keep the momentum of the session going. Then everything else just came together and clicked. Sometimes that’s half the battle. Not letting a creative block slow or stop a session. In my world you only have so much time in the studio and you need to make that time count.
No doubt - we’re all getting busier every day, and the clock waits for no one it seems. So what role has collaboration played in your work? How do you approach working with other artists or producers?
Collaboration is a big part of my career. I’m always working with different artists and get really inspired by the whole process. I love getting together and jamming. It’s really a healing social process for me. Of course you have to leave room when you’re collaborating with other producers and musicians. You need to give the other artists space to do what they do and let what they do shine on the track. No point in collaborating with someone when you can’t tell if that person is even there or not.
This is such an important reminder - especially for producers who have only operated solo. So how do you stay inspired? What fuels your creative appetite?
I’m record shopping every week for years now and find I get inspired a lot by what’s out there. But to be honest it’s usually by listening to new music that I see what trends people are following, then I know what direction I need to move in. I’m not a big fan of sounding exactly like everyone else and following the leader. I had a booking agent tell me awhile back that my problem is that I need to adapt to what people are playing right now - no thanks.
So more avoiding trends than following them. It’s so important to define your own artistic voice - not let others do this for you. So how do you integrate new technologies and software into your workflow, and how do they impact your creative output?
New tools can hugely impact your creative output. Especially when they speed up your process and workflow.
You’ve been using Max with the Pluggo plug-ins since before it was even integrated with Live - how has Max for Live fit into or influenced your process over the years?
Yeah sequence generators have been a part of my arsenal since way back. The Drool String Ukulele from Twerk (gotta love that name!) was one of the first I had used. Your Pattern Engine is like that but on steroids! I think what I like about the Pattern Engine for example is that you can really fine tune the results. Like just locking up the parameters that you don't want to move and rolling the dice on specific parameters. These features didn't exist in earlier sequence generators that I was using. Things have come a long way since Max for Live was introduced. Again I use them for inspiration tools or instant drum ideas.
Your production is known for its signature swing - any tips for users looking to apply unique timings or grooves in their own work?
I’m a big fan of making groove templates based on killer drummers and applying those to almost everything in the session with Ableton Live. Sometimes with certain sounds it doesn't make sense but it's crucial for me with tight bass sounds. Instant funk.
Ahh that's great - so avoiding just default swing settings. Extracting grooves from real drummers is a great hack to give a more human feel to electronic drum programming. You also mention not using presets, and your synth work makes up a solid chunk of your sound - what do you look for in a synth? And which are your favorites at the moment?
I’m using an array of Eurorack synthesizer modules and plug-ins that fit into the particular session I'm working on. A cool synth for me has to have a variety of FM possibilities. To name a few of the favorites at the moment I'm a big fan of the new Intellijel Atlantix - what an FM bass monster! By far the best bass maker in the rack. On the weirdo polyphonic tip, I'm really enjoying my Arturia MiniFreak. Its new granular synth and wavetable options are insane. Finally some instant hands-on granular fun! The beauty of the MiniFreak is that you connect or link it to a plug-in instance on the computer and load in the waves and samples to the machine. Such a bad-ass feature and the results are out of this world. I think this is by far the best €500 you can spend on a hardware synth. The plug-in synth collections from Arturia are also great if you want something classic that you'll most likely never be able to own. But for plug-ins, sonically the world of Applied Acoustic Systems are still my favorite: Ultra Analog, Chromaphone and Multiphonics are still leading the pack for me on original sound design ideas with next level fidelity.
Nice, those are some great suggestions to investigate further - especially AAS (who contributed to the physical modeling synths in Live Suite: Analog, Collision, and Electric). So what's your latest tool or technique you discovered that you might be excited to share?
The latest thing that I’ve been getting into is your Octopulse. I’ve been using it with polysynths and getting some incredible polyrythmic results. Setting up the sequencer so that it occasionally plays chords is where it’s at. Some of the most intricate sequencing I’ve heard. Just let it roll and things come to life.
Love to hear that - people use our tools in so many different ways. But yeah, just by letting Octopulse unfold polyrhythmically you can get such interesting structures. So what advice would you give to aspiring music producers who are just starting out? Are there any common pitfalls they should avoid?
I think following the leader is a common mistake. One of the most important things in my opinion is coming up with your own sound signature. Of course it’s easier said than done, but if you’re just following all the time and constantly imitating than you’ll never find your own voice. Don’t rush out the door. Take your time and produce something timeless. Damn - that quote should be in a fortune cookie!
Haha, no doubt! Any other advice for ongoing practitioners?
Keep an open mind. Try out new tools and new methods. Stay away from preset loops and presets in general - but if they help you have fun while working then don’t let them stop you.
More sage advise for sure. It’s all about balance at the end of the day. So can you share any upcoming projects or collaborations that you're excited about? What can we expect from you in the future?
Yeah I’ve got a few things that Im excited about that are coming out this year. I have a new EP coming out on Convent records NYC. Really stoked to get some of those tracks out there finally. They have been aged like a fine wine. And I’m putting the finishing touches on my label Cynosure Recordings 25th anniversary compilation. This one is a 200-gram Italian-made T-shirt that comes with a code to download 25 tracks. Really liking the way that has taken shape. Plus the remixes of mine and Felipe Valenzuela’s collaboration called Calcio Club is coming out, featuring remixes from Thomas Melchior and Flabbergast. I’ve also got a new DJ mix on Apple Music going live January 10th.
IN MY WORLD YOU ONLY HAVE SO MUCH TIME IN THE STUDIO AND YOU NEED TO MAKE THAT TIME COUNT.
I HAD A BOOKING AGENT TELL ME AWHILE BACK THAT MY PROBLEM IS THAT I NEED TO ADAPT TO WHAT PEOPLE ARE PLAYING RIGHT NOW - NO THANKS.
TAKE YOUR TIME AND PRODUCE SOMETHING TIMELESS.
The latest Cynosure release on vinyl is here.
Look for Mike Shannon’s new DJ Mix on Apple Music.
You should also explore his extensive discography.
Look for Mike Shannon’s new DJ Mix on Apple Music.
You should also explore his extensive discography.