Interface - Miguel / CPU interview.

<b>Interface</b> - Miguel / CPU interview.

When and why did you start to make spectrum music?

First attempts of composing I undertook in the end of 
98/beginning of 99. At that time basically I tried to make gfx 
for some crazy projects guided by Ray or Cav Inc., Played and 
assembled Adventurer:) But the interest to AY music appeared 
some time earlier, almost after I had a possibility to observe 
and to take part in finishing the Pressure demo in a big hurry 
to attend the Funtop demoparty. We gathered at Veka's place, 
and Chasm had to edit the soundtrack by combining and mixing 
few patterns made by Never. I though it's very difficuilt, with 
that weird Pro Tracker 2 editor, with numbers and ornaments ... 

My first module I made for the release intro of some game that 
I can't remember now, which we wanted to attach to the zine. It 
was a bet between Demon and Elf whether I'll do it in time or 
not. And I made this absolute crap for 3 days:) I didn't even 
know what do that numbers in the left column mean, though the 
whole track was written on the envelope, cos I considered that 
this is the only suitable sample, except drums ... 

I suppose, the first technical experience you gained exploring
someone's tunes for samples, ornaments and other tricks. Who
was that spectrum musician who influenced your music and whom
you can call your teacher?

It's Never. I studied to combine bass with drums, to make good 
envelope and samples on his tracks. The other one was Ironman, 
from whom I took some interesting ideas about ornaments. 

What was the first music editor that you used?


Cos Pro Tracker 2 still remains a totally unusable thing, I 
started composing only when version 3.1 appeared. 

4.What do you think about your past as a spectrum musician, what
important moments in your progression can you note?

My musical past is very confusing, I think I missed a lot of 
things that should be done in time, but there are some 
important moments of my 'career' for me that I can mention. 

Of course, it's Chaos Constructions'1999. It was the first 
party that began my misfortunes on the stage and the whole row 
of unsuccessive performances that continues by now, though it 
made my spirit stronger. Since then I got used to lose, so it 
let me to get rid of many unuseful ambitions and do really what 
I want to do. 

For CC'000 music compo I made a track 1.5 minutes long and came 
to a conclusion that any track must be straightforward and 
finished when there's nothing else to say. This track was lost 
by organizers, my work disk crashed, so it remains only in my 
mind, not a melody, but as an important event. I remember only 
the beginning, which was made so, that it resembled the warm-up 
of some band (so Miguel Dreadful Band brand appeared) before 
rehearsal, when every single member plays something on his own, 
while making sound adjustments. Of course, there is no 
coherence, everybody plays what he want, and then the drummer 
starts the rythm - and the action starts ... 

Then I had to move towards soundtracks for Adventurer intros, 
cos Never left this duty and Spectrum at all. So, I think with 
Adventurer # 13 intro soundtrack I reached the triumph in these 
affairs, I got the full freedom, I made really what I wanted, 
not considering about technical moments and means, but made an 
accent on the theme. 

But the most important module for me is Das Verbaten La Fuego
Ver Chuta, that competed at some of Forevers ...

How do you think, do you have any fans, and what do you think
they particularly like in your music? Would you like to say
some words for them?

I'm sure only in one person - there was a guy in Rybinsk, 
Fixar, he always told me that he is a fan of mine:))) I don't 
really know. Many of people have respect for my music, but I 
don't know whether it is frankly or not. 

What do they like? Maybe that it's always interesting to expect 
something new from me, I have no similar tracks. But maybe that 
I pay a lot of attention to the rythm part of a track and to 
the samples, while the melody in the majority of my tracks is 
inarticulate. 

6.What musical instruments do you use (if you ever used) during
composing prosess? Do you have any experience of musicmaking on
other platforms? What do you think about it?

I have a classical guitar, it's about 25 years old (the 
contemporary of mine:)). Many things I made using it. Though, 
it very often happens that I play one thing on my guitar and 
make a totally different thing in the tracker. But it's called 
'creativity':) 

I tried to make something on pc, but I don't like its trackers, 
I like such programs as Rebirth, Reason more. But my p166mmx 
don't let me much. On the other hand, with my too serious 
attitude to composing, when I make a track for a month and even 
more and finally don't even finish it, plus the enormous 
possibilities on the pc, when you can make almost everything 
and it's hard to concentrate a certain idea or a theme, it 
turns absolutely unreal to make a track at least four minutes 
long. So, it's better for me to stay here, it's more than 
enough for me, and I already have my public here. 

7.Do you like to criticize yourself? What is the weakest spot in
your techniques (rythm, melody, arrangement or something else)?

It's melody, as I said above. I can't imagine, how Gasman or 
Justinas make jazz tracks, it's almost incomprehensible for me, 
I think it's very easy to get lost in these chord sequences. 
Maybe that why everything is always very clear and not very 
varied. On the other hand, it's easy to understand and 
energetically, I'm sure, it is stronger. 

What kind of music do you listen, what bands / projects affect
you, what moods and feelings you try to put in your own
compositions? Remixes: what do you think of this?

Shit, goddamn questions ... There are many of them, and in 
different periods of life their affection is different too. 
However, it's not about the certain band of performer, for 
example, any interesting track or even its short part can push 
me towards the few months long experiments. So I can't say 
something definately, some give me ideas about the rythm, some 
- about melody, and so on, and I'm constantly thinking it over 
and combining in various unexpected ways. It's a pity that 
almost everything vanishes long before I start Pro Tracker:)) 

Mood is very changeable and subtle thing. Of course, I try to 
describe some spectre of feeling as full as possible and I 
often change it with the other. 

From the very beginning remixes seemed to be a waste of time, 
though you can gain a lot of experience. But original is always 
better, and most of remixes are unpleasant to listen. Although 
made by Nik-O:) 

What music compos did you participate in, what was the highest
rate and what do you think about your achievements?

Oops. I took part in a lot of compos as I said above, but 
wasn't rated too high. However, one of the latest compo's 
results I liked much - Forever Quattro, when the last three 
places were occupated by me, c-jeff and key jee:)) We are the 
best!!! 

What I think? I must say, that I didn't compete in the last two 
CAFe's. There are many who can reproach me with it saying that 
if nobody will attend parties there won't be any party and 
Spectrum gonna die! %)) It's just became boring for me to make 
a PARTY track, without any pleasure and in a short time ... 
Also I can't present the old tracks in the way someone does 
(guess who). I'd better devote myself to what I like, I hope 
the others will like it too. So if you can't see me in a party 
music list - don't think I'm gone:)! 

What do you feel when your track is playing on a party? Are you
concerned with sound equipment, people that vote or it doesn't
bother you much?

Uhhh, it was very long time ago when I heard something by my 
own at the party last time. At CAFe'2002, I was upset with the 
fact, that I had nothing to present at the music compo, I 
thought, that with all that possibilities and ideas that I had 
before party and which I didn't realize (because of someone) I 
could blew up the compo! 

Audience and equipment mean nothing to me since a long time. 
Cos we'll never see both perfect. Sound is always better at 
home, public is always the same (and usually dumb). 

Do you have any interesting ideas about the future of spectrum
music? Maybe there are some hardware or software innovations
that you would like to have?

I'd like to try to make music based on AY sound but with 
additional digital samples. It would be interesting to combine 
envelopes with digital sound. And drums, that mean much to me, 
could increase the whole drive. Maybe digital music compo must 
be returned. 

Also, it would be interesting to compose with double AY. But it 
needs a better development of hardware and software solutions. 

Finallly, I long for someone to take the Pro Tracker's source 
code away from Alco and to make a really CONVENIENT editor. 
It's a pity that Sage couldn't finish their stuff. 

What is the most interesting aspect in spectrum music composing
for you - to perfect your skills within the bounds of one
'Style' or 'genre', or to continue the thorny path of
experiments with sound and techniques?

The second, of course. Though if you know almost nothing it's 
hard to make experiments. But exploring new sound and approach 
make you think about techniques. So, the result is that one 
thing can't manage without the other. However, technique is a 
very diverse thing. The arragement technique needs the basic 
musical education from the composer. 

Can you tell us some your original ideas that you want to
realize in your music, maybe you want to make a demo or a game
soundtrack, maybe just to try what you have never tried yet,
the new field of applying your talent?

I'd like to make more demo soundtracks. Soundtracks attract me 
much. 

What do you think about co-operative composing, is it
interesting for you, whom would you like to make music with?
Please name three authors among the contemporary spectrum 
musicians that you like most.


I've been never lucky in this stuff. I tried to make something 
with Moran, but no worthy results followed. So now I can't 
imagine me co-operating with someone. 

The most interesting? I don't know. If someone become 
interesting to me, he turns the other side and disappoint me 
more than I expect:) But I think they are Nik-O, Fatal Snipe. 
Sometimes c-jeff. 

Can you say some words of advise for those musicians who are
just starting out?

OK. At the beginning I should say - listen AY music more. 
Estimate, examine, research, explore in editor, than forget it 
all and begin to make your music!