Preamble – object blue

“…you might feel intimidated but just take in how it sounds it on the big system, and take notes!”

As per CDR session usual, we had a little catch up with object blue ahead of her session at The Glove that Fits.



How has your music production process evolved over time? Were you a musician or producer first?

I was always a lousy musician, timbre / sound design is my first instinct so I definitely consider myself a producer, not a musician. My first tracks were shaped very much through live improvisations because I find arranging structures very tedious, but these days I’m trying to make myself do it more!


What key changes have you seen in the music industry/bidness during your time making records? Is independent the only way to go?

I think labels still offer very good curation, and good labels are a massive help because when you first start out you know nothing about PR, promo, lead time, etc. One thing I’ve learned though is I won’t have my work pressed into vinyl again — it’s such a waste of money, and I don’t think my music belongs in that culture anyway, I never had vinyl around me growing up. I think unless vinyl is really important to you and your community there should be no pressure to get your work pressed.


Talk us through the track you last [cmd] ‘S’d ? ([ctrl] ‘S’ to PC users)

I haven’t written anything proper in fucking ages cos I’m gigging too much!! probably some Reaktor experiments, I’m still learning it.


What piece of studio equipment (or live) would you NOT part with – Ever!!

It’s gotta be software for me: Auto Pan!!!!!


Could you name three things that have been on heavy rotation on your audio player of late?

I’ve been into this producer BAROW, as well as Copenhagen’s Splash Pattern. I’m otherwise listening to a lot of jazz, in particular, Alice Coltrane at the moment.


What can the CDR audiences expect from your time with us?

I think they’ll find that it’s a very frustrating series of trial and error, lots of aimless noodling, making lots of little vignettes then binning all but one. In conclusion, they’ll probably learn that there’s no Right Way to make music at all…


Have you any advice for producers/musicians developing musical works in progress to play at CDR?

Having done this myself, you might feel intimidated but just take in how it sounds it on the big system, and take notes!