HOWA 154 - ROBERT LOGAN

Yeah, I know.

Yeah, by all means.

I mean, but I mean, I guess I'm curious that having that sort of age gap that we have, I mean, you probably started on a on a computer first, first of all, right, just making music.

What was the sort of what was the first setup?

I often think about this because it was, I think, really good.

It was digital enough and cheap enough that any of us could get on with it.

But it was before the days of social media.

So you had to discover everything on your own pretty much, apart from forums, but forum culture was different too.

So I started on Cakewalk, Home Studio 9 and a bunch of free VSTs and a Juno 106, which is next to me.

And a really daft but charming analog synth called a Gen SX-1000.

This kind of cheeky mono synth.

Yeah, they're great, those.

They are, aren't they? They're Italian, aren't

they? Yeah, Italian.

I love all the Italian shit.

I mean, I came across a gen while I was working with Royce Jr.

He had a gen, and I was like, what's this gen? And I just was like, oh, this is the best synth he has in here.

It's just something about that.

There are some synths that don't have a big sound.

They just have a character sound.

And it's like, I think you're drawn initially to big sounds.

And then you kind of think, actually, it doesn't have to be big it just has to sort of have an enduring quality that's like recently i've yeah i mean i've been obsessed with these farfeasors of late you know the farfeasor piano that's used on all the redalia stuff and um and can and everything and it's basically a for most people i think it would be considered a very chintzy sound right You know, it's not expressive.

Compared to a Rhodes, it's just, like, abysmal, really.

But for me, I don't know what it is that draws me to it.

I just find it, like, I have a lot of time for it.