What was your normal job? I mean, you're big time now, but what did you used to do?
Martin: Well, what I realize about this is — [working with Bjork] is a temporary thing. I'll be back to my real job in a year, so I really can't get used to this swanky lifestyle. But no, I work at the San Francisco Art Institute. I show people how to edit on the Avid, how to use video cameras, how to use lighting equipment, microphones and how to make a good recording. Pretty much all the basics of media oriented art.
You guys are not only opening for Bjork on her upcoming tour, but you'll also be part of her backing band, correct?
Martin: Yep. For the last three weeks now we've basically been sitting in a little rented studio and going over every single song and saying which parts should go to the "back line" technician — which is a new term for me. He's kind of like the great and terrible OZ. He's the guy who runs the computer that REALLY runs the show. So he's off stage, and we get to decide, like hypothetically, if on "Army Of Me" his computer will run the hi-hat lines and the bass drum, and on our computer we'll have the snares and all these weird noises and the bassline will actually run on my synthesizer — but the MIDI will be on his computer, but it will be feeding to my synthesizer so I can tweak it while its playing.
Which gives you the freedom to just completely tweak the hell out of it without ruining the song.
Martin: Yeah, exactly, while still never removing the "spine" of the song. Because it will be running on this sort of master computer, supposedly flawlessly all the time. So get this, on top of all this — everything is doubled. There's two computers that run the whole show. Where there's an Emulator [sampler] — there's two Emulators. Where there's a vintage keys — there's two vintage keys. He's got a switch that will switch over to all the back-ups seamlessly if anything ever goes wrong.
Oh my god!
Martin: Drew and I are using samplers from 1989 where we're loading diskettes. And they're like "This won't be acceptable." So we have to have hard drives, and the hard drives have to have back-up. It's all really just so there aren't errors.
So who else will be joining you and Bjork on stage?
Martin: There's Zeena Parkins, she's a harpist, and a full orchestra. [both of us laughing]
Do you have to pinch yourself everyday when you wake up?
Martin: Kind of, yeah. It is really unbelievable. Right now we're at the point where it's less unbelievable and more like — terrifying. You know, this orchestra has about sixty life-long trained classical musicians in it, and man, I barely know how to play guitar — BARELY.
What does your performance setup look like for your opening set?
Martin: Drew uses two Roland W30 samplers circa 1989. He also has a laptop on which he pretty much plays back sound files, but it's stuff you might as well not play, like tapes of voices or weird sound effects. Also there's an Emulator E6400. We barely use that in the live set, it's basically a giant sampler. For this set it just has one set of sounds in it which is 'bowed rat cage.' We'll also be playing a real rat cage. I will play banjo. I will also play acoustic guitar, which I will be playing through a Big Briar 'Mooger Fooger', which is brand new — we got all this new equipment now.
Your post-Bjork equipment.
Martin: Right. But we didn't get anything crazy-outrageous. I will also play my new Korg MS2000. I will probably also play my old Roland SH101 which has been my main pal for about 15 years now. We do another song with an acupuncture point detector. And Drew samples that while I'm playing it. He has the MIDI of the song already, but he makes the samples live...
And then just plugs them in.
Martin: Yeah, he plugs them into the MIDI, so it's like a new song every time. So the song builds sample by sample.
That's a cool way to do it. I never thought about that.
Martin: Yeah, it's a little risky. Sometimes it works beautifully, sometimes not so beautifully.
But that's the trick isn't it, for electronic musicians, to keep things interesting for both you and the audience.
Martin: Yeah, a lot of our contemporaries are satisfied to just stand on stage with a laptop. Which, I don't know, when I go pay $10 to watch a show I don't want to stand there and watch someone at a glorified typewriter. I think some of those people make brilliant music, but it doesn't plug into the 'live rock' format very well.
It doesn't matter if you're recording with a 4-track and a clip-on lapel mic, the crucial element is having a great song.
Martin: For the first three records we made, we used a mic — and I don't even know where I got it-but it wasn't even a SM 57, it was a 57 clone. Most of our sound editing was done in a program now owned by Macromedia called Sound Edit 16. It is a fucking amazing tool, it gives you control over volume over time, it gives control over pitch, and it gives you control over pitch over time. It's all there in this one little program. You've got echo, reverb, delay, EQ, and you can learn the entire damn program in half an hour. And it lets you really just concentrate on what your recording's of. It's only drawback is that it doesn't let you multi-track in the traditional sense — it doesn't let you listen to track one while recording track two. Anyway, we use that a lot, a lot, a lot, and now we do have a kinda' fancy setup, we use Digital Performer, and we have a Mark of the Unicorn 2408 which gives you 8 ins and 8 outs. So we use Sound Edit, the 2408, Digital Performer, the keyboard, the two old Roland samplers, the new Emulator sampler, and I have a Korg Mono/Poly as well.
The Mono/Poly rocks, man.
Martin: Yes it does. And then we have the AKG 414 mic, and that's probably our entire setup.
Is it true you guys did the soundtrack to a porno video?
Martin: Yes, that is true. We've done the soundtrack to at least five porno videos.
No shit? Indulge me, because I've never considered the crossover between electronic music and porno videos.
Martin: Well, you know there's a lot of electronic music in porno videos, but most of it is not very good. It's possible that the electronic music that we made for the porno films is not very good. I have to admit that we did sort of indulge in stuff, like — wow, now I can play guitar solos, y'know, which is just something we don't allow ourselves to do normally. Or like, I get to play cheesy wah-wah scratch guitar, because if you make porno you have to have that [makes porno wah-wah guitar sound, then laughs]. It's something I've always wanted to do actually. I'm a big fan of porno quite honestly. People mostly turn the sound down, and usually it's because the music is so bad.
