Audio conceptualist Norman Fairbanks has always remained at the cutting edge of music production, so when he first heard about Tenori-on back in 2005 he felt compelled to investigate the myriad possibilities of this hybrid instrument.
The result is 7 Days Microsleep, described as â€˜a stunning collection of beautiful down-tempo soundscapes that showcase the depth and complexity that lives within Tenori-on, beneath that wholly intuitive interfaceâ€™.
Norman revealed to Sonic State exactly what it is about Tenori-on thatâ€™s revolutionised his approach to music production...
â€œI borrowed a Tenori-on since I didnâ€™t manage to get one through the limited UK sales, so I had a two week windowâ€¦ and I had no plan to make an album. At first the sound seemed to be more like a sketch, a drawing, very minimal and almost a bit simple. But itâ€™s exactly this simplicity thatâ€™s the key. Itâ€™s almost ten years since I bought my last hardware synthesiser. Iâ€™m completely software-based now, simply because nothing in the hardware domain has really attracted me. But then Tenori-on appeared.
All the â€˜regularâ€™ interfaces that come with a single knob and a few sliders â€“ they simply donâ€™t fit the way I work. But Tenori-on is exactly the opposite. The design is well thought out, making it very straightforward to use â€“ everything is always right at your fingertips. Essentially anyone can start to create complex sound structures immediately, and without any formal music training.
Iâ€™ve recently put out some music dominated by field recordings and sampling, so I thought it would be a good experience for me to focus on just one instrument as the centre of my production world. With Tenori-on small melodies quickly turn into absorbing musical structures that set a completely new energy level within my music. Itâ€™s wonderful â€“ I havenâ€™t missed my laptop or all the effects and other tools for even a single second.â€�
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