An interview with E-Magic, makers of the Apple Mac-based Logic Audio digital studio software.
The original interview can be found at this location.

David Torn

What plugins are you using to replace outboard gear?

Ahhh... lotsa stuff, here at the loop pool, has been either replaced or addended by plug-ins: my outboard compressors... except for a retrospect ‘SqueezeBox’. have been replaced by LAMP4 compressors, Waves' Renaissance Comp & C1 & TC's SparkNative Comp. The only physical reverb units, here, are a Lexicon PCM80 & a RealTubeReverb; Most reverb processing is done with LAMP4 'verbs (of all three flavours), Arboretum Systems' HyperVerb & Waves' TrueVerb FX in heavy use include LAMP4's/SpectralGate / Bitcrusher / Oscillator / AutoFilter / Enveloper /Volume (! for phase direction!), Arboretum's HyperPrism Pack, Arboretum's Ioniser, Waldorf's D-Pole Filter, TC's Grainalizer. I’ll begin with Cycling74's Pluggo, next week: i look forward to that! Also: I’m really anxious to plug-in my instruments, ensembles & FX from
Native Instruments Reaktor, as soon as the software(s) can communicate!

What do the plugins allow you to do that the outboard gear does not?

Ya mean, besides the incredibly easy automation of all parameters?
a) Chaining: serially, & in parallel,
b) The price/performance ratio is incredible (! all those LAMP plugins!), given the high-quality options afforded by so many compatible 3rd party manufacturers,
c) Flexibility & speed, regarding the above.

Your favorite Plugs?

Hmmm..... That’s a tough one: Probably the LAMP4 SpectralGate & BitCrusher, the Arboretum Ioniser & the oddness in HyperPrism, and Waves RenComp & Q10.

Your favorite outboard gear?

Does a Klein guitar count as outboard, these days?
How about my oud?
Well, really: that'd be the real-time looping devices: the EchoPlexDigitalPro & Lexicon PCM42. Oh... and, an ADA Ampulator, which is great for mono drums as well as guitar & such. In a strong second (? third?) place come footpedals: Zvex FuzzFactory & SeekWah, Prescription Electronics' Experience, Guyatone fixed-filter and dig. Delay, the ubiquitous Moogerfooger RingModulator, and a 'drum machine' from North India.
Whew...

When you are working with alternate intonations does Logic contribute the process?

Though I’m not very well-educated --as many 'westerners' seem to be, these days-- in regard to alternate-intonation schemata, i do have an extremely particular approach to pitch, and, yes, Logic has nourished this process. I’ve become accustomed to tuning pretty much everything (but, esp., drumloops) to my own sense of 'tonal center', using Logic's Time/Pitch Machine (in the Digital Factory).

What are you currently working on?

I’m just preparing for the release of my new recording, ‘SPLaTTeRCeLL:::OAH', in early 2000; this recording was the third of my own Logic-intensive project. Honest & true stuff? I could not have composed that music without this digital-tool system, of which Logic is the pulsing heart:No shit. I’m about to begin compiling a new "crazyassed" sample-library, for commercial release. Also, we finished the BLUEnights live double-CD, here (that's Tony Levin, Bill Bruford, and Chris Botti et moi.)

Other recent stuff I’ve worked on, of late?
Meshell Ndegeocello's CD 'Bitter' (on which i played, & co-writ one piece), composer Carter Burwell's scores to 'Three Kings', 'The General's Daughter' & 'The Corruptor'. Gtr Obliq (Vernon Reid, Elliott Sharp und mehr) had a very nice Lil European tour, & Will Calhoun and i played an extremely satisfying premiere-gig (as SPLaTTeRCeLL) in NY.

Upcoming stuff includes a session (on oud, saz, and electronics) for Tony Levin's new CD, some surprising remixes, and a session with operatic dudemeister Jubilant Sykes on his debut 'x-over'-CD for Sony Classics, and duets with Terry Bozzio @ Lincoln Center, NY.

You recently switched from your ProTools rig to a 2408. How has the transition been?

Sonically, 'twas fine: no problem: broader audio I/O capabilities & expansion options, VST-inclusion, more performance-per-penny, ya know? Technically, I had a couple of 'funny' moments, but: again, no major problems: I’m aware enough to know that any new software/hardware combo's gonna kick your ass a wee bit, if only for the briefest of moments. (If ya wanna be a crispy expert-user & slick with some depth, ya gotta put in some time, right?)

What convinced you to make the switch?

As above, the immediately broader audio I/O capabilities & expansion options,VST-inclusion, more performance-per-penny and the system sounds good to my ear.

How does Logic contribute to your loop based recordings?

Originally, i bought Logic 'cause it was the only commercially available (read: supported) audio-sequencer that'd do what i needed, in order to compose in the style i wanted. That is: i improvise, on many instruments... mostly alone, sometimes with other musicians... and record lotsa material, freely, often without any 'click'; much of this material is loop-based (including much overdubbing & processing), with loop lengths ranging from a couple of seconds to a few minutes. I needed a way to transfer this material, figure out its inherent tempo(s), and then fit & cut-n-paste different bits together (in a 'multi-track' environment) using a new, common 'click'. I also required access to my (limited, but important-to-me) midi resources: i.e., midiclock on my Lexicon Jamman & EchoplexDigitalPro, a sampler, a drum machine & a synthesizer.

Logic was clearly alone in offering those tools necessary to me, at that time: 'fit tempo to selection', Digital Factory, precise timing resolution (& strong rhythm-orientation in general), & other utilities beyond the scope of its competitors. Naturally, over the course of all these upgrades, the most personal aspects of my methods have progressed & have, fortunately, been mirrored--- even, amplified ---by EMAGIC’s commitment to Logic's own growth & user-configurability.

How many years have you been named the Experimental Guitarist of the year?

Two times, recently (?'94 & '97, maybe?), by readers of Guitar Player Magazine (USA); thanks for asking. It’s kinda funny-- though! Nice, no doubt! --But i really consider myself to be more of a composer/sonicist, than a guitar player per sČ.

Have you done in collaborations with other artists via web or long distance using Logic?

Oh, yeah! (not via the web, yet: though i did receive some emailed Mpeg tracks from synthesist Larry Fast, today...) some of the SPLaTTeRCeLL CD's tabla & dumbek tracks were originally played by Geoff Gordon (before i ridiculified them), in Cali-- I’m in NY --and sent here on a CD-ROM, as Logic files. Most of Tony Levin's material is being subject to Logic-travel, as was the BLUEnights set.

What was your big break?

Well, my career hasn't quite been like that. (or: maybe I’m still waiting for that 'BiG break'!) It has, in fact, been a series of slow & steady progressions, which somehow suits my temperament; I’m in music for life, not for a mere few minutes. That being said: playing with world music/jazz innovator/mentor Don Cherry (Neneh & Eagle Eye's dad, ya know?) & Everyman Band was pivotal, for me... my first entry to a 'global' stage and, the introduction to Manfred Eicher (ECM capo) & my resultant ECM records as a leader (and my further association with that label, & with Jan Garbarek) seemed to kick it all along. My band with Mark Isham, Tony Levin (who was replaced, live, by Mick Karn) & Bill Bruford might of pushed it, a bit; and, the fact that Craig Anderton was bold enough to put me, an 'unknown', on the cover of Electronic Musician magazine must of helped. Maybe my stint with David Sylvian? The production of Mick Karn's CD? Seems like a flow...

When did you device to do experimental guitar commercially?

Never, really, as far as my damaged brain will allow me to remember... when i was younger, i think i didn't quite decide to 'do it': i did, however, decide to do whatever seemed pertinent to facilitating a well-integrated fusion of music & life, hence, my long-term commitment to forging my own (apparently) idiosyncratic style of expression. I mean, i don't think of myself as particularly 'experimental', I’m only attempting to express how i feel about the world… …na?

What are your thoughts on the new generation of guitarists?

Of the 'new' generation, i dig: Tom Morello, Chris Whitley, Page Hamilton,
Kevin Shields, Main, Fuse, Ben Harper, Matte Henderson, that guy in L.A. named 'woody' (he rocks hard), Will Bernard, Marc Ducret, Meshell's rhythm guitarist (! don't know his name!), Brad Shepik, Larry LaLonde, etc… so many of 'em...

Are there any standout players in today’s music that get your attention?

Squarepusher / Kim Kashkashian / Aphex Twin /We / DJ Logic / Haig Yazdjian / Unkle / DJ Shadow / Jane Siberry / Howie B / Ruben Blades / Harriet Tubman / Simon Shaheen / Lisa Gerrard / Executioners, etc. So many of 'em...

Will you be getting involved in any film scoring in the future?

Of course! I’ll be continuing my increasing involvement of the past twelve years.

What would you like to see from EMAGIC in the future?

For Logic? A wishlist? My needs are so minor! No worries, though: just keep it stable, deep & progressive, as usual!