Since acquiring my first drum machine at the age of fifteen, I've been fascinated by the creative possibilities of programmed drums. In the early nineties, I've moved on from my humble Boss DR660 and started working on an Atari ST and later an Apple G3, learning to use what was then the cutting edge software, Cubase and Studio Vision.

 

In an era when recording drums meant hiring a commercial studio, a lot of the early drum programming was about making the drum macjhine sound as much like a live drummer as possible. However, in the late nineties, at the height of the drum and bass movement, I began to truly appreciate the sonic possibilities that the developing technology offered.
 

Under the influence of audio engineer and producer, Phelan Kane (Placebo, Fad Gadget), I began working with audio—chopping it, looping it and processing it, to realise all of the sounds in my head that I couldn't express on the acoustic drum set. Since then, I've has continued to develop my skills in this medium, creating beats for a wide range of artists, as well as my own experimental EDM project and, as a drummer with a background in audio engineering, I love to record and sample my own playing, bringing it into the computer to be chopped, looped, and processed in order to create original, bespoke beats.