Based out of Berlin, Germany, electronic music composer and sound artist Hainbach creates shifting audio landscapes THE WIRE called “One hell of a trip”. He has been fascinated with electronic sounds since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on uncommon electronic instruments, tape and test equipment, making even the “unmusical musical”.
Through his YouTube channel, Hainbach brings experimental music techniques to a wider audience. He is an award winning film composer, and his compositions for ensembles have been featured at Witten, Gaudeamus and Impulsfestival Halle. His music software and hardware is used by musicians world-wide. He tours regularly, and has taught at Humboldt University, Manchester School of Arts, Hybrid Arts Lab Dresden, MRC Copenhagen, among others.
What was your relationship with Sequential instruments before Fourm arrived?
I used to own a Dave Smith Instruments Mopho Desktop, the first modern analog I bought for my early Hainbach shows. I modded the outside to make it look less like an Austin Powers prop and ran it alongside a X0B0X. That was a rather early era of Hainbach, where I was still singing on stage.
I had also played an original Prophet-5 at Willem Twee on my album with Ah! Kosmos, Blast of Sirens. I found it an incredibly useful instrument to write music on, and it’s still high on my wish list.
Fourm has become part of your live show. What role does it play in the set?
In my shows with Ah! Kosmos I play it mostly very minimally – hold a note or a chord and work the filters. The bass it produces is astounding. It really cuts through.
What’s your favorite thing about it?
I like its simplicity and high quality.
What does the Fourm give you that your other instruments might not?
It fits in my checked luggage but sounds like a much bigger instrument.
You’re known for pushing equipment beyond its intended use. Any interesting Fourm tricks or techniques you would like to share?
It is often combinations of things I find the most interesting. Live I run the Fourm into the Ciat-Lonbarde Cafe Quantum. There I process it with stereo audio rate amplitude modulation, which opens up an intense spectrum of side bands if you slowly open up the filter and play with the resonance.
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