Mathias D. Clain
Hi. Thank you for visiting my site..
The sound of my work is not so loud compared to some of todays masterings. I'd like to add the following thoughts: I find more joy when music isn't powered too much. I love a certain feel and depth in the recording and that sound is imaged within the speaker not like a crust around it, these are choices. My aim is to maintain this for my own music. I've learnt as well that it simply doesn't suit my creations. I only can say that in my studio there's use of a console and units easily found in professional mastering and mixing studios and I dedicate for a good sound keeping it at a normal 0db level.
The handful of signal processors here have valve technology, some clones/ replicas from the classics like the Pultec EQ, '76 Limiting Amp etc. Sometimes and in the longer way I appreciated things remaining as they are in their natural form. That is basically what I care for most: do I hear the natural sound. Even if it is loud then or even lesser loud. As long as it doesn't sound unnatural. My work explores various genres, ranging from techno to drone and experimental sonic landscapes.
Thanks again for listening.
℗ © Mathias D. Clain / All rights reserved.
Rhythm Sculptures 1 - (2018)
With 'Rhythm Sculptures' I aim to explore the essence of techno. Some years from here I started to create and approach things in an other way. I love to see the pieces as individual instruments. In these loops here I can feel at heart. There's no use of a synthesizer in the tracks so far though (my main use still is creating drones and soundscapes with this machine) but with time more tracks will be recorded and I'll make an exclusive mix with own recordings, for sure one of the things to live towards to. For now I had to get back to the origins, just rhythm. I did a lathe vinyl last year called Rhythm Sculptures too, it's good to be working again on this project. All tracks live played with a 909 and 808 drum machine.
Voices Of The Void 2.2
A tone from the modular synth repeadetly. I added subtle changes throughout. Afterwards I rerecorded the whole through the same reverb signal. The piece can be a meditative purpose.
Rhythm Sculptures 2 - (2018)
I was having a look into an old distortion again. I'm glad I've kept it in the end. The pedal has a tube and some nice tone controls. Next to the traditional tones one control at the end shapes the overall tonal character of the amp. The pieces are two short live takes with the 909 drum machine wich I consider as a track, just as for listening.
May 2018 - Techno Mix
Short but intense techno set with records I hold dear. Shouts and regards to the true techno family.
Eerie Landscapes, Variations (Violin Zither)
The sound of my own Instrument, recorded through tube reverb. The work is a dedicated example of how the instrument sounds like. Overall the piece has a acoustic origin and feel. I made some small edits to make it sound more finished, hardly to achieve during recording only. I made the edits in the DAW, some mixing and panning but remaining the origin of the recording.
Info text: "..an instrument with strings. It can be played in several ways: with a bow, a mallet, hands, a plectrum and so on. I am satisfied and pleased with its sound and possibilties. It has a mahogany wood finish and various steel strings (originally meant for Harpsichord and Zither). Acoustically the instrument its soundboard has a beautiful dark timbre but the idea always was to play it with echo. I made two sections on the instrument with replaceable bridges, one is for the eerie part and one is musical. Vibrato is possible as well and there's not really a rule on how to play it. The tuning is fixed untill it is retuned to another sound."
The Horror Waterphone - Part 1, Variations
An instrument made of steel originally invented by Richard Waters in the late 60's. The 'Horror Waterphone' is my own designed version with a couple of changes not found yet on available waterphones on the market. With help from my father making this became a reality. The Waterphone is known for its beautiful haunting sounds. What I know from experience is that playing a waterphone is not easy as you'd expect. As you bow one part can sound extremely nice and right after appears annoying overtone content. It is truly a skill to avoid these tones that should not be there. This waterphone is made from bronze and copper, most are made from stainless steel. In this piece you can hear two varitations of the same. I've recorded it through the modular amp, fixed filter bank and tube reverberation afterwards processed using a voltage controlled delay.
Voices Of The Void - Part 1 (2018)
A while back I've made similar recordings that where cut to a lathe vinyl. I wanted to make a more proper version with these. The sound that you hear originates mainly by giving friction to a plate with friction mallets. I've recorded it through the echo unit and through a fixed filter bank on the modular system. The piece comes in two variations. Voices Of The Void is dedicated to the spirits.
Regis & Peter Sutton, In Honour_Tribute Mix - May 2017
A mix I've recorded with works solely from Regis & Peter Sutton. Raw and true Techno. The record 'Against Nature' had a momentous impact on me. The other works are by Regis taken from both albums 'Necklace Of Bites' and 'Delivered Into The Hands Of Indifference'. Enjoy!
***PAST_Mixed/ on stage alongside with: Luke Slater, Darren Price, Ben Long & Jamie Bismire, Speedy J., Monika Kruse, Chris Liebing, Ken Ishi, Trish Van Eynde and many others! Released alongside (under my moniker) with: Regis, Charlton, Echoplex, Paul Mac etc.
Cherished in my memory and heart. Much love and respect, Mathias.