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 am finding more joy when music isn't powered too much. I love a certain feel and depth in the recording and that sound is imaged into the middle. My aim is to maintain this for my own music. I've learnt as well that it simply doesn't suit most of the recordings I do. 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.

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, mostly techno but also drone and experimental sonic landscapes.

Thanks much for listening! 



℗ © Mathias D. Clain / All rights reserved.

Works August/ September 2018

A few works previewed. You can hear a short fade-in when the next track starts. Live played tracks..


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. 

Rhythm Sculptures - (2018) 

With 'Rhythm Sculptures' I aim to explore the essence of techno. 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 for listening.


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.



***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.