Based in Berlin, errorsmith produces clubmusic in the broadest sense since the mid 90's. He is part of MMM (together with Berghain resident dj Fiedel) and Smith n Hack (with Soundstream/Soundhack). Errorsmith is a solo project, dedicated to the expansion of the sonic horizon thru digital sound synthesis.
Backed by his studies of communication and computer science errorsmith builds his own instruments using a modular software synthesizer. In fact building and improving the instrument while developing a musical piece is the main part of music making. Often a technical idea is the starting point of a track. The musical value and possibilties of such ideas are explored.
In his live performances errorsmith improvises on selfbuilt digital live tools. Again the exploration into what can be done ´live´ are constitutional for the musical results and are different from the studiomaterial. His aim is to give himself a high degree of freedom and immediacy during his improvisation. This is realized with realtime sound synthesis, which allows direct sound variations. The use of samples is avoided deliberatly because of their 'static-ness'.
Like the productions of MMM and Smith n Hack, all errorsmith tracks are released by the artist himself instead of a label to assure the most possible artistic and financial independancy. This is possible through the support of Hard Wax, a Berlin based record store, which is the main distributor of all their releases. Digital formats of their music are available at Beatport.
Errorsmith is also dj-ing. Not tied up to one genre.
Now without further or do, I present Errorsmith 2:
To save me explaining this one, here is the press release:
Concentrated rhythm drives most of the tracks on the errorsmith 2 release. Oversimplified beats come to life because they were synthesized in realtime. To achieve this dynamic evolution of the sound, errorsmith developed his own instruments with modular digital synthesis software. The ones he built for errorsmith 2 integrate the reverb as part of the synthesis model. In fact the reverb dominates the model. Therefore it is an important element of the sound instead of being just an added effect.
The dynamic nature of the tracks result from modulating the reverb parameters instead of the dry sounds that feed the reverb. One moment it sounds like a huge hall then abruptly it turns into a very short echo without any spacial depth. There are no analogies of this concept in reality, for it implies that you are in a room in which the walls are constantly moving, dynamically changing the volume of the hall. It is this concept which gives the record it's artificial ambience or what some have referred to as 'plasticity.'
In some of the tracks like "Stiff neck" or "Free for all" the sounds evolve over time in a strict and constructed fashion in order to achieve a tension between low and high energy sections. In other tracks the sounds are modulated/played in realtime during an improvisation session. The recorded takes are then put onto the record without any further editing. For example, in "Make or break" the modulation is used to break the steady beats from time to time. In other tracks like "Most elastic" (the name says it all) the sounds change dramatically with only a few constants.In comparison to the first errorsmith release the sound has changed a lot. In the first release instead of a reverb, delay lines were modulated. So there was no impression of spacial depth. You could say it sounded like 2D. Now it is 3D !!!!!! Beat-wise, no 4 to the floor stompers are heard on this one. Most of the tracks in the first release were improvisation takes with high density realtime modulations. The density is reduced now. So the tracks leave more room and can be mixed with other tracks better