In 2001, I purchased my first synthesizer, a KORG N364 workstation. I fell in love with that machine. Though, at the time, I understood how to use it very little. Over a couple of years, I sunk my teeth into the art of musical arrangement and sound design, indulging in every opportunity to develop new "soundscapes" whenever I could find the time. Unfortunately, because I was fairly ignorant of how the machine operated, and because the manual that came with it read like something out of the duller side of the Wall Street Journal, I quickly lost interest in manipulating it regarding its true potential: MIDI (Music Interface, Digital Input). I sold the N364 on ebay, became $350 richer (of which I paid a phone bill with) and turned around and bought a brand-new Roland EM-55.

(Korg N364)

The Roland was lackluster at best. The pre-built sounds she came with were genuinely nice. Though, editing them was an exercise in futility. The most use I found was learning more and more about MIDI control, where I could use the computer to activate the synthesizer or vice versa. For that reason alone, she was worth having around. But, the Roland quickly wore out her welcome.

(Roland EM-55)

After selling the Roland on Ebay, I found myself purchasing rack-based synths, like the Korg Wavestation-SR, the Korg N1R, a Korg mixer, and a Roland JV-2080, all of which were truly awesome machines. In fact, they were so great, I was able to output six albums with them (although, the first two albums are ancient history and irrecoverable). The problem with those rack synths is their tendency to just up and die on you. After all, they are electronic components - all of them being anywhere from five to fifteen years old.

(Korg N1R)

(Korg Wavestation SR)

(Roland JV-2080)

Now, I have converted my studio to a completely DAW (Digital Audio Workstation) environment, powered by Imageline's FL Studio, Sony Acid, and M-Audio Axiom 61 MIDI Controller, and a slew of different VSTI synths and samples. No more breaking synths. No more uneditable sounds. All that remains is pure, absolute control over the sonic landscape.

Over the course of eight years, I have been involved with just a few musical entities.Though, primarily have I flown solo due to issues of everything from inconveniencve of time and effort to ego problems between band-mates. As I've learned over the years, teams are not so much about equality as they are about leadership. Weak teams possess weak leaders, are prone to fracture and erosion, and eventually they fall apart. This is the basis for my new project group, "The Department of Labor" (Christopher Garner, Tommy Wilson), a fusion of rock, new age, and electronica music to fill the wants and needs of any casual listener.