"The joy of modular for me is that there are no presets. Once you’ve pulled out those cables on the patch, even if you take a photo you’re never gonna get it back the way it was. I love that it’s unique. I also love the aesthetics of it all.
"If you llook at something like the Kilpatrick [Audio Pattern] Generator it’s like battleships. My girlfriend makes music and when she saw my set-up she asked, ‘Where’s the keyboard?’ Well, I’m not a musician and I much prefer using sequencers like that Pattern Generator. I can’t remember who said it, maybe it was Buchla or Bob Moog, but there’s a quote that says, ‘The worst thing that happened to synthesizers was when they put a keyboard on them’. I totally agree with that. The idea that they’re not atraditional instrument is more inspiring to me.
“I’ve got three self-contained systems and one is just for chords. It’s got a Snazzy FX Dronebank that has five triangle waves and you can come up with beautiful chords and process them through a filter, and when you sync it to the DAW you’ve basically got your own dub Techno machine. [See our video of Kirk in the studio to see the Dronebank in action]. Tip Top [Audio] have been coming out with these 808 and 909 modules and when you combine them with some of the more complex clocking modules, you can create crazy rhythms that would be pretty much impossible to play into a drum machine.
“The innovation in the Eurorack system with things like The Harvestman and their Malgorithm where you can see the sample rate and the bit-rate of an input... It’s incredible stuff. It’s not just a purist analogue thing – there’s great digital aspects. Eurorack’s still a bit expensive because it’s addictive, but I highly recommend any new producer to get into it. Even if it looks intimidating, it’s not so take the plunge. Go for it.”