May 11, 2026

Working method and advancements

Today’s news is an integration of the working method. Having a complex setup, there is a logical necessity to set it for the highest possible fidelity in live events; this is to guarantee that during performances the time necessary for sound changes regarding analog synths is as rapid and precise as possible. Being, in fact, analog, they do not have preset buttons and it is therefore not possible to press a simple button to obtain that specific sound in that particular song. Everything must be done at the moment on stage or in the studio, it is not important; what is important is to reproduce that sound. Hence the need to have a precise mapping of the potentiometers on board the synths and the connections between the patch bays. For this purpose, fortunately, there are paper sheets that give the possibility to photograph those settings by reporting them by hand; it is the work that is done during the sculpting of the sound in the studio and that will then be used both in the studio and live to reproduce it. This, especially in live contexts, occupies time between the execution of one song and the next, even if not much, but it is anyway necessary.

Analog synths require calibration and precision as well as sensitivity because they are subject to sound variations influenced by factors such as temperature, humidity, and power supply current; this is an added value during a performance because it makes it unique and unrepeatable. Playing truly without compromises or artifices is certainly the maximum both for the audience that listens and for those who are on stage; the emotion that sounds created in the moment can give is absolutely unique. Our research on sound and our experience of now more than twenty years are the guarantee that you will witness something that today is no longer common, but that is part of a past time in which musicians were true musicians, even if we have not fossilized on old forms and we continuously break the stereotypes of the genre we propose. Our sound and our harmonies are extremely modern but with that vintage touch that doesn't hurt, and above all the dynamics that are never compressed; the sound is never modified by plugins, it is exactly what comes out of the instruments we use. This implies that to perform a live performance, all the instrumentation used in the studio is brought to the site.

In the meantime, the writing of new songs continues as does the research of sounds to concretize them; the new song in progress these days promises very well, and others are still in embryo waiting to end up in the track list of the album. When will it come out? A legitimate question that is often asked of us; we hope to finish by the end of November but the date is not certain, because a creative process cannot have forced times. Furthermore, not being under contract and not having to make ends meet, our primary objective is only and exclusively the quality of both the songs and the audio; it is not a coincidence that we have chosen a high standard for the final mastering. Providing a suitable and well-finished support is our goal; we are well aware that this album is not a work for the masses, so it is evident that we do not do it for money. Ours is a necessity to communicate and give to those who listen the best possible quality of both what we have done in the studio and what we will do in live situations; in essence, real music played and sculpted as it should be.

For the right duty of chronicle and sincerity towards our friends, there is a further issue to clarify: we will not play often in live contexts for several reasons. The first is that we do not make commercial music, we do not fill clubs, and we do not do promotion; we are musicians, not PRs. This significantly reduces the possibilities of being everywhere. The second: every trip is logistically complicated; transporting synths and keyboards is not easy, therefore it must be worth it, which means that the environment must be coherent with our genre and our target; you will never see us at a beer festival, our target is an audience that listens, not people who make noise. The third: an adequately qualitative system; we will not waste a single minute in places that cannot guarantee audio quality and fidelity to our music. The fourth: we do not accept that a technician distorts the sound; if there must be a sound engineer, they must follow our specifications to the letter. Is this a limit? No, it is not if the purpose is to give an experience to those who listen; therefore, there will not be concerts galore, but very few unique events.