Sim Hutchins guides us through his burning desire for bad music gear.
Sim Hutchins: "Probably the crappiest and therefore greatest FX unit I own. 12-bits of space simulation ranging from tiny slap-backs to 20 second free-falls all covered in untold hiss and aliasing. Sounds great on hi-hats and snares, even better try gating it for that retro '80s sound, or just dial in one of the gate presets...which are also terrible. You can hear it on every drum track on my record. It's sister unit, the MIDIFEX (which I am assured is poor simulation of a delay effect) has so far escaped my reaches, but I plan to have them reunited in hiss-bliss very soon. Also acts as a foot-warmer if you keep it on for longer than a minute."
Sim Hutchins: "Hilariously named, and for a time rumoured to be the source namesake of Richard D. James, the aural exciter rests in my studio as a brutal drum buss. Crank the input knob to suck away at whatever length you feed it, and you'll be rewarded with thick wads of noise. Great for adding subtle layers of distortion too, you can hear it doing that on the pads of Wasp Cell."
Sim Hutchins: "Most likely the pride of any bedroom studio at one point due to it's many functions and budget price, its now considered to be garbage by most tasteful-minded producers. The Zoom Studio 1201 packs 11 reverb types of metallic resonating/ringy-as-fuck reverb settings (plate being my favourite here). I used this over everything on Nihilism Was Not Sustainable in one form or another. My spare one is on its way to Circuit-Benders UK to receive a mod that turns the thing into a bitcrushing tool of stiletto-stomping magnitude."
Sim Hutchins: "This is the kind of thing your auntie buys you for your birthday to get back at your dad for buying your cousin that plastic marimba last Christmas, though it is far from a toy. Functioning as mini pirate radio transmitter I use this to pipe the signal through the studio smog and into an old AM radio, using it as a kind of weird distortion unit. Hey, you can even play a tape through it! Hear its distorted harmonics at work on the crunchy CZ-1000 synth of Tie Me To A Rocket."
Sim Hutchins: "All the old Japenese Ibanez pedals are classics in their own way. The Sim Hutchins' secret to this one is to set the width dial to maximum and try alternating the speed to get eccentrically picthed up and down samples. I use this pedal to re-sample stuff through, especially one-shots. You can hear it on the snares of I Felt Like A Fox Being Hunted."
Sim Hutchins: "I originally bought this to make Grouper rip-offs to (having spotted her using one of the old 'Harmonix spring pedals), but it somehow crept its way into every track on the album. I'm pretty into the hall reverb setting, which works especially well when you sample a small phrase and loop it by cranking the delay time up to maximum. Also great are the spring reverb presets, though they can become resonant as hell after a bit. You can hear this effect on the intro to She Says She “Luv” Me, Whatever That Is..."
Click the gallery above to launch Sim's guide.
Ahead of his forthcoming album on No Pain In Pop, 'I Enjoy To Sweep A Room', self-proclaimed electronica, ambient and weird-techno producer Sim Hutchins has revealed a little something to us. Yes ladies and gentleman, he is a bad gear festishist. He tenderly strokes all that music gear with his road man gloves and beats those sounds up until they're all discombobulated and gasping for air.
Read Sim's 'diary of a bad gear fetishist' confessions in the gallery above a he reveals how his "dark obsession" with the best-worst music gear you can think of helped to shape the sound of 'I Like To Sweep A Room'.
Sim Hutchins: "I've always had a fetish for bad stuff. I tend to create palettes from a minimal amount of source material, re-sampling as I go, sending things in and out of the computer multiple times, distorting and disfiguring it in the process so it becomes something unexpected. It's a dark obsession at times.
Though I own a few pieces of what could be considered serious(ish) gear, such as Doepfer synths, drum machines and some crappy Casios (Sean Booth named my CZ “Samantha” by the way) but with me it's not how you create the sounds, it's how you treat them. I like to treat them good, but in a bad way. Here's an introduction to my favourite best-worst gear."