Find out how our cohort of dBs Plymouth students got on during their trip to SuperBooth in Berlin earlier this year here!
Taking place annually in Berlin, SuperBooth is Europe's largest trade fair for electronic musical instruments. Every year, thousands of innovators, inventors, manufacturers and distributors of electronic music equipment descend on one of the most iconic capital cities in Europe to showcase their gear, give lectures and celebrate the incredibly rich world of electronic music and, specifically, modular synthesis.
Luckily for our dBs Institute Plymouth students, they get to attend this incredible event every year! We caught up with a handful of the 15 students who attended this year, to find out what equipment they liked the most, what they learnt and who they met. Check out what they thought here!
What was the best piece of equipment you checked out while at SuperBooth?
Connor Reed: The best thing, by a country mile this year, was MIDI3D. It is such an innovative and original piece of equipment which really stood out from the rest. MIDI3D is a MIDI hardware device that’s shaped like a glove, and you can attach to your hand and control specific MIDI parameters on any chosen plug-in. They ranged from around $300 to $1,100 and came with different versions, from their most basic glove to the double gloves and finger controls. The combination of motion sensor, AI and patching software all intertwined into this one device made it truly magnificent!
Sam Mortley: My favourite piece of equipment on show was the Korg Acoustic Synthesis Phase 8.
Frederick Couzens: While wandering around Superbooth, amazed at all the spectacular equipment and people, I came across a stall hosted by Intech Studios, a manufacturer that makes magnetic, interchangeable MIDI controllers that can be arranged to the performers' liking. This caught my eye as I’ve never seen an idea quite like it as most, if not all, MIDI controllers are static, all-in-one devices. With the Intech devices, these MIDI modules can be rearranged while performing or while handing over to another performer. They come in a variety of units; rotary pots or a combination of pots, faders and buttons which are all mappable to a set parameter. The unit that stood out most for me is the ‘Tek 2’ featuring two large rotary pots and eight buttons. The two pots could be mapped to DJ software nudging the tracks for beatmatching and the buttons could be mapped to the play and cue buttons giving yourself an incredibly small DJ setup!
Omar Taverasdiaz: One of the most important pieces of equipment that caught my attention was Press, a stereo compressor in guitar pedal format manufactured by Polyend. It is an analogue circuit compressor with distinctive parameters, including external stereo sidechain thru, high-pass and low-pass, internal sidechain filter, tilt EQ and the typical threshold, ratio, attack, release, and make-up gain control.
I’m very excited to see the final product release and hear this compressor in action. Unfortunately, there wasn’t enough time at Superbooth '24 to check it out properly and delve deeper into its tonal characteristics and noise floor. But, according to the company, Press is designed to capture the sound of classic hardware compressors with modern features. After playing with this compressor for a few minutes, I fell in love with it and it’s going to be at the top of my new equipment list!
Harvey Jones: My favourite piece was the LOVE Synthesizers First Love FM synth. It provides a far more intuitive way of interacting with the traditional controls of FM synths. The lead developer of the project was very friendly, too!
We asked you to ask manufacturers, “What was your path to employment?” What did you learn?
SM: A couple of people I asked said they started by just messing around with schematics and putting electronics together; fiddling around until they found a way to make things work. Then they undertook a degree course, primarily to gain contacts because networking is a major part of this industry. They knew that putting their skills into an academic environment was the best way to be recognised and open doors to potential careers. Everything interacts with one another in the music industry; artists rely on the equipment provided by the manufacturers. Manufacturers rely on artists to use their products to demonstrate the power of their designs. If an artist becomes commercially successful, endorsement can be a way for manufacturers to be noticed by fans of those artists.
OT: In this large area, the paths to employment in the modular synth industry are diverse and combine elements of higher education, manufacturing experience and deep involvement in the music community. I found out that, when working for a big company or as an independent innovator, a mix of technical skills, practical experience and a strong passion for music is essential. Before entering into this field we need to be prepared. Leveraging our academic background, gaining hands-on experience and actively engaging with the music community will be key points to us breaking through.
HJ: A lot of manufacturers seem to come from an academic background in electrical engineering, with a hobby in music.
What was your favourite performance at SuperBooth?
CR: Uglydub was good, as always, with the combination of real-time drumming as well as violin MIDI and modular control
SM: Uglydub were very cool. They’re a drum and bass duo with a twist; a real drummer on an acoustic drum kit playing along to a backing track. I liked the combination of acoustic and electronic instruments. They had a really good energy with the fast tempos. I also really enjoyed Lady Starlight playing at the Strandbuhne, which was the last act we saw at Superbooth. I thought that was a great display in genre-bending as it landed somewhere between techno, house and trance and combined the best of EDM in one set. It was a perfect closer to the festival for me!
FC: Watching Rick Feds perform on the Ableton Push 3 was fantastic. He showed the true capabilities of the device, utilising the velocity pads to deliver tension and dynamic range as well as providing this performance, barely looking at his laptop. I could tell he has practised for hours and knows his performance inside out.
OT: One of my favourite Superbooth 24 performances was by Lady Starlight. She is known for her ability to mix techno, industrial and experimental sounds. Her performance at Superbooth 24 was a testament to her mastery of these genres, creating a captivating and immersive experience of ambient sound. She performed using a live modular setup and the live aspect added a layer of authenticity and spontaneity to the performance, this made me feel even more engaged with the audience.
How do you think the type of equipment you saw exhibited at SuperBooth will impact electronic music performance?
CR: I think it depends on where you are in the world, as modular synthesis is heavily popular in some areas compared to others. It’s a fantastic and complex method of live performance, but I often think it scares people off.
SM: There was certainly a lot of modular stuff at Superbooth so maybe that reflects the trend in dance music currently. If you look at my world, for example, Shoegaze music managed to make a comeback in the 2010s and influence some mainstream guitar bands like Wolf Alice and Tame Impala. So when ideas dry up, people often look to alternatives to push their art forward. So, my answer is, anything is possible.
FC: After seeing An On Bast’s performance, I think we should be pushing modular synth production and performance even more. Seeing a performer manipulate an instrument in real time is a very special experience because it’s different every time! It only makes me want to implement more live elements in my DJ performances.
OT: The landscape of electronic music performance is continually evolving, driven by advancements in technology, changes in audience preferences, and the creative experimentation of artists and traditional DJing. Modular synthesis has gained significant visibility over the past decade, thanks to events like Superbooth, Machina Bristronica and YouTube channels and social media platforms where modular artists share their setups and performances. Today, it seems to me that modular synthesis, which was previously a specialised field, is becoming more widely known as a result of increased market expansion, educational resources and online visibility.
HJ: Although they’re more popular, I’d say modular synths are still niche. They are being used by some mainstream artists, but I'd argue it’s more the case that those mainstream artists have niche hobbies, rather than modular synthesis is being widely adopted.
Did you manage to get any good networking in? How successful was that?
FC: I reconnected with a performer at Superbooth who is willing to give a guest lecture to dBs with enough notice and planning, which was great!
HJ: I have found that talking to manufacturers and being genuinely interested is the most important thing. The DIY kit day at Klunkerkranich was a hive of networking, as there was less focus on showcasing equipment. At Superbooth, each manufacturer needs to talk with lots of people. However, once the event is over, the manufacturers can relax and there is more time to discuss other topics such as careers and lifestyle.
What is your general feedback on the trip?
CR: It was a sick time cheers guys! I really appreciate you all for making it so special!
SM: Brilliant! The lecturers did a fantastic job at arranging the itinerary. It was a brilliant experience and educational. Made me feel happy, fulfilled and educated and I’m looking forward to going again next year!
FC: The trip was absolutely incredible and I can't thank the tutors enough for their hard efforts, planning and organising. The accommodation was perfect as it was very close to bus and tram services and close to cafes, supermarkets, bars and fast food restaurants. Superbooth was epic and the clubbing scene was unforgettable. I can’t wait to go back next year!
OT: The Superbooth 24 trip was a highly enriching experience. The event's organisation, diversity of exhibitors, quality of workshops and panels, and vibrant performances all contributed to a memorable and valuable experience. My biggest appreciation goes to Phin Head, Pete Day and Matt Ward for making this happen!! Thank you guys for your hard work!!
Want to joining the ranks of the dBs Institute Plymouth students who take trips to SuperBooth and Real World Studios each year? There’s still time to join this September through Clearing!
