Name: Disfreq
Members: Joe and Cahir Kely
Nationality: Irish
Occupation: Producers
Recent release: Disfreq's new EP 909303 is out vie Truesoul.

Tool of Creation: Behringer Pro-1 Analog Synthesizer
Type of Tool: Analog synthesizer;  Sequential Circuits Pro-One clone
Designed by: Behringer
Years produced: 2019-
Country of origin: Germany

If you enjoyed this interview with Disfreq and would like to stay up to date with their music, visit them on Instagram, Facebook, twitter, and Soundcloud.



What was your first encounter with the Behringer Pro-1 Analog Synthesizer?

We were shopping around and doing some research on YouTube and it seemed a reasonable price for what it offered, so we decided to purchase it and then began experimenting until we got it sounding how we desired.

Just like any other piece of equipment, the Behringer Pro-1 Analog Synthesizer has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

We are always interested in the roots of a synth; who used it before us and how did they use it. We would then sometimes try to re-patch the synth to emulate a track we believed used the synth.

For us Depeche Mode’s use of the Pro 1 was notable for sure. On their album Speak & Spell they used it in tracks like "New Life" and "Just Can’t Get Enough," but they didn’t use it in a traditional sense. And that’s why it stood out to us.



What, to you, are some of the most interesting recordings made with the Behringer Pro-1 Analog Synthesizer?

Aphex Twin - “Xtal“



The Prodigy - “Voodoo People”



What interests you about the Behringer Pro-1 Analog Synthesizer in terms of it contributing to your creative ideals?

For us, it offers that classic analog sound which we always chase and of course a versatile range of features; the dual filter design, a sequencer, and a modulation matrix.

These definitely inspire us creatively and allow us to make unique and interesting sounds.

What are some of the stand-out features from your point of view?

It’s modulation matrix definitely is stand out and important for us, it’s very flexible and is an intuitive way to create and control the modulation routings.

Also, we believe it’s dual filter really opens up more possibilities sonically than any of our other synths we have.

Prior to using it for the first time, how did you acquaint yourself with the Behringer Pro-1 Analog Synthesizer? Will you usually consult a manual before starting to work with a new device – and what was that like for the Behringer Pro-1 Analog Synthesizer?

Trial and error always. We never used a synth manuel for any of our synths. We like to get to work straight away and just feel reading and trying to make it a science stunts creativity.

Tell me a bit about the interface of the Behringer Pro-1 Analog Synthesizer – what does playing it feel like, what do you enjoy about it, compared to some of your other instruments?

It’s very well designed and user-friendly, everything is well labelled and it's got dedicated knobs and switches for each parameter. Overall the interface is pretty well designed and it’s great for beginners or even advanced enthusiasts.

How would you describe the sonic potential of the Behringer Pro-1 Analog Synthesizer?

It has loads of possibilities sonically; we experiment a lot and there are definitely a lot of more sounds to come from it which we haven’t yet designed. Not every new sound we make so hopefully someday we can share our patches.

In which way does the Behringer Pro-1 Analog Synthesizer influence musical results and what kind of compositions does it encourage / foster?

It really depends on what type of music you are writing or making. For us, it gives a raw tone when needed and a soft one when desired. So anything from euphoric to more serious compositions.

More generally, how do you see the relationship between your instruments and the music you make?

Hand in hand, we handle the instrument with care and record it with diligence.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

We collectively feel they go hand in hand. For instance; we may be struggling for an idea in the studio and then change up the synth we are using and ideas start to flow straight away.

We believe that if something is not working it’s best to freshen the approach.
 
Could you describe working with the Behringer Pro-1 Analog Synthesizer on the basis of a piece, live performance or album that's particularly dear to you, please?

On our mini album Picture, we used the Pro 1 for every track, so it really shows the diversity and range of this synth.



At the end of every track, we reset the synth to zero and started from scratch every time we started a new track, just so it would not feel or sound the same as the last.

How does the Behringer Pro-1 Analog Synthesizer interact / complement / conflict with some of the other tools in your studio?

It really compliments the Roland 303. We usually cut the lows from our acid and let the Pro 1 fill that void and honestly, it’s the best glue in our studio.

[Read our feature on the Roland 303]

Are there other artists working with the Behringer Pro-1 Analog Synthesizer whose work you find inspiring? What do you appreciate about their take on it?

I’m not sure who is using it at present, but as previously mentioned, Aphex Twin, Depache Mode and The Prodigy all used it in the past.

Our take and route with the synth is different and we believe it’s unique to us and the sound of Disfreq.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

We always strive for originality in our productions, to try and create the uncreated rather than recreate the already created.

Regarding the word perfection, what is perfection? Who decides - only the ear in which the soundwave meets?