Antelope Audio get even more Zen with USB version of the Q Synergy Core
“GREAT ELECTRONIC MUSIC NEEDS PATIENCE… THE REWARD IS SO MUCH GREATER FOR IT”
Antelope Audio have unveiled a USB version of their Zen Q Synergy Core audio interface. This sits alongside the previously released Thunderbolt version. Functionally, this appears to be pretty much the same; we’re promised high quality AD/DA conversion, two discrete ultra-linear mic preamps, and recording, mixing and playback up to 24-bit/192kHz.
The 64-bit AFC (Acoustically Focused Clocking) technology and Jitter Management algorithm, meanwhile, is said to deliver increased sound width, separation and detail. This is a 14-in/10-out interface with pairs of headphone outputs, preamps and instrument inputs, and you can add an extra eight channels via ADAT. There’s stereo S/PDIF I/O, too.
The Zen Q Synergy Core can be bus-powered and promises low-latency performance, while the onboard software enables you to control signal routing, sub-mixes and monitoring. Said software can also be used to apply the 37 bundled analogue-style effects, which are powered by the onboard DSP. More than 50 more are available via the Antelope Audio software store.
The Zen Q Synergy Core USB costs $899.
Alex Young threw himself into producing and performing electronic music earlier than most: after opening up his first DAW at 12, he was playing live at EDC Vegas at only 15 and sharing stages with the likes of Skrillex, Kaytranada and Cashmere Cat.
After a heavy touring schedule threatened to burn him out, Villager retreated from the live circuit and focused on developing his voice as an artist, releasing his debut Aura EP on Boys Noize’s label in 2019. Three years on and he’s further refined his style and approach to production, resulting in a new album, Frontier. The record takes cues from the richly textured electronica of artists like Four Tet and Jon Hopkins, repurposing club rhythms into detailed, emotive music that rewards closer listening.
When did you start making music?
“I started producing music at age 12, so about thirteen years ago. I’ve been playing guitar and drums since I was 8, and just eventually felt a strong urge to start recording and producing myself. It started as just instrumental recordings before I felt the draw to start producing electronic music.”
How did you get into DJing and playing live at such a young age? What lessons did you learn from that experience?
“I got into DJing and music production at a young age partly because I was so into computers, as well as music. I started DJing and music production at the exact same time, because of a program my music school had recently started, where they began teaching kids how to DJ with vinyl setups.”
“When I started that, I immediately got interested in production as well, and being able to get to the point where I could begin playing my own works out in DJ sets. Working with software like FL Studio and Ableton became a natural extension of these two passions I had, music and working with computers. When I discovered I could have the best of both worlds, I was hooked.”
What other artists do you look up to?
“In no particular order: Four Tet, Caribou, Nicolas Jaar, Flying Lotus, Floating Points, Skee Mask, Andy
Stott, DJ Koze, J Dilla, Madlib, Imogen Heap, Todd Edwards, Jon Hopkins, and Blawan.”
Which one track has been most influential on your work, and why?
“Evening Side by Four Tet. That might well be my favourite release of Kieran’s. It’s so powerful. I think it’s like 23 minutes or something like that, but it approaches electronic music in such a subtle, meaningful way. I think great electronic music involves patience, and the reward is so much greater for it.
“Open Eye Signal, by Jon Hopkins, in my opinion, is one of the greatest techno tracks ever. So much attention to detail, a monstrous MS-20 synth sound, and just listening gives you the impression a lot of time was spent making this tune.”
Tell us about your studio/setup…
“These days I have a much more extensive studio. I use a lot of hardware samplers like the Elektron Octatrack and Digitakt; my instrument chain is a 1176 into a pair of Pultec EQs into an LA-2A compressor, but that’s predominantly just used for instrument tracking. All my preamps and my interface are made by Audient. I used a Manley Ref C mic for a while, but I sold that, and now use Lauten Audio mics along with SM7B for most things.”
What DAW (or DAWs) do you use?
“Ableton! I think it’s by far the most powerful DAW for working with audio, which is what I mainly do when producing. I don’t do too much MIDI sequencing stuff besides Omnisphere. The warping functionality in Ableton is unmatched, in my opinion.”
What one piece of gear in your studio could you not do without, and why?
“These days, it’s my Elektron Digitakt. I love that thing. It’s a little beast. It’s so quick for fleshing out beats, and I can do a lot of drum programming stuff in a few minutes, that would take me hours to program inside a DAW.”
What was your latest purchase?
“I’ve been obsessed with this plugin called Infiltrator, by Devious Machines. It’s a multi-effect sequencer, but it really shines in its distortion and compression modules.”
What dream bit of gear would you love to have in your studio?
“I would love to pick up that Moog Matriarch sometime soon. I’ve played with it a bunch and it’s one of my favourite sounding synths. My far-out gear dreams would be a legitimate recording console like an API, or some really nice compressors for mastering like the Elysia Alpha, Shadow Hills Mastering Compressor, or a Fairchild.”
What are you currently working on?
“After this first Villager album is released, I’ll be focusing most of my attention next year to my other song project under my own name (Alex Young), and have a ton of music coming out that I’m really excited for people to hear. I’ll be trying to produce and write for a lot of other artists next year as well.”