Jeff Snyder is not your typical musician. As a composer, sound artist, instrument designer, and educator, he carves out a unique space in the electronic music landscape. His latest release, Loom, on Carrier Records, showcases his experimental approach to dance music, blending intricate rhythms with a rock and roll spirit. This interview delves into Snyder’s creative process behind Loom, his fascination with sound design, and the evolution of his custom-built instruments, particularly the Manta controller, a cornerstone of this new album. For those intrigued by innovative soundscapes, exploring the work of Jeff Snyder, things dancer in a broader sense of movement and rhythm in music, offers a fascinating journey into sonic exploration.
To further explore his multifaceted world, visit Jeff Snyder’s official homepage, Instagram, and Twitter.
Exploring New Sonic Territories in Loom
When asked about the driving forces behind Loom, Snyder reveals a desire to challenge his own musical boundaries. “This was the first ‘dance music’ album I’ve made since 2003, and the first under my own name, so it was a challenge to figure out what I wanted my sound to be.” He initially envisioned an austere, minimalist sound, even imposing a “just drums” rule on his early tracks. However, his love for bass programming soon took over, leading him to embrace more complex and dynamic arrangements.
Snyder acknowledges the influence of 90s Warp artists, icons of IDM, but consciously sought to carve his own path. “I was a bit worried that my IDM roots from listening to 90s Warp artists so much would make me sound like just a throwback to that soundworld, but I eventually decided to let that take me where it would.” He successfully blended this influence with his personal sonic signature, creating a sound that is both familiar and distinctly his own.
Dance Music with a Rock and Roll Edge
Snyder’s perspective on Loom as a “dance album,” albeit experimental, is intriguing. He acknowledges the album’s unconventional structure, noting, “To me, it has a real rock n roll spirit to it!” He elaborates on his struggle with traditional dance music structures, characterized by repetitive loops. “I have a hard time with the standard dance music stratified form, where layers of loops are added and removed every 8/16 bars. It’s not how I think musically.”
Instead, Snyder leaned towards more song-like structures, reminiscent of verse-chorus-bridge forms common in rock music. While the form might deviate from typical dance music, he believes the core elements retain that essence. He playfully questions the danceability of tracks like “The Plasmic Crystal” in 9/4 time signature, wondering if such rhythmic complexities might disrupt a dance floor. This experimentation with time signatures and structures highlights Snyder’s desire to push the boundaries of dance music conventions, creating something that is both engaging and intellectually stimulating.
The Organic Flow of Loom‘s Creation
The album’s cohesive flow, reminiscent of a live set, is a testament to its unique creation process. Loom originated from improvisational sessions during the pandemic. “I had been making a lot of very ‘serious’ music for a long time, and when the pandemic hit and I was stuck at home, I just wanted to make some techno and dance around.” Transforming a barn into a makeshift studio, Snyder embarked on daily two-hour improvisations with modular gear, each session exploring different tempos.
Jeff Snyder in his studio, immersed in the world of sound creation. (c) the artist
These improvisations, initially consisting of basic beats and basslines, became the raw material for Loom. Over a year, Snyder meticulously edited and sculpted these recordings into song structures, adding layers and refining arrangements. Tracks like “Redox” are largely direct edits of improvisations, while others, such as “Neon Rain,” only borrow the beat, with other elements composed later. This process, blending improvisation and meticulous composition, resulted in the album’s dynamic and organic feel. Snyder also emphasizes the crucial role of feedback from trusted musician friends like Cenk Ergün, Tyondai Braxton, Quinn Collins, and Davis Polito, who helped shape the final track selection and arrangements.
The Implausibility Factor: Expectation and Surprise in Sound
The title track, “Loom,” hints at “implausible metamorphosis,” a concept central to Snyder’s artistic philosophy. He explains his interest in manipulating listener expectations in music. “I think a lot about how music can be seen as a manipulation of expectations. It happens over time, and the balance of satisfied expectations vs. surprise is one of the most powerful levers composers can operate.” Repetition establishes musical identity, while surprise keeps the listener engaged.
Snyder enjoys playing with the boundaries of the musical world he creates. The sudden eruption of distortion in the bassline of “Loom,” for example, feels unexpected yet works within the track’s context because it originates from the established bass sound. Similarly, the key change, a move up a fourth, while familiar in pop music, is juxtaposed with the track’s prevailing half-step motions, a nod to dance music conventions. This simultaneous shift in timbre and pitch creates a “drop” that is both surprising and impactful, showcasing Snyder’s masterful manipulation of musical expectations.
Instrumental Evolution: From JD-1 to Manta
Snyder’s musical journey is intertwined with the evolution of his instruments. Loom marks a significant shift, being the first album centered around the Manta controller, a touch-sensitive instrument he designed and produced. While the Manta has gained a following among other musicians, Snyder’s primary instrument had been the JD-1, a custom controller paired with a small analog modular synth.
The decision to transition to the Manta was driven by practicality and portability. Worried about traveling with the JD-1, Snyder sought a more travel-friendly alternative. This led to the development of the MantaMate module, enabling seamless integration of the Manta with modular synthesizers. The MantaMate, by removing the computer from the control loop, forced Snyder to design inherent logic into the Manta’s interaction with modular systems. This resulted in deep sequencer functionality, allowing for live, interactive control over percussive and pitched sequences. Loom is deeply rooted in the Manta/MantaMate workflow, showcasing the expressive possibilities of this unique instrument combination.
Jeff Snyder during an interview, reflecting on his musical journey and instrument design, captured by Kim Indresano.
Modular Synthesis and Custom Tools
The core of Loom‘s sound palette stems from two MantaMates and two Mantas, often driving drum and bassline sequences. Snyder’s custom Genera module, a reprogrammable digital module, played a central role, functioning variously as a sampler, 808/909 drum simulator, physical modeling synth, or resonant filter bank across different tracks. Other key modules included MakeNoise DPO, Maths, Octomix, Erbeverb and Echophon, and the Verbos dual oscillator. The MakeNoise Spectraphon, for which Snyder designed the hardware brain, also made an appearance during the album’s creation. For basslines not originating from modular synths, Snyder employed his Electrosynth plugin, a subtractive synth designed for his Electrosteel and Electrobass instruments.
Snyder’s preference for modular synths on Loom, rather than solely relying on his custom instruments, is twofold. Firstly, the improvisational foundation of the album predates the playability of some of his newer instruments like the Electrosteel. Secondly, many of his custom instruments are designed for live performance by other musicians, while Loom leaned towards a more programmed and sequenced aesthetic. While there is live Fender P-Bass on the title track, it was intentionally played to evoke a sampled funk record vibe, contrasting with synth-driven sounds. Snyder emphasizes his desire to play all instruments on Loom himself, acknowledging that his custom instruments are often mastered more expertly by others.
Sound as Material: Sculpting and Design
Snyder’s approach to sound is deeply tactile, viewing it as “material” to be “sculpted” and “designed.” He embraces constant experimentation and minute adjustments in his sound creation process. Regarding the use of presets, Snyder offers a nuanced perspective. While he generally designs sounds from scratch, he acknowledges the validity of preset-based workflows, citing Four Tet’s Kieran Hebden as an example. Hebden, in a podcast interview, revealed his exclusive use of presets, focusing on arrangement and interaction rather than sound design.
Snyder recognizes the efficiency of presets, allowing artists to focus on their strengths. However, his personal enjoyment lies in the foundational process of sound design, building sounds from basic elements. His recent experience creating presets for his Electrosteel instrument has given him a newfound appreciation for the challenge of crafting versatile and user-friendly preset libraries. Ultimately, Snyder’s approach to sound design is a deliberate choice, reflecting his artistic inclinations and the sonic textures he seeks to create.
