Welcome to our weekly show recommendation column RSVP HERE. Due to live show cancellations we will be covering virtual live music events and festivals.<\/em><\/p>\n

<\/p>\n

If you\u2019re thinking of learning a new exotic instrument and\/or how to become an electronic music producer while in lockdown, look no further than Lubo Smilenov for inspiration. For his musical project Amalgamy<\/a> he plays every beautiful instrument you’ve never heard of including Kora, Kaval, and Gadulka. He is a one-man band and electronic music producer who can play guitar, bass, keys, program drums and is an Ableton Push master. In 2018, Lubo teamed up with cellist Bryan Wilson on Amalgamy’s debut album Cynefin<\/em>. The album is full of film score-esque textures, homages to various world musical traditions and electronic soundscape experiments. It’s the music you would imagine playing before an ancient battle.<\/p>\n

The next chance you can see Lubo shredding his Ableton Push and playing anything from the Kora to Bulgarian bagpipes is Saturday, May 2nd at 8pm. We chatted with Lubo about how he approaches his sound, his practice routine and the $5 key to his live stream set up.<\/p>\n

AF: The music you\u2019re performing live these days is a departure from your first album with Amalgamy. How would you describe it and how are you are approaching it?<\/em><\/strong><\/p>\n

LS: My approach to music has been so impromptu lately. It can go in any direction at any moment. One second I\u2019m pursuing music fit for film scores. The next I\u2019m putting break core beats over auctioneer samples and archaic goatskin bagpipes. I\u2019ve recently embraced an anything goes approach more than ever.<\/p>\n

A lot of the electronic music I\u2019ve been making lately has been done through my Ableton Push launchpad. I really enjoy having a hands on approach to electronic music. Everything is I do is triggered by my fingers the same way it would be with a piano or guitar. It feels just like a sound palette. I just dip a brush into one of every sixty-four buttons and trigger an intended statement of sound. However, the culmination of all these statements creates something that was previously unintended. Sometimes it’s the idea within an idea that we\u2019re looking for.<\/p>\n

AF: What is your set up for live streaming?<\/em><\/strong><\/p>\n

LS: I plug a dual 1\/4\u201d TS to 1\/8\u201dTRS cable into my interface\u2019s main output. The 1\/8\u201d side goes into a Radioshack Stereo Jack Adapter, and that piece goes into my cell phone. That adapter is the $5 key to this setup. Thereafter, I mix the audio by recording videos on my phone while playing and listen back to how it sound after I\u2019m done. I make adjustments and repeat the process.<\/p>\n

AF: You have a large collection of world instruments. Where did you get them?<\/em><\/strong><\/p>\n

LS: I\u2019ve been very fortunate to have earned the trust of a few prominent luthiers whom I admire very much. Most of my instruments come from the the village of Kameno, Bulgaria. We\u2019re talking about bagpipes (Gaida), flutes (Kaval), and bowed lyres (Gadulka). My Kora is from The Gambia via Sona Jobarteh\u2019s website. No matter how rare the instrument I\u2019m looking for, I always find it with the help of other musicians. Musicians in NYC generally have each other\u2019s back with these things. It\u2019s amazing.<\/p>\n

AF: What is your favorite instrument? Which do you practice the most?<\/em><\/strong><\/p>\n

LS: I can\u2019t seem to stick to one thing and it\u2019s so liberating. What I usually do is spend 15-20 minutes a day picking up different instruments around the house at random. If I do end up practicing something disciplinary like scales, I always reward myself with improv at the end. I\u2019ll play at least one bowed instrument, one regular string instrument, and one wind, before moving onto music production.<\/p>\n

AF: Where do you think music and technology are going in the next decade? Do you think an extended quarantine will have an effect on the future direction of live music, or music in general?<\/em><\/strong><\/p>\n

LS: There are talks of a budding music renaissance based on the current influx of purchases made on music retail sites. Most of these purchases have to do with electronic music via keyboards, synths, beatmakers, etc. It\u2019s still too early to say anything in confidence given the morbid reality we are facing. However, I do think that the role of the bedroom producer will become more prominent in the coming year(s). It really is becoming more important for people to express themselves through creativity. Remote recording and file sharing will certainly increase without a doubt. Cloud servers that host plugins and resources are going to be utilized more than ever.<\/p>\n

Extended quarantine will certainly have an effect on the future direction of live music. Music is made differently when musicians prepare for a live show together vs. when they are alone at home. Music made at home has less restrictions. There\u2019s no one to push back at your crazy idea. Suddenly, you have to fill the role of the drummer, singer, bassist, producer, songwriter, video editor, and marketer all at once. Live streaming has never been more valuable as a tool for musicians. As far as performance goes, it\u2019s all we have now.<\/p><\/blockquote>\n