banner

Introduction

In our next Artist Spotlight, we’re interviewing OCTAVEPLEX! This is the continuation of a new series of posts where we get to know the artists who perform at Mesa Synth. Let’s get into the interview!

Can you tell us a bit about yourself and the kind of music you create?

I’m Cam, my musical project is called OCTAVEPLEX. I’ve been making music for over 30 years, and my fascination has always centered around synthesizers — no matter the genre. Even as a kid, I’d replay a heavy metal track just to hear the synth intro over and over again. I started making music in the ’90s, I was heavily into the local rave scene, so techno and rhythm-driven music have always been in my blood. But I’ve never stayed in one lane — I love blending those beats with ambient, cinematic, and atmospheric sounds. One day it might be pulsing and abrasive, the next it’s spacious and reflective. It’s kind of like a movie soundtrack.

I’ve never been a DAW-based producer in the traditional sense. I do use one, but more like a 2-track tape recorder — everything else happens live with a large ensemble of hardware synths, drum machines, and sequencers. And I just love 1980’s rack effects. There’s just something inspiring about physically interacting with the gear that’s shaping the sound. And I’ve never cared about the analog vs. digital debate — if it sounds good, it is good.

I like to make really LONG tracks, the 4 minute Spotify thing doesn’t do it for me. I can barely get through an intro in 4 minutes. My tracks are more like concertos, with different movements blending into one another.

What first drew you to synthesizers? Do you remember any early moments that sparked your interest?

It’s kind of a funny story, and I can honestly trace my fascination with synthesizers back to a single moment. When I was about ten years old, I walked into a music shop in Torrance, California, and sat down at a synth for the first time. I had no idea what I was doing, but when I hit a few keys, it sounded exactly like Van Halen’s “Jump” — which was everywhere at the time. Total beginner’s luck, it’s an easy chord. The store employees immediately yelled at me to stop playing it — they were probably as sick of that riff, like the “No Stairway” joke from Wayne’s World. But from that moment, I was hooked.

From then on, I was drawn to anything that had synthesizers in it — whether it was Phil Collins, Enya, or full-on electronic music. After high school I got a job at a local buy/sell/trade music shop in Phoenix just so I could be around synths and pro audio gear every day. That experience really shaped my understanding of sound and technology — and it cemented my lifelong obsession with making music through machines.

The invention of the internet also really opened my eyes to a whole world of music that wasn’t commonly found in record stores of that era. Artists like Plastikman, Autechre, Aphex Twin, FSOL, Monolake, Basic Channel, Boards of Canada, and the whole FAX label universe from Pete Namlook, and the Dark Side of the Moog with Klaus Shulze. This stuff really inspired me.

Do you have a favorite piece of gear or software in your setup? What makes it special to you?

That’s a really tough question — it’s like asking which limb is your favorite! Every piece of gear in my setup has its own purpose and personality, so I kind of love them all. But if I had to choose, I’d say the Studiologic Sledge probably gets the most use. It’s an incredible instrument — the Waldorf engine sounds massive, the analog emulation is rich and warm, and it also has full wavetable synthesis. Plus, those huge knobs make it a true player’s synth — immediate, hands-on, and just fun to play.

I also have a big soft spot for the Sequential Circuits Prophet-600. It was my first analog synth — I actually bought it from a pawn shop in the mid-’90s with money my grandma gave me. It’s been with me in one form or another ever since, and it still sounds fantastic.

I’ve got to mention the Electro-Harmonix POG polyphonic octave generator pedal (have I mentioned I love pedals yet?) There’s something magical about running a synth through it, or even drum machines — it just opens up this lush, layered world of sound that feels alive.

Are there any non-musical influences (visual art, literature, philosophy, etc.) that shape your work?

I’ve always loved 35mm black-and-white photography. I took a class in high school and got completely hooked — not just on taking pictures, but on the hunt for them. It’s so much fun just wandering around, exploring, searching for something interesting, and seeing the world differently when you slow down and just look. You start noticing things you’d never see otherwise, and really come to appreciate the beauty in this world.

For a while I lived in Colorado and had my own darkroom setup for developing and printing film, what a picturesque state Colorado is! I still have all the equipment, along with my old Canon T90 camera and a several lenses from the ’80s. I’d love to set it up again someday when I have the space. I definitely got stopped by cops a few times for being in places I shouldn’t have been — but sometimes you just have to get the shot.

Where can people hear more of your work or follow what you’re doing?

You can look for OCTAVEPLEX on YouTube, SoundCloud, or @octaveplex on Instagram.