Getting Loose with OscarUnderdog and Honeysmack

OscarUnderdog kicks off his video with an introduction to none other than David Haberfeld, better known as Honeysmack. This bloke isn’t just any musician; he’s got a PhD in live improvisational techno. You know, Aussie pride and all that. Oscar recalls meeting him at Superbooth, a gathering known for its technophile vibes. Honeysmack’s got his hands in several pies, including Melbourne Instruments, where he’s contributing to the development of iconic synthesizers like the Nina. These synths, with their motorized rotary controls, ensure you’re never left guessing where your knobs are at, much like navigating a pub crawl in Fitzroy.

In this section, Honeysmack gives us a peek into his world of synth mastery. His performance style is unapologetically raw and punk, with acid riffs and a machine drum vibe that could electrify even the sleepiest of kangaroos. Oscar is clearly fascinated by Honeysmack’s use of the Nina synth, which uses those aforementioned industrial-grade motorized knobs often found in drone motors for reliability. Honeysmack brushes off the absence of a traditional master sequencer in his setup; he prefers a more organic chaos where multiple sequencers engage in a sonic collision, rather like a sonic version of goon at a uni party. The man clearly thrives on happy accidents and has embraced the erratic beauty of improvisation, steering his ship through the unpredictable waves of Sydney Harbour-style chaos.

Honeysmack delves into the captivating world of live performance, where the audience interaction isn’t just a bonus—it’s essential. Performing amid the crowd rather than above or apart is his preference, like a DJ booth that’s smack bang in the middle of the bush. This bloke is all about energy exchange, where the crowd fuels the set much like goon fuels a uni night out. Honeysmack stresses the importance of risk in live sets, arguing that without the potential for a blunder, there’s no true live experience. It’s a philosophy that’s akin to surfing a wild wave—you’re in it, you’re part of it, and that’s what makes it real. With a setup constantly changing and evolving, Honeysmack ensures no two performances are the same, keeping it lively like an Aussie beach party.

Oscar and Honeysmack round things out by discussing how vital it is to view one’s setup as an evolving instrument, capable of a wide range of expressions. Honeysmack likens the mixer to the conductor in an electronic orchestra, essential for dynamic modulation and emotional depth. To keep things from stagnating, Honeysmack explains how his sets diversify by using different hardware combinations, proving that less can indeed be more if wielded with creativity. The key takeaway here is that playing live is not about perfection, but about interacting with both the gear and the crowd, creating something transcendent and never the same twice, much like the unpredictable Aussie weather. It’s about daring to dance on the edge of chaos and, like a proper true-blue Aussie, enjoying every unpredictable second of it.