Electro has spread out into a much broader spectrum of styles over the last few years. The classic, original beat is now often the sound of the underground, while mainstream radio hijacks Cybotron and Newcleus for it's various pop rap anthems. Even Madonna has taken on the sound of the electro/italo revival.

In the midst of all this, a harder, more abrasive sound is emerging out of Chicago. The Livewire, one of the handful of artists fitting in this category, is currently signed to Kompute Records and is known for both his skills as a producer and as a DJ.

I caught up with him earlier this week, and talked at length about his studio setup, circuit bending, and Theremins.

What's your studio setup like?

Well, my studio setup is in one word... messy,but I manage to keep everything together through the good graces of my laptop. I operate mainly with the Novation X-Station, a PC-based HP Laptop, and a lovely Sampson USB Condenser Mic that I ordered recently.

There is a ton of external gear that I use occasionally ranging from synths and drum machines to circuit bent toys and some classic instruments like a guitar and percussion set. But I like to keep everything sampled in the digital world. It allows for the flexibility of quick changes, and also minimizes the amount of clutter I have to deal with when moving machines around.

What interface do you use and why?

The Novation X-Station has become my pride and joy. It's outputs sound great, already has a built in synthesizer with keyboard, MIDI control is straight up, and the effects on it pop. The recording on it is kind of sub-par, but if I am really trying to get a great sounding recording, I take the time to setup the pro-tools rig and record from there. I like the X-Station a lot because it offers everything you need in one dynamic box.

How do you take tracks from conception to a live PA?

Well a lot of that process goes into what software that I decide to use. Each one has it's own unique sound and feel to it, and that decision really depends on how much control I wish to have in a Live PA performance.

For example, If I want to be able to control individual drums and switch up effects, I use Image-Line's Fruity Loops. But if I want a straight forward display of some tracks with some loops over them, I use Ableton Live.

The conception process usually starts with a hum or beat in my head that I try to translate into creation. I will try to emulate it through either free flowing on the keyboard, or by sampling a vocal emulation of it and writing drums and sounds that go with it. In all honesty though, the experience can be very random and I usually go with what makes my feet want to move.

You do a lot of circuit bending. How much sampling of circuit bent instruments goes into your production work?

Really, not as much as I would like. The circuit bent stuff is used mostly during Live PA performances. People love looking at the toys, but I do sample them in order to get a unique sound. Some of the bent sounds are so chaotic and so uniques that you can only get them through on a rare occasion. It is that occasion that I like to sample.

I know for a fact you have an awesome Theremin. Do you use that in any tracks or even live? How do you incorporate that into your productions?

The Theremin is kept under lock. It is extremely fragile and in such a great condition that I don't like taking it out at all. And especially in a live situation, it will pick up signals from speakers, dancers, and my booze so much that there was no real way to keep it in line. While in the studio with it, I like to use it with a lot of effects. That classic Theremin sound has been used so much, that you really have to get creative in order to make it sound original.

What do you use for vocals these days, and how are you processing them?

Vocals these days are coming straight from my Sampson USB Condenser Mic. It's a great toy! Surprisingly great quality for a USB mic. The background noise doesn't come through at all. I have recorded with a fan in the background, and on the recording, I didn't even hear the fan hum at all!!!

When processing vocals, I have a sick obsession for distortion. It gives the extra ermph that I am looking for. Also, some steady compression, reverb, and a slight delay when necessary is expected and vital. Celemony's Melodyne is a must as well when I am trying to go for that "professional" sound.

To sum up how I write vocals, they are targeted and written with the sole purpose of making people wet, sweat, and go hmmmmm...