Additional Q & A with Richard Devine from the desk of JG Everest:
Do I start every one of these post-show blurbs with "wow."? It sure seems like it. And I don't want to sound like a robot here, but, ...WOW! Richard Devine was an amazing guest. He brought along a couple of laptops, loaded with sounds and music and an entire power point presentation of slides and video showing his influences as well as his home studio and working methods. Through the course of the evening, I felt like we got a really clear insight into his creative process, as well as how he came to make the music he does. When he performed a short live set at the end of the show, I felt like I was hearing his music with new ears, listening in a completely new way to his compositions. It confirmed for me the whole purpose of this show - to bring a new depth to the way we listen to and hear music.

One thing that struck me was how significant it was in his development that his interest in electronic music pre-dated the use of computers: he was buying up old analog synthesizers and learning how to use them with an old guidebook and just trial and error. And he'd link up several crazy old modules, out in his parents' garage, and try various combinations, always experimenting to find new sounds, new "accidents". Discovering new methods for producing new textures and "gestures" - a word he used often to describe his approach to composition. It was through this very "hands on" approach to learning the nuts & bolts of electronic music making that he developed his unique appreciation and understanding of how it all works. And this grounded foundation has allowed him to keep forging new aural territory, even when using the mostly virtual, software-based tools of today, making him one of the most in-demand expert consultants to the audio industry, consistently on the cutting edge of new technologies and sound making. Take a look at the some of the photos from the show in our archive.

After the show, I asked Richard a few additional questions that were submitted by the audience, as well as a couple of my own:

MAKING MUSIC BONUS QUESTIONS
1) Do you ever feel that your constant acquiring and learning of new hardware and software slows down your creative process?
Never, I never look at the constant acquiring of new tools and software as a problem in my creative process its actually integral to my music making process. I constantly have to have a fresh palette of new sounds and interfaces to keep me thinking of new interesting ways to manipulate and create sound. So the constant changing of technology is a good thing. I mean as computers get faster it will only make things easier for people trying to make music.
2) What are you listening to these days? (music suggestions)
Well, my musical tastes are all over the place lately. I really like the new Autechre album "Quaristice", also really been into this new artist called "Burial" from South London, who has been doing some beautifully haunting crafted dubstep. I also listen to a lot of new electro acoustic music. I am really into the Music of Horacio Vaggione, Natasha Barrett Joseph Hyde and Ake Parmerud. Theses guy really pay close attention to the meticulously details of sounds.
3) You are meticulously detailed in crafting your music. How do you know when a piece is finished?
Yes, I can spend many weeks and months on just 30 seconds of one composition. It is something that just intuitively happens. Its hard to describe, but my brain just knows that its done, and that I move on to the next section or movement of the composition.
4) I'm really curious about your visual art. Could you describe it and the process of making it? What place does it hold in your life?
Well, funny that you asked about this. My personal art comes in many forms. I work in Pencil, Charcoal, Conte, Color pencil, Water Color, Oil on Canvas, Wood, Clay, Ceramics, and 3D/2D graphic design. My work is very detailed and obviously dark and strange. I did lots of still life studies, and surreal paintings and drawings. My real love is late 20th century architecture. I am really into the works of Morphosis, Frank Gehry, and Itsuko Hawesagi.
5) Who would be your dream artistic collaborator at the moment?
Oh I would have to say Morton Subotnick, or Trevor Whishart. These two artists have really broke open a lot of ground for me as a composer, and I would love to have the chance to work with them in some way where I can see the behind the scenes pieces and fragments of there everyday work flow.