Stephan Bodzin’s use of synths in both his in-studio production and his live sets stands out above the pack when it comes to use in modern techno. On my Mount Rushmore of Techno Gods, only a short glimpse at his live Boiler Room set from Berlin in 2015 and you can see why he inspires such motivation.
Bodzin epitomizes soothing techno and his synth use has pioneered the melodic nature of the genre over the past decade.
We see him bring his album production methods to light in a live set, something rarely seen in this modern world of USB-Jays, pre-recording and timecoded DJ sets.
He uses a vast range of equipment as you may expect for someone who has been in the industry for 30+ years. One of his main synths is the Moog Sub 37, of which there are many “Bodzin patches” online to re-create the sound from epic track “Singularity” from his Powers of Ten album. One benefit of him being such a respected figure is there is an array of articles, interviews and forums discussing his equipment and production techniques.
Bodzin’s unique set-up includes a custom-built PO10 Live controller. This custom built MIDI is based on two Livid Brain v2 MIDI control surfaces, controlling Ableton via max for live. It also has a 16 x 2 button step sequencer, 4x4 drum rack grid, launch and navigation buttons and oversized retro knobs for sends, chains and track volumes.
Now utilising the latest in mid-2010’s equipment, He also uses a Akai Professional MPK Mini Mk2, which I found quite cool to discover as I recently purchased the similar Akai MPK 225.
Bodzin has inspired many admirers and imitators which has helped create many discussions about how he creates his style and methods to emulate it. Whilst earlier in his career he admits to working mostly in the box, his use of synths on the Powers of Ten album and accompanying remixes
He focuses on a wide, harmonic, boom, based around the subs and low-end with modest delays and a nice balance of feedback.
Whilst I plan on making slightly more upbeat, higher energy techno than many of Bodzin’s tracks, I look forward to implementing many of his techniques into my basslines, particularly subtelties of his delay on the lower frequencies on build-ups.