Right now, I’m in my sun-drenched studio in Melbourne, wrestling with a patch bay on a vintage semi-modular synth. I’m trying to dial in a specific, haunting drone, and I’m just waiting for the oscillators to stabilize after a cold start. There’s a forest of patch cables in front of me, and I figured I’d hop on here for a moment while the tubes warm up. It’s a delicate balance of electricity and art, and sometimes you just need to step back to hear the music.