Where it began
Between 1990 and 1992, I studied at North Tyneside College and spent time at Deleval Studios, a college annex with a television studio, a gallery and a small recording studio. The building was later demolished and replaced by houses.
We used Cubase on an Atari ST, synced by SMPTE to a Fostex eight-track, with a Seck desk, an Akai S950, a Roland Juno and Yamaha synths and expanders. There were Midiverb and Quadraverb effects, too. I used a Roland GR50 guitar synth, and even now I can remember some of its settings. I loved discovering how those pieces worked together.
Val McLane, Jimmy Nail’s sister, taught me to sing during my time at college.
Sting’s brother, Philip Sumner, contacted the college for help setting up and engineering a band at Dunes Bar in Whitley Bay. We understood they were about to be signed—possibly HUG. We were paid in beers. I still remember the distinctive blue Turbosound PA cabinets, widely used for live sound at the time, and how much Philip looked like his brother.
Music over the years
My career took me into theatre and technical work, but I kept playing around with synths over the years. I’ve always liked understanding how sound works: the layers, the depth and how everything fits together. That interest carries through into SIMFORNIX.
A friendship
Around 2004, I became good friends with Zee Asha, who sang backing vocals for Boy George. She was a wonderful person with an amazing voice. She once said to me, “I know one day we are going to do something together.” Sadly, our timing never lined up before she passed away.
Making music now
AI is a substantial part of how I make music, and I’m open about that. I use it to help develop lyrics and generate musical material and vocals, alongside my synths, effects and studio software. I shape the songs’ structure, sound and arrangements, choosing, revising and refining the material.
These days, I explore sound with Animoog, GeoShred Pro, Korg’s iKaossilator and Module, and Moog’s Minimoog Model D and Model 15 apps. I also use GarageBand, Nerd Synth, AudioKit Synth One J6, Super J8, Voice Synth and Tonebridge Guitar Effects.
Koala Sampler deserves a special mention. I have all the add-ons, including Samurai and the Mixer, and it’s probably the most impressive of the apps I use.
Suno is part of that toolkit too. I like seeing how it keeps developing, including Suno Studio for arranging and editing music.
I was never particularly keen on performing the vocals myself. AI-generated vocals based on my own voice let me concentrate on shaping the music. I get great pleasure from making it—and I still sing along.
Working together
I usually start with an idea, a sound or a pattern. Then I talk it through with AI: what we’re building, how it should feel, the tempo, the key and where each section might go. I say “we” because we both contribute words and ideas. I suggest things, AI responds, and we go back and forth as the piece develops.
After many conversations, we’ve developed a shorthand. There’s a bit of banter and plenty of “no, not that”, but we keep returning to what the piece needs.
I see AI as another step in the way we make music. The mandolin, penny whistle and panpipes still have their place alongside synthesisers and drum machines. Each brings something different. I’m interested in what another tool can add to that exploration.
An idea becomes a conversation.
An illustrative exchange, written for this page—not a transcript or an unreleased song. The words and musical choices below are examples.
Finding the feeling—with the occasional detour.
SIMFORNIX is a personal art project, driven by curiosity and the pleasure of making music. I’m open to collaborations and creative projects where the music feels like a good fit. Get in touch if you have something in mind.
I hope you enjoy spending time with the music. It’s meant as a journey, and everyone will hear it differently.
Thanks, Keith
A massive, massive thank you to Keith Smith, my tutor at North Tyneside College. His understanding of sound engineering has stayed with me ever since. Without him, we wouldn’t have had the equipment we did. Through his connection with Yorkshire Television, we had access to really good, accurate, high-end studio equipment for the time. It was a truly fantastic time. Thanks, Keith.