| Trevor Henthorn
Electronics and Percussion
Photo by T. Henthorn
Yes, I know the domain has an 'e' at the end.
Many of my family members have the 'e' (it's a long story).
News for September 2006
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As of Sep 1st, the latest SWEAT ENGINE single is available. "we put the 'go' in 'gothic' is a gear-shaped 3" CD in stereo and 5.1 DTS surround sound. Pickup one for free at any of the San Diego Klubs events. Or, become my MySpace friend (Goth or not) and send me your address by Sep 30th and I'll send you a copy for free!
Saturday, Sep 9th, I will play with the AMF presentation of "A Symphony of Flesh" during the Scream Queen event at the Dapper Cadaver in Hollywood. See such custom and subversive technology as the sub-flesh microphone and the tattoo gun mic. Come see me quiver in pain while receiving my first tattoo!
Saturday, Sep 16th, I'll join Vinnie, Gary and other amazing musicians for the percussion jam during the Frank Moore show at thecocaine in Los Angeles (see the flyer). If you have never seen Frank Moore, get to LA for this one! If you happen to be in London on October 7th, drop by the Rubberball. There will be 3 "Symphony of Flesh" performances. See such custom technology as the shaver-mic. Come for the torture and stay for the shaving (my first hair cut in 19 years)!
| In August, I released the KonkretenMusikWerken audio CD. Check out the mentions in the San Diego Union Tribune and the La Jolla Light (coming out Sep 8th). It is available online and through Off-the-Record on 29th & University, San Diego and Lou's Records in Encinitas. |  | Other SitesMy Wiki page was deleted and I can't remember off hand what my
Friendster or Orkut pages are - but, they're there.)
Bio Trevor Henthorn attended The University of California at San Diego, where he majored in Electrical and Computer Engineering and Music Technology. He worked at the Center for Music Experiment and later as the lead systems and network administrator for the UCSD Electrical and Computer Engineering Department. In 1991, he formed Pan Handler Production as a San Diego resource for digital editing, mastering, remixing and distribution of electro/Industrial music. PHP is credited with mastering of many of the Vinyl Communications and Re-Constriction artists. In 1995, he partnered to found ControlRoom - a multimedia company, providing audio streaming services for radio stations and event webcasts. In 1997 he partnered to form Console Incorporated, a company focused on high-end networking, database, and Internet services. Media projects included digital asset tracking system for Universal Studios, web cams for NBC, various NBC websites and streamed audio broadcast of the San Diego Padres. He is credited for his technical lead in such notable webcasts as the '95 Oasis concert in San Francisco, the San Diego City Council meetings, President Clinton's '98 visit to UCSD and the Make-a-Wish Foundation's Jingle Ball events. He has worked with CalIT2 to help develop the "STRokeDOC" telemedical system and worked with faculty in the UCSD Psychology Department to publish articles on psychoacoustics in Journal of Acoustical Society of America and Music Perception. Mr. Henthorn now resides in the UCSD Department of Music.
Musically, Henthorn studied trumpet at age 10 and percussion at 16, moving to electronics at 17. He has worked as the herald trumpetter and drummer for the Novato and Agoura Hills Reinaissance Faires. He worked at UCSD's radio station for 5 years as a DJ, production director and finally the chief engineer. It was during that time that he formed SWEAT ENGINE with KSDT Music Director M. Deadrick. SE was best known for their shows in the basement of SOMA in San Diego however they are also credited for opening for such Industrial/Electro acts as Meat Beat Manifesto, Consolidated, KMFDM, Front Line Assembly, Contagion, Tit Wrench, AMF, the Spacewürm, Babyland, Hate Dept and Nine Inch Nails. Since then, Henthorn has performed with such groups as 1-Volitile-1, Pain Emission, SPIT, Secret Secret, the Super Sonic Samba School, Frank Moore, and the Aesthetic Meat Front. |
Gear
Here's some of the gear I use Recently, I've been revamping my mic setup, mainly for the AMF "Symphony of Flesh" setup. I tried the Radio Shack Piezo contacts, but they are just too noisey. The Dean Markley acoustic guitar contact mics work great for metal instruments and springs. And, thanks to Ray, I'm now a big fan of the AT 3000 series wireless systems and lavalier mics - they work great for these dark shows with "splatter" and sharp (and dangerous) stuff on stage. The element from the new AT headset mics actually fit inside a 3mm piercing needle!   I have some made some progress on the Sampler Museum -
The most recent additions came from En Esch -
an ESI-32 and an Emax II.
 For computers, G5 or G4 laptops (I'm waiting until the Macbooks stop crashing) to make a change. I have tried to produce on Windows. So far, I've never finished a project in that environment. For software, Reason 3, Logic 7 and DP 4 for sequencing. Ableton Live is nice, but I prefer samplers over loopers so I haven't had much real use for it yet. For tracking, I prefer DP but have forced myself to use ProTools 7. For mastering and stereo editing, I use Peak along with the Waves plugins.
For synthesis, I just picked up a Nord Lead 3. I'm liking that a lot even though it's sonically similar to
my Korg MS2000 and even the minimoog (on loan from Rob). When the commercial gear isn't accurate enough, then PD, Max/MSP or Csound usually do the trick. For sampling, the Reason samplers usually do the job. I still have my Roland S-770 but don't use it too much. The Kurzweil K2000 and K2500 have more in the way of sonic manipulation. I just ordered a Polivoks from
Russian (e-bay) - we'll see if that ever arrives.
 For drum machines, again, Reason is ok. For more realistic drums I use the MPC2000 (orange glow-in-the-dark version) and occassionally break out the old Roland R8.
 For control, the Mackie MCU is, by far my favorite. I grabbed an Ozone from e-bay. It's really nice having a small tool with audio i/o, lots of knobs and the ability to run ProTools. Even though the audio is flakey (requiring occassional reboots of the computer), it's a great sitting-on-the-couch tool. The Evolution UC33 and Behringer B-control controllers (also e-bay grabs) work great for Reason.
For recording, I'm still happy with the various Groove Tube mics (X-mas present from Geni and a couple e-bay grabs). And, for Tymo's vocals, I still prefer that Beyerdynamic TGX480 we bought back in '91 (it's been rebuilt twice). For portable recording, the Edirol R-1 and R-9 recorders work surprisingly well (especially with an AT-822 mic) even though they feel like toys.
Though I don't own one, the Yamaha O2R96 is my favorite for mixing. For the last few projects, I used the pre-amps in the 02R. Vinnie turned me on to the Joe Meek compressor/mic-pre. There's a plugin of that now. For monitoring, again, though I don't own them myself, I'm really liking the Dynaudio BM15 plus Sub (for stereo) and the BM6 plus Sub for surround. That combined with the Alpine stereo in the Mazda give a good range of listening.
For drums, aside from the Bauer surdo (with Aquarian heads) and the various drums built from parts and the custom African drums, all other percussion is Gope or Contemporanea from brazilianpercussion.com. For electronic drum pads, the DrumKat still beats all. That, along with the old school Roland pads (with the plastic removed to expose the rubber). I have some yamaha pads and they are ok. I have a couple of Roland V-Drums pads and actually like the RMP-5 rhythm trainer (especially for those electro shows which only require the basic sounds).
Let's see, anything else? Oh yes, cases. I've become such a heavy user of Gator cases, I finally arranged to be a dealer. For the price, you can't beat them.
| Contact
trevor@henthorne.org
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