The man behind Starkey music creations

By Andrew Stettler
November 6, 2008

Take two record players and connect them to a DJ console. Connect that into a recording interface and professor of Digital Audio Production Paul Geissinger or as his fans in Europe know him, Starkey, is ready to teach.

Using old recordings of N.A.S.A. missions or old classical orchestra albums, Starkey finds a sound he likes and then saves the sound to use in the chemistry project that is his music.

Starkey will take a beat and add EQ or reverb or any of the other effects on his palette to find something that fits a piece.

From there comes orchestration.

Adding a piano to the mix or a low end bass is something in Starkey’s style that can inspire a club floor or the ears in a pair of head phones.

Songs like “Dark Alley” and “Gutter Music Clip” exemplify Geissinger’s strong ear towards finding sounds that could otherwise send a listener to the verge of anxious-insanity and yet somehow does not.

In “Corner Store Riddim (Original Mix),” Starkey uses a classical-string loop with what may or may not be the same loop with a fazered EQ effect.

Added with a dark almost Eminem-like piano line, the song is even stronger in the version of “Corner Store Riddim” featuring Xploder.

“Let You Go (Mathhead Remix)” is a more experimental piece by Starkey. An ongoing plethora of what sounds could be EQ gun-shots, engines and driving cars, creates a soundscape of electronics that challenge a listener’s ability to predict the songs direction, let alone its instrumentation.

To hear Geissenger as Starkey visit

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Andrew Stettler

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