My fear was that such a product would be unstable and have poor drivers, but when I got the chance to try it I was pleasantly surprised.
I wanted to see if everything I read about the Orion32 was true, which described a beautifully designed and simple to use interface with multiple I/Os based on USB technology — all in a single rack space and for under $3,000. It was almost too good to be true. My fear was that such a product would be unstable and have poor drivers, but when I got the chance to try it I was pleasantly surprised.
I used a big name competitor for three years or so, and I had so many troubles. Besides the limited number of I/O that never seemed to be enough, I found that I had to adapt my work- flow with a patch bay. Also the drivers in my last unit were incredibly unstable and I experienced problems with sync, latency and even worse, clicks and pops during recordings. The Orion32 solved all these problems while giving me the opportunity to work 100% inside Ableton Live without having to disconnect or repatch cables. Since using the Orion32, I have never experienced problems with drivers and the clocking has been perfect. Since my studio contains so much hardware and digital devices, keeping the clocking perfectly aligned can be problematic.
I use a Mac Pro running Ableton Live. I also use a UAD card with all the available plugins. The rest of my set up is basically hardware. All my synthesizers, vintage mixers, reel-to-reel machines and effect boxes are all connected to the Orion32 so I use it like a sort of ‘digital patch bay.’ Using it this way, I can plug anything to anything with a simple click. So the Orion32 has enabled me to create this big modular set up — this makes everything very interesting, fun and also more experimental. The best thing is that using both Ableton Live and Orion32, I can instantly create very complex chains of machines!
“Well, with 32 ins and 32 outs, the Orion really does everything for you if you don’t need to mix out of the box — and its price / performance ratio is just ridiculous.” DUSTY KID [aka Paolo Alberto Lodde] was born in the first half of the decade of the 80’s. As a new ‘enfant prodige’ he immediately showed his natural attitude for the variegated ‘music world’. At 10, after just one year of private lessons of the basic notions of piano and violin, he was admitted directly to the 6th year of the piano course in the conservatory of his native city. Following the academic experience, his tasks moved gradually from the austere classical world to the electronic system, free from binds and traditional old-fashioned diktats. DUSTY KID started to manipulate synthesizers, samplers and sequencers, and he realized that one passion was growing and growing: the ardor for arranging and producing his own compositions. He released his first single ‘I Found A Reason’ at 19 on the English label Lowered Recordings, and then he produced various singles and remixes for Mutiny UK, Robbie Rivera and Trinity Hi-Fi. The first official single under the aegis of the pseudonym DUSTY KID was ‘The Summer of Love’.
But it’s during 2004 that Dusty Kid creates the project Duoteque with DJ Andrea Ferlin and releases numerous EPs on Boxer Recordings and the tracks were immediately included in the DJ sets of some of the most important names, like Richie Hawtin, Tiefschwarz, Ricardo Villalobos, Domenic Eulberg, Sven Vath and Magda.
After the Duoteque experience Paolo decides to take his own way and to release his own productions as DUSTY KID.
First release was the NEW ORDINAMENT EP on Motivo, followed by a second EP in 2007. 2007 is also the year of various releases as Dusty Kid on labels such as Kling Klong ‘Signal ’63 EP’, Systematic ‘Tsunamy’/‘Milk’, Boxer Recordings ‘Anatome EP Vol.1’ and Southern Fried Records ‘The Cat’ / ‘The Kitten’, all hugely supported by DJS all over the world and still doing damage on the dancefloors and in the charts, as well as getting amazing reviews from press.
