Michael Fakesch started Designingsounds™ in 2006, though his musical career began 12 years earlier in a small town near Munich. In 1994, 19-year-old Michael co-founded the music project Funkstörung which became world renown for their remixes (e.g. Björk, Wu-Tang Clan), being one of the first bands signed to K7 Records, and of course their outstanding visual collaborations (e.g. the DVD Isolated).
Since the termination of Funkstörung in 2005, Michael continued where Funkstörung left off, releasing more music on K7 Records, his very own label Musik Aus Strom and doing even more remixes (e.g. for Herbert, Bomb The Bass, Booka Shade or Mr Oizo). Since then he has also worked for numerous design agencies such as Zeitguised, Stink, Universal Everything, Sehsucht, Infected or Dixonbaxi doing music for Fuji, Lexus, MTV, Peugeot, Sony, Subaru, Toyota, VIVA, Vodafone, Wrangler or ZDF.
In 2009, a Philips ad, for which Michael did the music and sounddesign, won the Cannes Golden Lions Grand Prix, followed by two nominations the next year. In 2011 Michael did the music for the MTV European Music Awards which has been watched by 1 billlion people.
Can you tell a bit about yourself, how and why you got into music, a bit about your history and how you became successful ?
My name is Michael Fakesch, I am co-founder of the electronic duo Funkstörung. I have been in musicbiz since I was 17, starting with organising parties in my hometown Rosenheim (near Munich), doing acidtracks on Bunker Records and then going into more advanced electronics on Compost Records and my own label Musik Aus Strom. Funkstörung's breakthrough were our remixes for Bjork and Wu-Tang Clan which led into even more remixes and a multi-album deal with K7 Records. Since the split of Funkstörung I concentrated on doing loads of solo-stuff (like the album 'dos' on K7), remixes for well-known artists (like Herbert, Mr. Oizo, Notwist, Booka Shade, Bomb The Bass, etc) and last but not least sounddesigns for TV commercials like Toyota, Vodafone, Sony, Lexus and of course Philips which earned the Grand Prix of the Cannes Golden Lions 2009.
Why did you choose to use Lemur above other products on the market?
Propably reason No.1 why I chose the Lemur was the fact it looks so absolutely amazing :-) and of course I just love the freedom in building my own virtual interfaces.
How has using the controller changed the way you work?
For me the Lemur is the perfect controller for playing live. Before owning it I really had to practise my livesets cause you had to remember which controller does what (I had loads of controllers). With the Lemur you have all your main functions on one bright screen with all buttons and faders named perfectly. It's just incredibly intuitive, super flexible and - importantly when playing in dirty clubs - it's rock solid!
What do you find most useful about it in terms of features?
The best feature of the Lemur is -of course- the possibility to build your very own virtual interfaces. You can name everything easily and you have everything on one screen (or on a few pages which is also easy to handle). Probably the most innovative tool on it is the bouncing ball...that's something you just cannot do with an ordinary hardware controller. The bouncing ball can create living, morphing effects which have really never been heard before...that's really a lot of fun.
What would you like to see in future revisions of the software?
I think the software is pretty cool as it is, but in my opinion a touchpanel which reacts to finger pressure (the harder you press your finger on the screen the more effect it has for e.g.).
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