Behind the Buzz - An Interview with Cherry Audio's Mal Meehan

"It felt both logical and exciting that my first synth design at Cherry Audio would be a British instrument. When I first considered the project, my goal was to capture the sheer excitement and wonder I experienced when I first played the Wasp."

In 2023, Mal Meehan joined Cherry Audio as its Creative Director, where he focused on significantly enhancing the user interfaces of the company's software instruments and effects. His creative vision extended to producing captivating teaser and release videos designed to showcase the unique features and functionalities of Cherry Audio's offerings.

Following the recent retirement of Mitchell Sigman earlier this year, Mal has transitioned into a pivotal role as the lead synth designer. In this capacity, he is now responsible for driving innovation in synthesizer design, bringing fresh ideas and artistic flair to Cherry Audio's products, and further enhancing the overall user experience.

Mal began his career in 1998 as the Director of Video Production at the world's largest digital design agency. He went on to specialize in multi-screen presentations and interactive kiosks, focusing on design, motion graphics, and video content creation for products, events, museum installations, and exhibition environments, including the Moogseum.

Yellowjacket marks Mal's debut synthesizer design for Cherry Audio, blending innovative new features to complement its dynamic sound palette. We recently caught up with him to dig into his creative process and vision and to uncover the details behind his design choices with Yellowjacket and what's to come.

And don't miss Pro Synth Network LIVE this Friday with special guests Dan Goldstein and Mal when they'll discuss Yellowjacket and more. Tune in this Friday, April 25, at 7PM UK (2PM ET, 11AM PT) on YouTube. Click the Notify Me bell for a reminder, and Subscribe and Like to show your support.

Tell us about your background with synthesizers. What did you start with? What are some of your favorite gear?

When I was 11, my mum brought home a 1950s Italian reed organ she bought from a thrift store in Streatham, South London. We lived in a small duplex, so this compact organ was her solution to my desire to learn piano. I adored its mid-century walnut legs, sage-green leather texture, and pearlescent keyboard. With just two-and-a-half octaves and chord buttons, it was easy to play. I eventually stacked multiple organs, mimicking the keyboard setups I saw on my brother Richard's 1970s album covers, dreaming I was Rick Wakeman.

By 13, I used my paper route money to buy my first keyboards: a Casio MT-70 and later a CT-202. Although the CT-202 wasn't a true synthesizer, it was a game-changer, especially when I plugged it into my brother's guitar pedals. I was lucky to attend an arts-focused high school and youth center where I accessed various synths, including a Roland Jupiter-6 and Moog Prodigy. Stewart, the youth leader, even let me take them home, and I performed frequently at school, often carrying a £3000 Roland Jupiter-6 through South London.

By 14, my older brother Richard had left the house and got his first serious full-time job, and he would come home with synths and leave them with me! So, for a long time, I had a Korg PolySix and Mono/Poly, a Siel DK-80 and EX-80 expander, a Tandberg 4-track reel-to-reel, and various drum machines and effects in my bedroom. My dad promised to double my Christmas tips one year, and I earned over £300. I bought a Moog Prodigy at Gigsounds, though I later swapped it for an SH-101 at school.

Over the years, I've owned and sold hundreds of synths, leaning toward polysynths since I consider myself a player more than a synthesist. My ideal setup between 1999-2009 featured classics like OB-8, Matrix-12, Elka Synthex, Moog Memorymoog, Prophet 5 rev3.3, Yamaha CS-50 and CS-60, Roland Jupiter-8, PPG Wave 2.3 and Waveterm B, along with 20+ monosynths. I sold much of my collection when I moved to the States in 2009. Now, I have 25 modern synths in my studio and have moved past the troubles of vintage gear!

Tell us about your musical inspirations.

My earliest musical interest dates back to the late 1970s when I discovered Ska, Beat, and Two-tone genres. It wasn't until I began playing the keyboard that I sought keyboard-driven music. With the help of my brother's record collection, I explored 70s Prog Rock, discovering bands like ELO, ELP, Yes, Genesis, and Rush.

My brother was an audiophile and owned an incredible quadraphonic hi-fi system. We would sit in the middle of his bedroom, admiring the gatefold album sleeves filled with pictures of massive keyboard setups and naming the various synthesizers while the music surrounded us. The albums that truly ignited my passion for synthesizers were Tangerine Dream's "Force Majeure" and "Exit." This experience fueled my desire to own a Moog Synthesizer and a PPG Wave.

In the 1980s, the UK music scene was dominated by synthesizers, particularly with the rise of New Wave. Even today, I still enjoy listening to a lot of Prog Rock; there has been a significant revival in the genre over the years, with many great new bands emerging. However, when I want to relax and listen without "inspecting," I often play some early New Wave music.

You were involved in designing several interactive experiences at the Moogseum in Asheville, NC, a museum that celebrates the legacy of synthesizer pioneer Bob Moog. How did this come about?

In 1998, I bought a used Minimoog D on eBay from Toronto, which came with a Rudi Linhard Lintronics MIDI retrofit but no instructions. I discovered it had been installed by Bob Moog from Big Briar and decided to call the number on the sticker. To my surprise, Bob answered! Although I was a bit starstruck, my awkward jokes sparked a seven-year friendship. Later, Moog Music hired me to film Bob during his visits to the UK for MoogFest, which also allowed me to get to know his daughter, Michelle.

I designed the Moogseum experience to help the Bob Moog Foundation raise funds for its construction, intending to create all the exhibitions myself. However, due to time constraints before Bob's May birthday, we outsourced five of the seven interactive exhibits, and I built the two touchscreen kiosks.

When I arrived in Asheville to install the kiosks, I was amazed to see my vision realized. I didn't expect it to be built, but after Michelle shared the pitchbook, the architects urged her, "Build exactly this."

How does it feel to have electronic music more and more a central part of your career?

I am both a musician and a traditional artist, which creates a constant struggle for my time. Some years, I focus on comic book and commercial art, while other years, I dive into writing and recording music for video production. This conflict often leaves me feeling like I need more time.

Currently, I'm more involved in the music business as a designer rather than a musician, which has struck a happy balance. I enjoy working with digital design and 3D tools while creating synthesizers.

In addition to my work at Cherry Audio, I run a multimedia company where I am currently creating animated backdrops for our local theater's summer production of "West Side Story." This project is being developed entirely in 3D using Unreal Engine. I'm also designing a complete exhibition called "Celebrating African American Rehoboth, DE." I'm not one to sit around; I am driven to be creative.

Can you tell us about your previous experiences with Electronic Dream Plant's synthesizers, especially the Wasp?

The Wasp holds a special place in my 'synth nostalgia.' I first encountered a Wasp in the window of Alleys Owl Shop in Streatham, the thrift store where I bought reed organs. While those organs cost between £5 and £10, the Wasp was priced at £60, making it well out of reach for a 12-year-old relying on pocket money. I would often go in to play it; it was the first synthesizer I ever used, and I found it very approachable since it ran on large batteries and had a built-in speaker.

I remember the layout being simple and easy to understand. The knobs had no markings other than start and stop lines, so you didn't know what a knob did until you turned it. I loved that it featured all knobs and no buttons or switches; even the knobs acted as switches! It felt like a scientific test tool to me, and there was something very tactile about the 'click' of the repeat knobs, similar to the on/volume knobs of old black-and-white TVs.

I told my brother about my experience with the Wasp, and a few days later, he brought one home. Although it was his, I was allowed to play it whenever I was in his bedroom!

A few years later, our youth club organized a summer arts week, offering music activities for kids on summer break. We had the chance to visit Abbey Road Studios, and folks from the BBC Radiophonic Workshop came to the club to discuss synthesizers. Toots and the Maytals performed alongside members of the youth band 'Musical Youth' (famous for "Pass the Dutchie"), and the highlight was recording a track in a studio. It was a mind-bending experience!

During that time, one of the youth workers brought in his own Wasp, along with EDP's Gnat and Spider sequencer, which they added to the range of synthesizers we had. I also brought my brother's Wasp, and we hooked them all up using LINK cables. It was fiddly but a lot of fun; this was my first experience with a 'somewhat' modular system.

What inspired some of Yellowjacket's cool features new to Cherry Audio plugins, such as the new arpeggiator, the keyboard with root and scales, and the multi-voice modes? What made Yellowjacket a good opportunity to introduce these?

It felt both logical and exciting that my first synth design at Cherry Audio would be a British instrument. When I first considered the project, my goal was to capture the sheer excitement and wonder I experienced when I first played the Wasp. This synth is small and straightforward, making it ideal for learning synthesis, but it was also very cutting-edge for its time, featuring what became known as a "killer filter" (a term that wasn't commonly used back then).

It came equipped with digital in-tune oscillators and a control system that allowed potentially 50 EDP synths to be connected using bi-directional single 7-pin DIN cables. This setup enabled users to loop several Wasps or Gnats together and play them polyphonically from the first unit. Later, EDP released a polyphonic controller keyboard called the Caterpillar, which included a real mechanical keyboard that allowed up to four synths to play in various modes. It was this innovative feature that inspired my ideas.

What would a modern-day Wasp look like, and what new features would it have? We aimed for polyphony while incorporating modular aspects like those of the Caterpillar master keyboard.

We designed a device that effectively combines four Wasp synths in one case, allowing users to tweak controls across multiple engines to enrich the sound. This setup enables one-fingered chords in UNISON mode and lets you create a four-step sequencer with an arpeggiator for pitching notes beyond the held chord.

We also added new arpeggiator features, including SWING, note probability (CHANCE), and a push/pull effect on the beat (HUMANISE), making it more engaging.

Using four YellowJacket instances in your DAW with different presets, you can record the same chord structure, activate the arpeggiator on each track, and adjust the SWING, CHANCE, and HUMANISE settings for a natural, polyrhythmic composition.

Fun was the key focus for me while designing this instrument. While striving to stay true to the original capacitance keyboard's design, I envisioned what it would look like in a modern Wasp format, so embellishing that design was essential to me.

I also added root note and scale modes, which was a logical choice for this keyboard style to enhance the original synth's simplicity. Additionally, I incorporated several polyphonic aftertouch controls. These allow users to introduce changes to the sound either by applying extended pressure with an external MIDI keyboard or by moving vertically up the key on the on-screen keyboard (or via a touchscreen display on Windows).

You can replicate the same vertical key action to trigger poly pressure if you have an MPE-compatible keyboard like the Keith McMillen K-Board Pro 4. That creates an incredibly enjoyable and expressive playing experience!

I own a variety of MPE/polyAT software synthesizers and have six MPE/polyAT keyboards in my studio. In my experience, Yellowjacket is the most enjoyable and practical polyAT software instrument I have played. Other synthesizers have numerous modulation sources that can feel overwhelming and not always musical. In contrast, Yellowjacket offers selected, useful, and expressive modulation sources, making it simple and effective.

Additionally, Yellowjacket serves as an excellent polyAT playing "trainer." The on-screen keyboard lets you visually see the effects of your polyAT playing, which can help you learn to play more accurately.

Without getting too specific, what do you hope to be able to implement with Cherry Audio's plugins over the next year or so? What are some of the design and usability principles that are guiding you?

I have designed a wide range of products throughout my career, from $20 electric kettles to multi-million dollar military ejection seat systems. For me, the key focus is always on the user experience. I start by considering what I want to feel when using an application. I ask myself how the features enhance the task at hand, what makes this device different from others, and what unique or interesting functions could be added.

Once I consider the user experience, I can design backward from there. I rarely think like an architect, engineer, or technician, even though I have experience in all three fields and possess technical skills. My primary interest lies in the user perspective. As a musician, videographer, photographer, and artist, I concentrate on the tools needed to accomplish my goals effectively.

Before joining Cherry Audio, I purchased and used every instrument they offered because I admired their selection of synthesizers, especially after selling my own. I find our sound emulation to be exceptional. Over the past two years, I have contributed to improving their visual design. Now, I am focused on enhancing the user experience and identifying new and essential features to improve our products.

Thank you for providing your time and insight, Mal! We can't wait to share what's coming up next and throughout 2025!