If you could ask one question...

[dano12]

...of Craig Anderton, what would it be?

(He's agreed to be the next victim on Ten Minutes with... at BeavisAudio.com! Yeah, I'm all excited in a very geek kind a way

[jonathan perez]

"would food do you think gravy does not belong on?"

[MikeH]

"Please rate all of the Friday the 13th movies in order from worst to greatest."

Sorry.  I'll get my coat

[Dragonfly]

..You got $10 I can borrow ?

[Mark Hammer]

Well, you SHOULD feel all tingly and excited.  Bright guy. NICE guy.  Lotsa perspective, and a sincere desire to make others able to work independently.

I've done plenty of interviews of big shots, and am almost always told by people on the way out of conferences and invited addresses "You ask really good questions", so I'll take the absolutely immodest liberty of suggesting three.

1) What, for you, were some of the major historical turning points in the evolution of musical instrument effects, either in terms of available technology or approach to functional design?  What points in time strike you as points where everybody just started thinking differently about how to make or use things?

2) What, for you, were some of the major turning points in your own thinking about musical technology, whether they were changes in attitude or simply things you finally learned how to do or think?  What made you feel like you were onto something really different in your own evolution?

3) Everyone has heroes.  If you could time travel and be on any design team in musical technology history, which design team would you have liked to contribute to, and why?  For instance, would you rather be at E-H  or Alesis now, at Boss or DOD in 1983, or would you rather have been at Maestro or Musitronics back in the day?  Or would you rather have been Bernie Hutchins lab assistant?

That'll likely get you more than 10 minutes out of him, so my apologies in advance.

(If you have time, you can ask: Do you remember writing a letter to a guy named Mark Hammer, around 1981 or so, after you took over the helm of POLYPHONY, and belatedly thanking him for an article he sent into DEVICE?  Mark said to say hi, and that he appreciated it a lot.)

[Dragonfly]

seriously, though...the guy is responsible for many, if not most, of us being in this hobby / business...

i'd probably ask him what "his" perceived differences between when he started and today are....with regards to equipment, the growth of the hobby, etc....

AC

[dano12]

Hmmm.... all very insightful questions. I'm trying to do a bit more detailed research into Craig's past and current work all in an effort to choose my questions wisely and carefully. Thanks for some great ideas.

And for those watching at home, Mark has (perhaps foolishly ) agreed to be my third subject.

I also welcome ideas from fellow forumites about interesting people to interview in the future.

Finally, I hope for way more than ten minutes with Craig. I simply expect way more time from Mark!

Best,
-dano

Well, you SHOULD feel all tingly and excited.  Bright guy. NICE guy.  Lotsa perspective, and a sincere desire to make others able to work independently.

I've done plenty of interviews of big shots, and am almost always told by people on the way out of conferences and invited addresses "You ask really good questions", so I'll take the absolutely immodest liberty of suggesting three.

1) What, for you, were some of the major historical turning points in the evolution of musical instrument effects, either in terms of available technology or approach to functional design?  What points in time strike you as points where everybody just started thinking differently about how to make or use things?

2) What, for you, were some of the major turning points in your own thinking about musical technology, whether they were changes in attitude or simply things you finally learned how to do or think?  What made you feel like you were onto something really different in your own evolution?

3) Everyone has heroes.  If you could time travel and be on any design team in musical technology history, which design team would you have liked to contribute to, and why?  For instance, would you rather be at E-H  or Alesis now, at Boss or DOD in 1983, or would you rather have been at Maestro or Musitronics back in the day?  Or would you rather have been Bernie Hutchins lab assistant?

That'll likely get you more than 10 minutes out of him, so my apologies in advance.

(If you have time, you can ask: Do you remember writing a letter to a guy named Mark Hammer, around 1981 or so, after you took over the helm of POLYPHONY, and belatedly thanking him for an article he sent into DEVICE?  Mark said to say hi, and that he appreciated it a lot.)

[oldschoolanalog]

What do you see for the future of analog DIY?

[captntasty]

Do you see a point of diminishing returns in the complexity of music/audio technology or is the sky the limit?  He's where it all started for me - EPFM.

[KerryF]

1. Who are some guys or circuits who inspire you to design and build.

2. What is one of your favorite circuits/pedals around?

[aron]

I got to meet him but nothing of value came out of my mouth at the time. hmmmmmm