Q: Let's start with the basics. Can you tell us your name, what you do, and share a few of your career highlights?
I'm Mark Pistel. I'm a lifelong musician and producer based in San Francisco. I've been in the music business for over 30 years, working both as an artist and as a producer/engineer.
I got my start way back in San Francisco back called Unit Republic in the '80s, and later co-founded Consolidated. That's when I began engineering — probably around 1989. I also spent about a decade as a member of Meat Beat Manifesto and toured for seven years with Hercules and Love Affair based out of New York. Over the years, I've worked on a wide range of records, from The Disposable Heroes of Hiphoprisy to collaborations with Chuck Prophet and Michael Franti, as well as a ton of local and international artists.
ModPlay and the Quest for Unique Sound
Q: As both a producer and artist, you've always chased new sounds. What was your reaction when you first got your hands on ModPlay?
First time I heard about it was in like October 2024 when I got a beta version of Pro Tools. So it came with ModPlay already, but I finally got it running in Ableton Live 11, and once I was up and running, I had a great time with it.
It's the kind of tool that lets you do in minutes what would normally take hours — drawing automation curves, manually tweaking filters, manually triggering or interrupting a vocal phrase. Logic gave me some trouble too. But I finally got it running and was able to use ModPlay. With a wobble patch and was able to use the advanced GUI stuff like changing the sequences in real time. This is really innovative — slipping through general-purpose rhythmic, and then notes alive just slipping the waveform. It was powerful, immediately felt live.
ModPlay as an Instrument
Q: It sounds like you don't just use ModPlay — you played it like an instrument.
Exactly. It's not just about presets; it's about interaction. ModPlay gives you real-time ways to trigger snapshots, which you can capture on the fly, or you can sequence through different variations on the fly, changing the parameters that control. That makes it feel more like a creative tool than just a plugin — it becomes part of the performance.
The Plugin for Plugins: No Rerouting Required
Q: One big appeal of ModPlay is that it enhances your existing tools — without needing to overhaul your setup. How did that strike you?
Oh, that what really impressed me. Once I got past that initial hiccup, I found it surprisingly easy to use. It's very intuitive. Whether you're slowing down automation manually, or just doing anything you're creating and got you're planning everything. But with ModPlay, happy accidents happen. You're never reaching more than you can ask, but ModPlay is part of what makes it special.
Analog Meets Digital: A Hybrid Approach
Q: Did you try routing ModPlay into any of your hardware setups?
Yeah, I used it to control my Moog. I came across a Little Phatty from Moog, I had to be careful — not all analog gear responds the same way to MIDI. I had to find the sweet spots, but it worked beautifully. I was able to completely fine-tune the strength. I was still able to bring the external hardware into the process, using ModPlay as the controller, and envelopes in a way that felt musical and intuitive.
Would You Recommend ModPlay to Others?
Q: If another musician or producer asked you, "Should I try ModPlay?" — what would you say?
Absolutely. Just log in and start playing with it. It's intuitive and flexible. If you're doing anything remotely creative, you'll find a use for it — and you'll probably have fun in the process.
Q: Do you think it can help artists find or refine their signature sound?
For sure. The ability to capture snapshots will help them take it further. It's a great addition to the toolkit. And for artists still exploring, it opens up paths they may not have considered. It's that rare thing: a tool that expands what you can do without getting in the way of your creativity.
