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I didn’t know that Johannes was working on a Maschine or anything like that, so I was blown away when I visited him and saw the technology.” “And so we’ve always been interested in making something physical. “We already had a kind of sub label that we call Dinamo Hardware, which is like T-shirts, key chains, etc – tangible objects.” explains Breyer. Schroth reached out to Breyer, and the two began looking at ways in which type could be brought to the forefront of the MASCHINE experience. That coincided with the moment my partner and I were starting to work on fonts, actually.” We were just starting to come across each other’s work a little bit at that point. “I think that was like six, seven, eight years ago – a long time in Berlin. And for me, it’s always interesting to focus in on the little details, so I thought, ‘Wouldn’t it be great to really put the emphasis on that typography for a change?’”Įnter Johannes Breyer, Swiss co-founder of Berlin/Basel type foundry Dinamo.”We met at a dinner,” he says of his NI namesake. “The Maschine has a lot of labelled functions and a lot of different buttons,” he continues. ”That’s a lot of typography. “You can’t necessarily point your finger at it, but it affects your perception all the same.”
“There’s a subconscious element,” he explains. It serves a clear signposting function, of course, helping music makers to understand how they might interact with a particular tool, but it also contributes to that tool’s character.
“I’m not sure it was a conscious decision, but we’ve always tended towards descriptive typography, even when mocking something up.”įor Schroth, type is one of several “dark arts” at the core of the NI product experience. “We’re not big fans of icons,” explains Johannes Schroth, the hardware designer behind our side of the MASCHINE Mk3 Dinamo collaboration. Type has always been important here at NI.