"It looks like a very simple synthesizer… but it's very hard to get a bad sound out of it," Zonneveld explains. "It brings a very reasonable dynamic sound that doesn't need compression and still cuts through the mix — that's the most important thing for me."
With memories ranging from first festival gigs to wild underground raves, the SH-101 remains Zonneveld's go-to for crafting the driving basslines and acid techno hooks that define his live shows. For more episodes of It Goes To 11, visit GRAMMY.com/videos.
