C.M. Samuels (Christopher Samuels) is a Detroit-based musician, producer, and sound designer whose solo work blends electronic, industrial, ambient, and cinematic influences through immersive compositions and detailed sound design. Over the past two decades, he has recorded, toured extensively throughout North America and Europe, produced and mixed records for other artists, and more recently expanded into film scoring. His debut solo release, After Selection, explores themes of transformation, identity, and the relationship between humans and technology.
In addition to his solo work, Samuels is a member of Ritual Howls and Mission to the Sun, where he composes, programs, and performs using a blend of synthesizers, sampling, acoustic instrumentation, and experimental production techniques.
How long have you been using the Pro 2, and what was your first DSI/Sequential instrument?
My first DSI/Sequential instrument was the Mopho Desktop, which I still own and use today. I picked it up over a decade ago while on tour and immediately connected with its sound and workflow. Shortly after that, I added the Pro 2 to my setup and it quickly became one of the most inspiring instruments in my studio. The depth of the modulation system and sound design capabilities kept me constantly experimenting and discovering new ideas. Since then I’ve owned and worked with a lot of synthesizers, but the Mopho and Pro 2 have remained constants in my studio. They’ve found their way onto solo releases, Mission to the Sun records, and Ritual Howls albums.
What made you choose the Pro 2?
From my first session with the Pro 2, I could appreciate the depth and versatility that it had to offer. From the mod matrix to the sequencing to the sound designing itself, it seemed to have more of an exploratory side than a traditional synth does. It’s one of those units that just keeps opening new doors the more you use it.
What role did the Pro 2 play in your latest release, After Selection?
The Pro 2 was heavily used on After Selection for basslines, textures and some evolving atmospheres. The record explores themes of transformation and adaptation, so I was often creating sounds that continuously shifted and evolved over time.
I often start by recording MIDI rather than audio, which allows me to keep refining both the performance and the sound design throughout the process. Once I land on something interesting, I’ll record long passages and treat them as source material—sampling, editing, and transforming them into new textures and compositions. The Pro 2 played a major role in shaping the sonic palette of the record.
What is one of your favorite things about it?
The modulation possibilities. Even after all this time, I still find new interactions and crazy results. I would say the Pro 2 rewards experimentation, which is super valuable in the studio.
What does it give you that other synths might not?
A balance between personality and flexibility. Many synths are great at one or two things, but the Pro 2 can cover a wide range of territory while still maintaining a distinctive character. No matter how complex the patch becomes, it still sounds like the instrument.
Any interesting Pro 2 tricks or techniques you would like to share?
As someone who likes working in a hybrid way, I really like controlling the Pro 2 from my DAW with the help of a plugin editor. It gives me maximum flexibility when designing sounds, allowing for detailed tweaking, automation, and modulation. I can make precise adjustments from within my session file while still retaining all the qualities of the hardware side of things.
What are you currently working on?
I’m continuing to develop my solo project while also working on new material with Mission to the Sun and Ritual Howls. I’ve also been expanding into film scoring, which has been an exciting opportunity to explore different approaches to composition and sound design. At the moment I’m focused on creating music that blurs the line between electronic production, acoustic instrumentation, and experimental sound manipulation.
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