Rycote Uncovered: Histibe Transforms Sounds of Oppression into Tools of Expression with Rycote Microphones

Maks Histibe

Music production
Synthesis
Filmmaking
DJing
Sound design
Field recording

“As far as I know, there are no other brands making something on this level.”

Maks Histibe is a polymath whose talents encompass music production, synthesis, filmmaking, DJing, sound design, and field recording. Known professionally by his stage name — a combination of the words HIStory, TIme, and BEnd — he has built a career around both audio and visual media. The former includes sample packs and sounds for a range of music software brands; the latter involving filming and directing of original video footage from all over Ukraine for international artists and labels. His virtual instrument, Swords to Ploughshares, turns field audio related to the Russian invasion into playable musical sounds. Throughout the sometimes-harrowing process of recording the source material up close, he has found Rycote microphones and protective gear match his own tenacity and agility. These include two CA-08 cardioid mics and a BD-10 figure-eight mic, residing in either a Cyclone basket system or Classic Softie windscreens. Histibe took a valuable moment of stable internet access to share his important work with us via Zoom.  

Your most recent project is unique among music software. Describe it in your own words.

It’s my virtual instrument, which is called Swords to Ploughshares. Since the invasion began in 2022, I have been recording a lot of sounds from everyday existence in Ukraine, from city ambiences to explosions and air raid alerts. At first it was to document them, then with the help of my friends at [sampleware developer] SoundIron, we put it together into a virtual instrument for [Native Instruments] Kontakt.  
 
This way, everyone who has access to a DAW that can run plug-ins can use these sounds as the basis of melodies, pads, bass lines, or percussion. The object was to take what were originally sounds of destruction and turn them into a tool of creation.  
 
Other than this, I am also working on my own music. I just released my new single called 'Future in Our Hands' from my upcoming album Metal Sunrise. It’s an electronic track with an accompanying video, meant to inspire people to realize they have the power to change the future. Even small actions can turn into a large tide when many people perform them.  
 
I also hope to release a full album this year. I have 12 tracks ready right now. So, it will be a mix of electronic music, my own vocal experiments, and cinematic themes.  

What Rycote equipment do you use?

I’m using their cardioid [CA-08] and figure-eight [BD-10] microphones. I have two cardioids, and one figure-eight microphone, along with a set of Cyclone shields to cover them. I often use them all together on a mount that holds all three. I know Rycote started out making windscreens and other protective equipment, but I’ve really come to like their microphones. There’s a depth to their sound that really helps me keep up the level of quality in the field. And their compact size, because I can maneuver very quickly, which sometimes I have to do. This is all based on my testing stuff in the field, not just because you’re interviewing me. I am genuinely impressed by the quality of Rycote equipment. 

What are some more challenging sources you have used them on in the field?

Some of the sounds in the Swords to Ploughshares library were recorded during air raids. I run the mics into a Sound Devices MixPre-6 II, which can record in 32-bit floating point audio resolution. I need that because if there is a loud explosion, sirens, anything like that, it is impossible to predict what the levels will be. When you have 32-bit, you can almost forget about gain in general — just set it to a working midpoint.  

Do you think the mics help with this or is it all about the audio interface?

The mics definitely contribute because they have excellent dynamic range. They can soak up all of the differences between loud and soft that are why I need the 32-bit recorder, and still have a clean but warm sound. Then, I can also take them into a conventional studio environment to record instruments. I like to use the cardioid mics in X-Y stereo position, but then add the figure-eight as an additional channel to capture the sound from the sides. This gives me a character I like for my sample packs. 

Do you use any other protective equipment from Rycote?

I like the Classic Softie windscreen. It includes a rubber mount that holds the mic very securely and it’s all one piece, so very quick to set up. For when you have a very strong wind, the Cyclones just can’t be beat. And I’ve heard the company is working on a Cyclone you can put two mics in — I mean, they have them already, but this one is specifically for their mics. I want to get one of those and use it on mid-side recordings, where I would use one cardioid and one figure-eight. As far as I know, there are no other brands making something on this level.

Tell us a little about your background. How did you come to develop your own sounds?

I’ve worked in sound design for over ten years. I’ve done sounds for several brands in the music production world: Arturia, FL Studio, Loopmasters, Output, and a few more. So, I was able to build a portfolio over this time. But then I realized I wanted to create my own thing, which led to the collaboration with SoundIron and Native Instruments. As I said, what is happening in Ukraine is terrible, but it gave me the opportunity to try and make something positive out of it.

On that topic, what is one of the scariest things you recorded?

Last year in Kyiv there was a situation where fragments of a drone fell onto an apartment building not 500 meters from where I live. I recorded the sound as I had already been working. It was like nothing I’ve ever heard. I looked at the building the next morning and there was a giant hole in it.  

What is it like to try to make art when you are continually under attack and your daily environment could be dangerous? What is the role of the artist?

It’s difficult to make art right now. When the invasion started in 2022, I became very depressed. Mike Peaslee from SoundIron emailed and said, “Why don’t you just try to record everything going on around you?” That was how the virtual instrument Swords to Ploughshares got started. Slowly, this actually helped me refocus and deal with all the heavy emotions. Here, we constantly live under fear of air strikes, and you don’t even know if your city might be invaded the next day. It’s like a war movie. What keeps me going is the sense of purpose this gives me. Also, if someone likes the virtual instrument, maybe they will check out my music.  
 
You asked about the purpose of the artist. In my case, I feel that turning the pain and fear going on around me into a musical tool that people can use, that shows the world that we are resilient here. That life goes on, and we will heal.