Joseph Willem Ricci-Anima&Ennui

1. Favourite knob or fader or switch on a piece of gear and why?

Fender Ramparte goes all the way up to 16!

My amp goes up not to 10, not to 11, but all the way up to the hilariously arbitrary number of 16. It’s a Fender Ramparte, and although it looks like it belongs on the stage of a hushed, smoky, late-night show at an upscale 1950’s jazz club, it—well… as Music Radar puts it—”requires anti-social volume levels to avoid intrusive hum”. Honestly, it’s a bit of a gimmicky amp which I’m not particularly proud of, but I do genuinely love that its two volume knobs are its only knobs. No tone, no drive, no reverb. Keep it simple.

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

Walrus Audio Slö reverb pedal

The Walrus Audio Slö reverb pedal is my baby. It’s whole thing is that it pitch-modulates the wet signal. I plug my acoustic guitar into it when playing live, and when subtly mixed in, it creates the subconscious sensation that everything is slightly moving, like a boat in an easy current. It’s a really musical pedal, and I like to adjust the mix while I’m playing to give the guitar an element of changing depth, but holy hell do I wish you could plug an expression pedal into it, because turning the tiny mix knob with my right foot while playing a difficult guitar part and singing requires way more concentration than is actually reasonable.

3. What setup do you bring on holiday or tour or commute etc.?

I’m one for bringing a guitar with me just about everywhere I go.

Guitar up a mountain

4. What software do you wish was hardware and vice versa?

Well, the hardware of this software does already exist, but I don’t own one and sure, I wouldn’t mind if I did. That’d be the hardware version of the Minimoog iOS app.

Mighty Moog

5. Is there anything you regret selling… or regret buying?

In October I had a really remarkable week in which I broke my Martin (like, I mean smashed it), computer, phone, bike (twice) and rain jacket. I panicked and sold my classical guitar, a really nice Takamine TH90. I wish I would have just taken a couple extra days to breathe before letting it go, because the world always has a way of coming through for you when you need it to.

Takamine TH90

6. What gear has inspired you to produce the most music?

Lately, my newest toy, a Korg Minilogue XD has been opening up a whole new world for me. I don’t know how to play anything on the keys except for the intro to “Roses” by Outkast, so it’s been an amazing exercise to sit down and write with no focus on melody, chords or structure, and instead get my head deep into exclusively texture, color, tone, and movement. And it’s been interesting to discover that, after years of writing songs only on guitar, a piece can feel complete without any of the former qualities, as long as it meaningfully explores the latter ones.

Korg Minilogue XD

7. If you had to start over, what would you get first?

One good microphone. I recorded most of my band’s album on one of those cheap Audio Technica mics. There’s a lot that I would do differently if starting over, but at the very least I wish I knew that as soon as that precious frequency spectrum enters that black hole of a microphone, much of it is never coming back.

8. What’s the most annoying piece of gear you have, that you just can’t live without?

Martin 00-15

My Martin 00-15. Although I had already been playing guitar for almost fifteen years before getting it, it was my first ever really nice guitar. It’s warm, responsive, has subtle, nuanced overtones and overall is just a joy to play. But, what I didn’t expect when I got it, is that it shows me how much better I could play. On a shitty guitar, the difference in sound between playing something well and playing something poorly isn’t really that big. But on this one, a perfectly played chord or passage—with just the right fretting pressure and position, just the right picking contact point between fingernail and fingertip, just the right balance in emphasis of the bass, middle and treble lines, just the right transition between chords while the resonance from the last one lingers in the body for a moment… you get the idea—sounds and feels SO good that, while it has taught me to become a more sensitive player, it has also made it abundantly clear how much subtlety there is to the instrument, and how far there is to go.

9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?

If you have a guitar, buy a gig bag and go for a bike ride. At some point during the ride, fall off your bike directly onto your back so your guitar catches your fall and smashes under your weight. Then find a luthier or repair person to fix it, and voila: your guitar will sound even better.

Korg and Walrus and Song cassette tape

Jk. Def don’t do that. Maybe a more useful tip: I always wanted to play the sounds of nature on my analog instruments. This little set up gets pretty close to that. I take a cassette with the sound of running water, birds chirping, or wind in the trees, and merge the signal together with the signal of my guitar or synth. Then I run the merged signal into my Walrus Slö reverb pedal on auto-swell and with 100% wet mix. Since the auto-swell reverb tail is triggered by change of amplitude, it acts as a gate for the soft, ambient nature sounds. But when you play your instrument, it triggers the auto-swell, letting through the merged signal of the instrument plus the sound of running water.


Artist or Band name?

Anima & Ennui. Maybe future music will be under a different name… maybe not.

Genre?

The released music is folk mixed with various other influences. Future music is yet to be categorized.

Selfie?

Joseph Willem Ricci

Where are you from?

Arlington, Massachusetts, USA

How did you get into music?

I was listening to Arnold Schoenberg in the womb. That’s to say through my parents 🙂

What still drives you to make music?

I feel like it would be almost criminal to not bring into the world the music that is in my head. Just as I don’t belong to myself, my music doesn’t belong to me—it belongs to the world.

How do you most often start a new track?

Songs seem to start when I’m not trying to do anything in particular. Non-doing. Fiddling around. Then when a certain fiddle or theme or accident suddenly catches my attention, suddenly feels like the most beautiful thing I’ve ever heard, that’s when it starts.

How do you know when a track is finished?

When it feels right. That’s it.

Show us your current studio

Joseph Willem Ricci’s Studio

Best creative advice that you’ve ever heard?

Mistakes don’t exist.

Promote your latest thing… Go ahead, throw us a link.

2020 album is online. Anima & Ennui – An & En. For a taste of a different, more recent direction though:

https://soundcloud.com/anima_x_ennui/ywayvdre4xkz/s-nMLQ4Uk5jGl


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw us a comment below…
]


Red Means Recording – Jeremy Blake

1. Favourite knob or fader or switch on a piece of gear and why?

The Hydrasynth main encoder knob. It’s huge.

Hydrasynth main encoder knob – it’s lit from beneath

Second place goes to anything that turns up the volume. 

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

I wish the Synthstrom Deluge had an OLED screen and I wish the Mashine+ could make actual synth patches from scratch. 

Native Instruments Mashine+

3. What setup do you bring on holiday or tour or commute etc.?

OP-1 or Deluge or iPad for granular apps like Borderlands.

4. What software do you wish was hardware and vice versa?

I used to think a bunch about this, but after getting the Hydrasynth I don’t really care about software in hardware. If I could get Pigments as hardware that would be dope. I would love more wacky probabilistic and self-patchable software stuff.

Slow spagettification of a studio

5. Is there anything you regret selling… or regret buying?

Zero regrets in selling. Selling is freedom. 

A corona lockdown audience

Buying, I dunno. Everything I’ve bought I’ve bought because it had a reason to exist in my setup at that time. When I sell it, it’s because it’s redundant or I’ve outgrown it.

Vivid colors of eurorack

6. What gear has inspired you to produce the most music?

Neatified cables

Up until this year, the Teenage Engineering OP-1. This year it’s been eurorack.

A rainbow in eurorack

7. If you had to start over, what would you get first?

I still think a good DAW with a decent sample library, one good synth VST, and a hunger to learn is the best thing you could possibly start with. So I would do that.

8. What’s the most annoying piece of gear you have, that you just can’t live without?

Anything involving my computers, haha. I know that’s a cop-out answer, but like, man. They can do everything, but fuck up harder than anything else.

Can’t get around computers. But you can mount them up high!

9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?

I think audio-rate modulation, in general, is something that never occurred to me until recently. Everytime I see DivKid do something with it I’m like “oh right, I can do that”. It’s wild.

Audio rate mod everthing… in eurorack

Artist or Band name?

Jeremy Blake for music, Red Means Recording for YouTube

Genre?

Electronica, Downtempo, Alternative Electronic

Selfie?

Jeremy Blake aka. Red Means Recording

Where are you from?

Seattle, WA

How did you get into music?

I started playing the flute in Elementary School. Was lucky enough to be exposed to orchestral playing and jazz ensemble. Flunked out of music performance school because I was spending too much time sneaking into the studio to use the equipment and I didn’t wanna play the flute anymore. Was playing with trackers and anything I could get my hands on. Went to audio engineering school, kept experimenting. Eventually fell into YouTube music production videos. Most recently I’ve fallen hard for modular and I’m having a blast.

Desktop inspiration

What still drives you to make music?

When life gives you cables, make yellow shelving organisers

All the little pieces of things I know can be rearranged to augment some new idea. Everything can be recontextualized and spun into a new idea. There’s no end to the inspiration.

Gratuitios knobalation of the Sequential Pro 3
Knobalicious

How do you most often start a new track?

Lately, a lot. Modular has been a really refreshing platform for experimentation. I’m writing at least one new thing a week.

How do you know when a track is finished?

With modular and hardware it’s easy: when the performance is done and I’ve mixed and mastered it. With DAW-based stuff, it’s when I’ve gone through all my iteration passes, like idea, arrangement, mixing, re-arrangement, ear candy, and mastering. I go by a rule of three approach: if I can listen to a track 3 times and not mess with it, it’s done. If something bothers me 3 times, I change it.

[Editor: That answer is one of the most systematic and quantified approach to that question. That I’ve read. Excellent!]

Show us your current studio

Jeremy Blake’s very red Red Means Recording studio
Blackmagic ATEM Mini and a tuner

Best creative advice that you’ve ever heard?

Limitation breeds innovation, tied with “put a donk on it”.

Promote your latest thing… Go ahead, throw us a link.

I make music performance and education videos here: https://www.youtube.com/redmeansrecording

You can find my music on all platforms here: https://rmr.media/findme


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw a comment below…
]


Emily Hopkins – Harpedalist

1. Favourite knob/fader/switch on a piece of gear and why?

Meris Enzo

This is definitely the little button on the Meris Enzo that puts it in “Arp” mode. It essentially turns the chords you play into sequenced patterns at whatever tempo you set. It was such an amazing experience interacting with that mode for the first time, because I heard Enzo go from doing my bidding, to it having some thoughts of its own and playing alongside me. If you split your signal so one is dry (or going through a separate pedal chain) and the other one is through Enzo on arp mode, the sequences create a wonderful foundation for improvisation. I wouldn’t depend on being able to recreate some of those moments easily; but that’s why I love Enzo. Meris pedals are like people.

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

EarthQuaker Devices Afterneath V3

I’d say the EarthQuaker Devices Afterneath V3 is near-perfect for me. The reverb pairs perfectly with the harp, and pretty much every other instrument (especially voice)! It would work well in any piece I play. The only improvement I can think of is an upgrade to stereo output.

3. What setup do you bring on holiday/tour/commute etc.?

Out and about with a Harp

Unfortunately my electroacoustic Camac harp is too large and too sensitive to the weather/humidity to bring on vacation; I’d just be worrying about it the whole time and not be able to enjoy myself! On vacation or long car rides, I usually bring my Harpsicle; it’s a tiny budget lever harp that I don’t have to worry about as much. If I want to bring a few effects pedals for fun, I’ll bring whichever pedals I got recently, with my tiny travel amp and either my Organelle or keyboard to play through them. I just got my new Lottie Canto Colour Palette electric kalimba, which will now be a vacation staple. My wedding gig schedule doesn’t usually allow me to tour, or perform far from my home state, but I’d love to consider it after the pandemic! 
If you’re wondering how I transport my harp to gigs:

https://youtu.be/1SAcSHNpTvE

4. What software do you wish was hardware and vice versa?

I wish I had Fab-Filter Pro-Q 3 in a pedal box, with the same spectrum analyzer graphic display on a screen, complete with dynamic EQ. I know, it’s a lot to ask for. I’ll keep dreaming.

5. Is there anything you regret selling… or regret buying?

Cooper FX/Chase Bliss Audio Generation Loss limited edition pedal, hands down. The pandemic hit me really hard. I’m primarily a wedding musician, and at the start of the pandemic, I had so many gigs being cancelled/postponed and the uncertain future forced me to sell the majority of the pedals I owned at the time. I’d have to pay an insane price to get one now due to the limited availability/price inflation. I’m hoping Cooper FX decides to make a Generation Loss V2 so the amazing sounds of Gen Loss can be more available to everyone!

Cooper FX/Chase Bliss Audio Generation Loss

6. What gear has inspired you to produce the most music?

Chase Bliss Audio’s Thermae has such insane chemistry with the harp and my playing style. Whenever I plug into it and improvise some sketches, I create some of my best music. That pedal has resonated with me above most others over the past few months. It’s not so much direct inspiration from understanding the gear or thinking about it; more so the dialogue between Thermae and the harp in real-time has brought my improvisation to a higher level. The first time I used it, I was recording a demo with it for my YouTube channel, and I’ve used pretty much every sound made in that demo for original music releases, or background music across my YouTube channel. The foundation for my new single, Backyard Spaceship, is actually directly from my Thermae YouTube demo! It was such an amazing moment that I couldn’t recreate in the studio, so I just decided to use that audio as the starting point for that project.

Chase Bliss Audio’s Thermae

7. If you had to start over, what would you get first?

If I could go back, I’d definitely get a higher quality amplifier than the one I started with! I was playing my brand new electric harp through a very small $150 amp; it was like putting a bumper sticker on a Ferrari. I was new to gear at the time, and didn’t understand my options and the importance of investing in a higher quality amp.

Harp with PA

I also probably would have got an EarthQuaker Devices Afterneath right away, which is an amazing device to help introduce yourself to more out-of-the-box effects pedals if you’re new to electric instruments and effects.

8. What’s the most annoying piece of gear you have, that you just can’t live without

My camera tripod is currently the bane of my workflow. I do a lot of reamping and desk recording, and it just doesn’t really go well with my setup and what I need it to do. I’m yet to find one in my budget that does what I need, but for now, I’ll have to keep taping mine to the edge of my desk on an angle and contort around it to make it work.

Camera tripods

9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?

The other day, I found out the EarthQuaker Devices / Death by Audio Time Shadows pedal has a secret mode. If you put the switch in the center (it doesn’t click in place but it will stay there) it’ll create some interesting Rainbow Machine-like modulation.

EarthQuaker Devices / Death by Audio Time Shadows

Artist or Band name?

Emily Hopkins

Genre?

‘Cool harp stuff’. I always have trouble putting myself in a genre.

Selfie?

Emily Hopkins

Where are you from?

Long Island, NY.

Working with the harp

How did you get into music?

When I was 8 years old, I went to a Mexican restaurant on my birthday and there was a man playing harp during dinner (I later found out this was the amazing Edmar Castaneda during his college years!). I was absolutely mesmerized by his music, and begged my mom for harp lessons. Since I was homeschooled, I had plenty of time to practice, and was already playing piano for 4 years by the time I started (I tell everyone the harp is essentially just a piano flipped on the side!).

Emily Hopkins early years with the harp

What still drives you to make music?

The desire to connect to others and to break that stereotype of the harp being an exclusively classical / “boring” instrument. I love using effects pedals to show what a versatile instrument the harp is, and to constantly discover the new sounds it can create.

Astral Destiny by Earthquaker Devices

How do you most often start a new track?

Improv! Most of the time, I discover a cool theme while I’m improvising during an effects pedal demo. My new single came exclusively from my CBA Thermae pedal demo, because I’m not overthinking anything.

How do you know when a track is finished?

When you accept that it’s finished, and you stop obsessing over it; whether it’s the composition, mix, or any tiny detail.

Show us your current studio

Emily Hopkins’ Studio

Best creative advice that you’ve ever heard?

The story of the “two bad bricks” really resonated with me. The short version is that Ajahn Brahm, a Buddhist monk, built a wall of a thousand bricks by hand, but two of the bricks ended up crooked. When visitors came to the monastery, he tried to avoid showing them the wall because he was so worried about them noticing those two crooked bricks. One day, someone approached him and told him how beautiful the wall was, but he disagreed, pointing out the two bricks. The visitor said, “There might be two bad bricks, but all I can see are the 998 perfect ones.” Even if you don’t play a piece absolutely flawlessly, most of the time you’re the only person who can hear the imperfections. It’s important to appreciate the successful elements of your work, and understand that imperfections in a piece are what makes it human. Also, I don’t believe in ‘wrong notes’ — only ‘interesting’ ones. 

Promote your latest thing… Go ahead, throw us a link.

Here’s my very first single, Backyard Spaceship!

https://youtu.be/pbPayOi28II

https://open.spotify.com/album/0SZH7JV0eMWyoXpWRuMGdE?si=tbgKgYNMR0m5kuw9BRU2MQ


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw us a comment below…
]