Kir Åge Jæger – Persian Electro Orchestra

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

The ROLI Seaboard (midi-controller) has an X/Y-Pad which is very powerful because it connects with the software “Strobe2” that has a so-called “Euclid” processor. It’s way easier to show on a screen, but imagine that when you drag the “target” symbol with your finger on the ROLI, the small dot (orange arrow on picture) follows the target. You can program HOW the small dot should follow the target with different parameters like slew, damp and rate in order to create some pretty original soundscapes. So far I have only used it for film scoring.

Roli Seaboard with Strobe2

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

This is probably not very original, but just like clichés exist because they are usually true, the PUSH 2 (from Ableton LIVE) works very well for both music production and live performance. What would I change? The fact that Ableton LIVE does not include quartertones as a standard.

Ableton Push 2

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

My setup is quite simple, actually. Even when I play with my orchestra, I can carry everything myself. My laptop, soundcard (Behringer UMC404HD), microphone (sE2200A||C), and headphones (Sennheiser HD 280 Pro) usually do the trick. A small midi-controller is useful too (AKAI MPK Mini). I once brought this with me to Beijing to visit my friend and we ended up inviting a vocalist from Tinder to jam with us.

Travel setup

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

I would love to have the VsT-plugin “Manipulator” by Infected Mushroom as hardware. Manipulator is always in my effect rack when I perform live on my santoor.

Uuh.. Speaking of… A midi-signal santoor would give my music production wings!

Infected Mushroom Manipulator VST

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

Hmm… I really regret buying any “Waves”-VsT plugins. They tried so hard to prevent people from cracking their software that it ended up being a headache to use legally. I decided to boycut them some years ago. 

Waves

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

Well… If software is gear I think “Nexus” from “REFX” inspired me the most. It is a so-called ROM synthesizer. The sounds are so delicate (yet expensive) and the software is very intuitive. I even heard that they programmed the sounds in order for you to combine them.

REFX Nexus

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

I started in “Music Maker” for Playstation (1998), then I changed to FL Studio (2003) and eventually Ableton LIVE in 2013. I definitely would’ve skipped FL Studio and gone directly to Ableton LIVE.

FL Studio

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

Hehe… That would be my cheap-ass in-ear monitor system that I bought for my orchestra musicians so that I can talk to them during a live show and they can listen to their own performance on a backing track. The sound is absolutely awful, but they’ve accepted it so far. 

Wireless In Ear Monitoring

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

That would definitely be the world of Persian tonal systems through my santoor. They have 7 tonal systems in Iran. We only have one in the western hemisphere. Working with electronic music (and thereby frequencies) has made it easier for me to understand these systems.

Santoor

Artist or Band name?

Persian Electro Orchestra

Genre?

Hmm… Well… Downtempo/Techno/World/Organic/Persian

Selfie?

Kir

Where are you from?

Copenhagen, Denmark

How did you get into music?

No one in my family plays an instrument. The interest was kind of there from the beginning. I started borrowing cd’s at the library at the age of 10.

Free CD’s from the library

What still drives you to make music?

Music – and everything that surrounds music – is the reason I am alive.

How do you most often start a new track?

With a fat polyrhythmic beat!

How do you know when a track is finished?

None of my tracks are ever finished. I always make new mixes and arrangements for live performance, hehe.

Show us your current studio

Kir’s home studio

Best creative advice that you’ve ever heard?

Finish your shit and get it out there – even though it is not “perfect”. It will only make you thirsty for more when you get your first “real” feedback.

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

There is a bunch of songs being released soon, but meanwhile check out “Losing My Impatience”:
https://song.link/dk/i/1488153140

Per Hansen – SongsFromTinPanAlley

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

Definitely the structure-knob on the Rings-module in Sympathetic strings-mode. I just love turning it and hear the subtle changes of harmonics! And it’s bigger than any of the other modular knobs I have.

Mutable Instruments Rings-module Structure knob

I also recently got the Microcosm from Hologram and the filter knob is turning out to be a favorite too. Turning it all the way clockwise and the reverb cranked nearly all the way up results in such beautiful and musical textures.

Microcosm from Hologram Electronics

But to be totally honest, then I’m more of a fader-man. I actually think knobs tend to be tedious and not so expressive and musical as faders. Just purchased the Sweet 16 from Tesseract Modular and I love being able to control my Disting ex and especially parameters on my Norns with it. I feel more focused and in control with faders.

Tesseract Modular

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

The Deluge is the mothership of my setup. Even though it has some flaws, like its lack of a decent file structure where you have to scroll through all the synths till you find the one you need, killing the flow, I cannot live without it. In an almost dawless environment, it is essential!

Synthstrom Deluge

And of course, I cannot live without my feelings. I consider feelings my main instrument and 100% my most perfect kit. All compositions start and flourish from the state of mind I’m in and it’s important for me to embrace it and let it unfold without any dogmas and restrictions.

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

My Oscar Teller guitar and the Deluge! Used to own the OP-Z, but unfortunately had to let it go to finance other gear. The Zed has a more handy size compared to the Deluge, but the Deluge has some other aces up its sleeve, like the fact that you are able to record very long samples on it and its ability to create an endless amount of tracks.

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

I’m actually trying to spend the least time possible with software. I get impatient behind a computer screen. What I love about making music is the tactile experience. Tuning “knobs” and “faders” with a mouse doesn’t give me that 😉

Audio Damage Quanta

It could be cool, though, to have the Qaunta by Audio Damage in a hardware eurorack- or synth version, with all the matrix possibilities.

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

Went down the eurorack-rabbit-hole and had to let go of my OP-1. I miss it every day, but they’re too expensive compared to what they can do!

I also sold my two polysynths – Digitone and Novation Peak. Miss them dearly every day. Maybe I have to buy a new secondhand Peak in the near future.

I usually don’t regret buying anything. Cause every purchase is a new adventure for me.

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

Definitely the Rings module. Whenever I send a sequence to it, it turns out to be a keeper.

I also get very inspired when looping random objects and instruments using the Cheat Codes script on my Norns.

Norns and Grid

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

A Grand piano in my own giant palace. Joke. It’s just a dreamers mind speaking, living with four kids in a relative small apartment.

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

My mini Mac!

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

Marantz PMD 222

Thanks to @perbarfot I discovered how cool it is to run an instrument through the Marantz PMD 222, while giving the loop tape a good scratching massage. Love the wow and flutter effect it gives. Also tried it on my Revox B77 using the tension arm with very good results.

ReVox B77

Artist or Band name?

Songs From Tin Pan Ally

Genre?

Ambient

Selfie?

Per Hansen

Where are you from?

Denmark, Copenhagen

How did you get into music?

When I was 15, I got a worn-out classical guitar from my grandmother and my first step was to learn every GNR song from a tabs book! Must have sounded pretty bad because I didn’t know how to tune a guitar 😉

But I really loved it and after learning the basics a friend of mine and I started a band and from there I began writing my own songs.

What still drives you to make music?

I’m always striving for music of chance. That’s my drive. Love the way a simple melody or a sound of any kind of music instrument can turn into something totally mind-blowing! And you end up asking yourself… Did I really do this?

How do you most often start a new track?

I often start a new track while patching my modular stuff and turning knobs. It can be a sound, a melody or just a drone-kind-of-sound that express a feeling or a mood. That’s the foundation. From there, I just try to add different layers to that foundation.

How do you know when a track is finished?

When I press stop rec 😉

I listen to it many times the following days and if it still blows my mind, it’s a keeper.

Show us your current studio

Per Hansen’s Home Studio

Best creative advice that you’ve ever heard?

Don’t think too much. Just play and make a lot of mistakes!

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

I’ve just released ‘tænkeRUM’ on bandcamp and not long before that ‘Time’, which is also available on any streaming platform. In a couple of months, my first physical release is a reality. I’m planning on releasing it on cassette. At the moment, I’m calling it ‘autumn lullabies’

https://songsfromtinpanalley.bandcamp.com/album/t-nkerum

https://songsfromtinpanalley.bandcamp.com/album/time

CPH Mush – Head full of Synths

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

I could make this about feel or what it does to a certain sound, but I’ll answer it through another perspective. The knob that has meant most to me is the keyframe knob on mutable instruments frames module. This is going to be a long explanation, so please skip if you don’t like tech philosophical ramblings…

[Editor: Bring it!]

Keyframe knob on Mutable Instruments frames module

So what about that keyframe knob… In short, the idea is that you save settings to a chosen point of a knob and any position in between two saved states is outputting an interpolated value. But let me give you a long background of why I find this so revolutionary… I remember a late night in Stockholm (actually at a bachelor party for Daniel Araya of Araya Instruments ( https://araya.se/ )) where Jon of THC ( https://thehumancomparator.net/ ) started discussing alternative synth interfaces with me. I had made a semi-name for myself on different forums and through some explorations of alternative interfaces ( https://cdm.link/2010/11/alternative-musical-expression-a-diy-pressure-sensitive-multi-ribbon-controller/ ), so I guess that’s the reason he approached me.
We talked for 45 minutes about the most minimal interface that could still expressive and fun to play. I don’t know if that discussion lead up to anything fruitfull for Jon or if it was lost in the alcohol fumes on a late summer-night. But it managed to keep me awake all night thinking about a box with a couple of buttons and one knob. 

The concept I couldn’t stop thinking about was to wrap a kind of standard analog synth in a set of voltage controlled parameters with digital control and randomise sounds on a button click. The randomised sound could then be saved to the current position of the knob. After adding a few sounds to different positions of the knobs rotation – turning the knob would then interpolate all parameters in between the saved positions.

Of course it had some other stuff to it in the discussed design, but the idea at its core, as described, is quite simple and was born out of my love of the patch mutator / randomiser in the Nord Modular G2, with kind of a twist of the morph groups on the same instrument. I got into eurorack clone building about the same time and found the keyframe knob in the frames module to be a fantastic, while limited, implementation of the same idea (though without randomisation). 

The simple synthesizer was never built (I may still revisit the concept in the future as I still find it brilliant), but the idea of the keyframe knob has kept on hunting me. In the last couple of years my own eurorack construction is made by modules I design from scratch using kicad – and as anyone with a huge eurorack I have a certain jealousy on the Buchla 200e series. The patch saving is so neat and fun and the internal databus is simple and clever. I will however never spend that kind of money on an instrument…
…and the implementations on it still leaves something to be wanted. So, where does that leave me?! What I have done myself is to replicate the code and the micro controller-based setup of the MI frames into my own modules with a central external control and 8 DAC channels and 8 VCAs on each module. I save settings on each module through a press of a button on the central control module via a databus and I send a voltage out on a CV-bus to each module of the current position. In that way I can control presets and interpolate between them in a theoretical infinite Modular system with one knob.

Right now I have 4 different module designs based around this architecture, but whenever I have time and ideas I’ll design some new ones… (Sorry, I won’t show any pictures or release any code or schematics as I can see a future commercial potential in this system) So how does it make me feel?! Well, the pleasure of sweeping and finding sweet spots in the interpolation is great, it opens up totally surprising movement to sounds. And as the frames, this parameter is voltage controlled, which means that simple sequencing of it creates the weirdest stuff ever… To finish up this infinite explanation…
…the reason I picked the Knob on the frames, is that it keeps reminding me of the most clever innovative concept i personally have been implementing and using in a musical instrument. My story tries to put light on the wonderful synthesis of different concepts, born from different designers and how it can be used create something new. 

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

Korg Stage Echo SE-300

The Korg Stage Echo SE-300. It looks like a more serious brother of the Roland RE-301. The preamps has a great sound when overdriven, the tape delays has a really nice sound on self-oscillation and the spring reverb has a nice quality to it. I can put the spring reverb on just the delays if I want, but I can’t put it into the internal feedback of the delay – so if I want the delays to drown out more and more for every repetition I need to patch it up in creative ways. Having that possibility with a switch would make it perfect (I can feel a modding session coming up). 

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

MacBook Pro, Arturia Keystep and Zoom h2n (well, at least this summer vacation, I usually bring the Teenage Engineering OP1 as it is smaller).

OP-1

It was really nice – I went around recording weird sounds and used the new quick sampler in logic to create instruments from it. (This piece of software is brilliant, simple auto-looping and automatic tuning of the sample). It was a great way of expanding my personal sound library as well as learning the new stuff in the latest version of Logic.

Quicksampler in Logic

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

I would love logic’s new quick sampler in a small hardware keyboard with a decent microphone running on batteries. If I hear a nice ringing sound of a garbage can, I could just sample it, automatically set looping points and tuning. And get something musical to play instantly. Like a OP1 but more usable…

Kaivo VSTi

I would also love to have Madonna Labs Kaivo with physical controls and a 3 octave keybed (it would replace the Nord Modular G2 as my “sofa synth”).

Nord Modular G2

The other way around I would love the MAM RS3 resonator as a plugin, whatever I put through that machine comes out sounding sooo great, the overdrive in that circuit is really musically inspiring.

MAM RS3

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

I have been through a phase of re-buying everything I’ve sold that I’ve missed. I’m on my third Monomachine, my third Machinedrum, my second Sherman filterbank, my second Xbase09 etc… So I don’t miss anything anymore, but I have and had stuff that I regret buying…

The Jomox Xbase09 for instance. I really love the sound of Jomox, but that interface and the choice of hardware, omg, I really hate using it. But for some reason I bought one again after selling it… The only thing worse is probably the Spectralis groovebox (also a great sounding machine). I traded my Machinedrum and Monomachine for it and got lots of gray hair plus resentment towards yet another synth-designer. Thank God I managed to trade it half a year later for a Machinedrum UW and a vintage small stone pedal (the Machinedrum left again… …but a few years ago I picked up another one at a price I couldn’t resist… )

Elektron Monomachine

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

My Nord Modular G2 – I traded a shit-ton of synths for it. The idea I had was to focus almost solely on just one synth. I made patches everyday, learned lots about modular synthesis and produced music in my most prolific flow ever. ( an example of a track from that time where almost every sound is from the G2: https://www.youtube.com/watch?v=LOen47S0jco )

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

An acoustic piano (after wanting one for 25 years I finally got my self one of those fancy new ones where you also can play it digitally with headphones, and it has really been inspiring to play for an hour each day – I get more musical ideas written down than ever before in my life – and I actually feel that I get an improved musical sense every day)

Piano

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

Probably my DAW – Apple Logic. I find that DAWs are really old school in their setup – using piano-roll and analog mixing paradigms. I usually build stuff in a very Modular way using aux-channels, feedback and complex routing between effect plugins and the fact that these combinations can’t be saved as ‘racks’ to be inserted into other projects is really turning me off… I keep doing so much screen-patching over and over and I can’t manage to make templates that fits every way I want to go… But it is still the center of all music I make.

Little DAW, but lotta reading 🙂

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

Most of what I do in my studio today is based around combinations of effects and creative routing. A few simple units running parallel or in series with some feedback can create the most imaginative soundscapes… For me this started when I bought a Boss SL20 slicer pedal 10 years ago – it was kind of a one-trick-pony and not that interesting… …until.. I put it after a reverb. It created all this pulsating harmonic rhythms from even simple piano playing ( I have an example of the first track I made with it and the reverb: https://www.youtube.com/watch?v=_MZpNx41Ugc ). This kind of combination has kind of been my sound since and a thing I keep coming back too, sliced reverbs in different forms… I eventually sold the pedal and replaced it with (3x) Boss VF-1 which also contains that slicer effect.

Lotta synth, but a little guitar too

Artist or Band name?

FEJLD / The Mush Orchestra / Copenhagen Noise Lab

Genre?

Usually ambient or other electronica not centered around rhythms

Selfie?

Cph Mush himself

Where are you from?

I am an exile swede living in Denmark since 2010. 

How did you get into music?

My father was a musician, that helped my early gear acquisition phase, but I think that I got into music making cause I was inspired by some older kids. I was shown a tb-303, a tr-909, a tr-808 and lots of other techno machines by these kids in 1993. They made sounds I had never heard before and I got obsessed. A few months later, just after my 13th birthday I went to the local music store and bought my first synth – a Korg MS10. That was the start of my identity and the sound of the 303 became the soundtrack of my teenage years. 

What still drives you to make music?

I am not really a musician or a producer. But I believe that the need to create is an essential part of my being. I used to write music to have a diary in a sense, to help me remember my life. Nowadays I don’t need it in that way anymore – but I need to create, whether it is designing circuits, building furniture or composing music, I can’t breathe without it. I do however feel no strong need though to share the stuff I do. Sitting in the studio, patching up a rhythmic drone on a Modular and playing some improvised piano hook on top is as least as rewarding to me as making a finished piece of music. I enjoy the creative process. The place where the mind is focused and absorbed by a creative task is the main place to be for me. 

[Editor: Amen to that]

How do you most often start a new track?

I usually sit down with a machine or a module trying to learn how to use it better (I have way too many instruments). Usually I find something interesting that I feel the need to record. And once I have recorded it, I’m kind of in a flow and I start recording improvisations on other instruments over it. …I never learn to use the stuff in better ways as I kind of gets lost into the flow of music production…

How do you know when a track is finished?

This is an interesting question. Mainly because it highlights how little recorded music has evolved as a concept during the century it’s been around… Let me explain…

My work is as a chief of a technical development department. If we release some software we can be sure it won’t be the final version, we expand functionality, we fix stuff and keep working on it after it has been released. Music is now a digitally distributed product, just like the software mentioned, but it is supposedly done/perfect once it has hit Spotify/Bandcamp/SoundCloud/whatever. Films suffer a bit on under the same failure to adapt – but with platforms like Netflix/HBO/etc. we are beginning to witness some change. It would be lovely to see more experiments that highlights the great part about this digital distribution system for music…

So, how do I know when I’m finished? When I make tracks I try to finish them up before I need to go to bed, so I can start from scratch next time I get inspired, if I don’t finish it before bed I will probably never finish it. (With my piano however I keep writing and rewriting the score sheets for weeks – I haven’t recorded anything written with it yet though)

[Editor: Perhaps music has unnecessarily, become an artform like scuplture or architecture. Where the final product is static and unchanging. This could easily change with generative or ‘interpreted score’ based music and digital distribution via programmable interfaces. Perhaps a bit like Brian Eno does with his music apps? Where we basically see the role of composer and listener become more and more blended together]

Show us your current studio

Cph Mush synths
Cph Mush studio from above
Cph Mush Mega Modular
Cph Mush spaghetti
The CPH Mush Synth Cave

Best creative advice that you’ve ever heard?

Be creative with whatever you have around. Great art is created from great ideas, not from having the latest gear. The perfect tool is not important. (I know… Kind of weird thing to promote on a gear-centric blog)

[Editor: Yes its weird, but also thought provoking!]

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

I don’t share much of what I do nowadays, but checkout my Instagram ( https://www.instagram.com/cphmush/ ) and don’t be a stranger if you want to have a philosophical discussion about the future of musical instrument interfaces. 😉