Vincent Ligny – Analog Gr’ Owl

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

Moog Filter Knobs

It’s more emotional than technical. My first machine was the MOOG Mother-32. Experiencing the Moog sound in such a small object, put me in a certain state. The first knob turned was the cutOFF (not boring at all) and resonance. Discovering this sound palette, its depth confirmed to me, the idea that musically and emotionally, I had made the right choice.

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

Moog Matriarch

I recently acquired the Moog Matriarch which to my eyes represents the perfect synth. A sublime musicality, a grain that is both historic and modern and semi-modular! Accessibility is total. The stereo mode, combined with spacing, stereo delay and modulations, allows you to create beautiful sweeping effects without external effects.
A rediscovery every time.

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

For the holidays, OP-Z, OP-1 and my Master and Dynamic MH40. Travel light for a maximum of possibilities. 

OP-Z, OP-1 and Master and Dynamic MH40

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

I fantasize about the Valhalla VST in a physical multi-effect box. We know their precision, but aesthetically, putting steel around these effects would be magical.
Surely the OTO Biscuit as digital software would be great! Unique ability to mute or invert each of the 8-bit converters, not to mention the effects sections: Waveshaper, Delay, Pitch Shifter and Step Filter … a beast.

[Editor: I’ve just been told on instagram that there is in fact a software version of the Biscuit by Softube … All hail ye great internet brain!]

Oto Biscuit

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

I sold a few years ago a Fender Coronado 2 Rosewood Sunburst from 1966. Ultra thin neck and a fantastic clarity in sound, crystalline even. A twinge of heart every time I cross paths with a photo. I’m trying to find one in lake placid blue.

Fender Coronado 2

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

My Moog Matriarch and modular system. It is just easy to get lost with these two machines and I easily arrive at hypnotic sequences, percussive arps, pads without necessarily messing around. I like it to be instant and not overly thought out. The best often happens through mistakes, little misses.

Eurorack modular

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

I think I would turn to the Korg Minilogue (XD).
An easy to understand deck, a clean, polyphonic look.The pleasure is immediate.
The OLED oscilloscope shows you, in real time, how your waveform changes as parameters change, giving you visual feedback on how to shape your sound. Perfect for beginners.
Considering all of its features, this synth alone unites all the advantages of a vintage synth, but with an elegant and practical interface that is decidedly modern. The price is also within the budget of a musician today (very affordable).

Korg Minilogue XD

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

The Yamaha Portasound PS-1, piano, organ, clarinet, sustain > (deplorable) but coupled with a Microcosm (Hologram Electronics) and / or an OTO BAM reverb, you get to draw sublime ambient pads. I love it, I bought it for my son, I hope he will love it too.

Yamaha Portasound PS-1, Oto Bam and Hologram Electronic Microcosm

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

The Midi/config Shiftmode allowing onto to completely destroy the pattern and do lots of soundscaping, press then FUNC + No to reload pattern and we are back to the original. The ultimate live combo, but it’s also just an ergonomic pleasure. Thank you Elektron.

Elektron Digitone

Artist or Band name?

Vincent Ligny

Genre?

Ambient / Cinematic atmospheres

Selfie?

Vincent Ligny

Where are you from?

France. Bois-colombes, small town next to Paris.

How did you get into music?

My grandfather played classic guitar, my father played folk. I naturally started bass and guitar.
I listened to a very wide spectrum, different musical genres, but I crossed into electronic music and started to experiment with that, about 6 years ago now.

What still drives you to make music?

It’s just inexplicable. It is inseparable from my way of living or rhythm of my daily life. It is a need. Electronic music opened me up to wider fields. There are no limits.

How do you most often start a new track?

There is nothing written, nothing parameterized. The first notes are imperfect. I ask myself, I run a sequence, then I develop, I make mistakes. Sometimes it doesn’t work, sometimes it’s a wonderful surprise.

How do you know when a track is finished?

When I hesitate to bid, to drown. Now is the time to stop.

Show us your current studio

Home Studio

Best creative advice that you’ve ever heard?

It is not necessary to know the music, only to feel it.

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

I appeared on a vinyl compilation from a young german independent label Deeptape Records: 
Deeptracks Vol1
Vincent Ligny – Velvet
https://deeptaperecords.bandcamp.com/album/deeptracks-1-2
 
I’m working on a 3 track EP – Pio’s journey which should be released normally at the start of 2021.


Tom Leclerc – Ambient Mountaineer

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

I think this Is a complicated question. When I think of knobs (which not happen every time) it’s directly associated in my mind with it’s effects. If I take the power on of my modular, then all the generative stuff is just starting, the switch button is then really amazing. In the same way, the Spread button of Marbles (from Mutable instruments) is really cool too.

The best knobs I have is the frequency button of Altar (from Ritual Electronics) I think it’s the same as the Verbos knobs, but in black. This is really cool.

Altar by Ritual Electronics

But the best knobs I ever used, are not in my gear, this is the Moog knobs in their recent synthesizers (Grandmother, Matriarch).

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

I’m in a reflective stage for my setup. A lot of it works well like that, together and standalone. When I think of kit, I think of a palette of colors and feels. If I feel like a change, I would certainly switch my Prophet-6 for a Moog Matriarch. But it’s ok like this and now I’m looking forward for new colors. (I need to finish my actual Ghibli style modular case).

DSI Prophet 6

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

My little 44hp case or recently my Elektron Model-Cycles. There is only my piano and my prophet-6, which I rarely move.

For tour I’m using my modular synth. And for holidays I use Model-Cycles.

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

Pigments from Arturia is a amazing software. Even if I don’t use it in composition, sometimes I lose my mind in the complexity of this virtual instrument. I don’t really use software, but I would like to have OTO-Boum in software, or my felt piano.

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

When I sell gear it’s for new things. I recently sold a Digitakt and I still think about it when I see other people using it in a good way, but I don’t regret it.
I never regret buying one piece of gear, maybe my tape recorder, because in the end I didn’t use it as much as it deserved.

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

I would like to say the power of modular, but my piano is still the best gear for composition, inspiration and relaxation.

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

I started with a MicroBrute from Arturia and I would start again with a Moog Grandmother.

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

Marbles !

Marbles and more

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

Output modules changes lives ! I personally use Ooots from Knobs.farm and this is a really cool module. Then I can talk about how I mix my piano with only one mic, but that is my secret…


Artist or Band name?

Tom Leclerc

Genre?

Ambient

Selfie?

Tom Leclerc

Where are you from?

Nantes in France.

How did you get into music?

Classical piano formation, then starting to compose (thanks to my friends Laurent Hilairet)

What still drives you to make music?

Wild, expedition and exploration.

Euro in the wild

How do you most often start a new track?

On my piano, I’m playing around with melodies, feeling, from that I get my key for the generative music on the modular.

How do you know when a track is finished?

If I listen with my heart, tracks are never finished and ephemeral. But sometimes I just record, play music, and then I mix the tracks and I’m happy about it. When I go outside to record something, new things always happen and can change a track prepared in advance.

Show us your current studio

Home Studio

Best creative advice that you’ve ever heard?

« What can I still remove in this track for for it to sound better ? ». Which means that you can always go straight to the essential and then the track will be better. Minimalist philosophy…

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

It’s not really a recent thing, but we will go back there soon to create more content like this. It’s an expedition up a mountain to perform in the wild. I recorded an album (https://tomleclerc.bandcamp.com) in the nature, and you can find the video of the trip here :

https://www.youtube.com/watch?v=OdTov0AwpIE&t=1151s

Modular on the mountain

Project Null – Noise and Dropouts

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

The speed selector of the Uher 4000 Report-L. You have to push it down and drag it like a gear lever, so satisfying.

Uher 4000 Report-L

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

The Tascam Portastudio 424. It’s a 4 track tape recorder, you can adjust the pitch by more or less 4 semitones, you can switch the speed from « high » to « normal » and to « slow », that’s pretty unsusual for a tape recorder, it distorts well when you record a hot signal, it has a good and effective EQ, panning for each track. Only regret is that there is no xlr input and no phantom power to use condenser mics with it – but this is not really a problem, I use a portable phantom power supply -.

Tascam 424

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

For sure my Volca FM, a tape recorder or a dictaphone, my shortwave radio and a Zoom MS70. (However, when I’m on holidays (which is rare), I don’t do music that much (if I do, its generally field recording))

Volca FM, tape recorder, shortwave radio and Zoom MS70

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

I don’t use that much my computer when I produce music. Of course, I edit/mix my tracks with it, especially when tape recorders are too noisy using a denoiser or to compress a little bit using Klanghelm’s MJUC, or to arrange the stems. However I tend to say that iZotope’s Iris 2 would be great in hardware.

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

Not really a regret because it’s objectively a great synth, but the MS20 (mini) doesn’t really suits me. It’s the first synth I bought when I started – because it looked cool with the patch panel, I felt like a mad scientist or some shit – but I rarely managed to use it in my music, even though some patches are unique and amazing. Sold it 1 week ago because I’m low on money.

Korg MS20 mini

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

The Minilogue has definitely inspired me a lot, especially the mono voice mode – highly underrated imo -. You can bring a sub oscillator, detune you 2 vco a fourth, a fifth or just a little bit, affect your lfo to the pitch or the shape – to get some shifting in the sound – at a really slow rate and you get a massive sound on the lower notes. Also, the sweet spot on the Q of the filter is really nice. The built-in delay is incredible too, noisy as hell and dirty, absolutely perfect.

Korg Minilogue

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

I would get the Yamaha VSS-200. The sampling section is insane on this one, I use it a lot in my music production. I sample basically anything and everything, from other synths to acoustic instruments such as flute, guitar, even my voice, and it sounds so gritty, lovely. I made this demo on my YouTube channel, to show how it sounds like: https://youtu.be/vxlvFDanYbo

Yamaha VSS200

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

The Casio CZ-101. I love this synth, great evolutives sounds and has a warm character for a digital one, but it erase all the presets you’ve done if you don’t use it for two days. It uses those big expensive batteries (type D I believe), and I didn’t figured out yet how to mod it so it can use standard AA’s batteries. It’s a pain to program too, especially the enveloppes, so I use my iPad and Patch Base to edit my presets and manage them.

Casio CZ101

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

The generation loss technique. It’s mostly known for vhs, but it works with regular cassette tapes as well. When you record something into a tape, and sample it back into another tape, you experience the generation loss. And each generation sounds « worse » than the previous one, with more artifacts. I use it a lot with my two vcrs, but sometimes I also use two walkmans and bounce my stem from one to another. Experienced it on this little snippet on my Instagram : https://www.instagram.com/p/CBLj1X9o4De/

(you can hear the dropouts and the subtle wow and flutter as soon as I engage the vcr)

VCRs

Artist or Band name?

PROJECT NULL

Genre?

Electronic

Where are you from?

Draveil, France

How did you get into music?

When I was 17 years old, I watched on YouTube a drum solo by Joey Jordison, drummer of Slipknot, I was impressed and I wanted to play drums.

What still drives you to make music?

Making stuff that I would like to listen to, I mean, I put a lot of pressure on myself, I don’t want to share anything if I am not ok with it.

How do you most often start a new track?

I start by finding a chord progression or a melody. Then, I work the sound on a synth, depending on the type of sound I’m looking for I’m gonna use a different synthesizer or a different effect chain. Finally, I record it into my tape recorders, reel to reel or vhs, and if I want to give it some mood I resample it again and again, degrading it until I like the result. Then, I add other stems, like some noises, samples from my own stuff, some radio interferences, field recordings… Recently, I even tried to add subtle rhythm (recording real drums/various percussions mixed with electronic sounds) but I’m not really satisfied by the result.

How do you know when a track is finished?

Honestly, I don’t know, I am never satisfied by how my track ends.

Show us your current studio

Project Null Studio
Project Null Studio
Project Null Studio
Project Null Studio

Sorry for the bad light, its a very tiny room (less than 7 sqm) without any window, so no natural light. Lots of mess too, especially on the last photo, and the « light spots » I use for my videos are two Ikea’s light with tissue to avoid too much reflection (hmm I should buy proper lights at some point)

Best creative advice that you’ve ever heard?

Less is more. I often want to add too much but I realised that, sometimes, when I « clean » my Ableton session by removing stems, it sounds much better.

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

I released my first album on march, you can listen to it on every streaming platform you use – I put a Spotify link here but it is on every streaming services -.

https://open.spotify.com/artist/2c52lcjvCs1T7mKbXA2fFS