Couleurves – Mathieu Lalonde

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

Make Noise Morphagene varispeed knob

Morphagene’s varispeed knob! I’ve got a lot of great feeling knobs, but this one is the only one that has this nice colour window. I used this module a lot lately and I never got bored of that intimate light show. It’s immediate, fun and incredibly inspiring.

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

A square of Eurorack

My first modular setup is as close to perfection as I got with a piece of gear. It went through a few phases, but it’s stayed as it was when it got in that wooden case for years. It’s very limited compared to my Palette setup, but it’s what makes it perfect. It’s an incredibly fun mono synth with a ton of tricks up its sleeves. 

There’s a few things that I’d change still. I had this case built and I asked for a deep bottom section. I didn’t know what I’d put in it at the time, so it’s deep enough to accomodate any module. I think the deepest one in there is the Disting. It’s way deeper than it needs to be which makes it bigger and heavier than I’d like. I also temporarily swapped my uVCAII for a ModDemix. It was a mistake and the uVCAII will come back in its right place. Don’t mess with a perfectly good setup.

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

Elektron Digitone and eurorack

I haven’t toured yet, but I settled on a live setup this past summer. I went and recorded a live version of douzaine with that setup and I found it to be very fun. The Digitone takes care of the sequencing and of the key sounds, while the modular adds another analog voice on top. My guitar is being fed in the Morphagene for some live looping/mangling. 

I also don’t take gear on holidays. Either that vacation time is used to record stuff or it’s used for some time off. I either bring everything or I bring nothing. No half-measures!

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

Tascam Porta-02ii

I don’t own an iOS device, but I’ve been very interested in both Gauss Field Looper and Flip. I’ve been looking for a cheap and immediate way to record ideas. A sketch book of some sorts. I’d love for some kind of device which would run these apps, but with a better physical I/O integration. I’d get rid of the touch screen as well, I don’t like those on music things. The OP1 fits in that sketchbook territory, but I did get to try it and I found out that it’s not exactly my cup of tea.

I’d also like to have a clean and efficient way to record tape loops. I sometimes want to use them on a track, but I switch plans as it takes a bit of time to get right. I’d use a digital version if it did the exact same thing. Messy and dusty places don’t go well with magnetic tape.

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

Yes! Many actually. I cheaped out on my first and only mic stand. I bought a very small kick drum one as I only wanted to record my amp. At its lowest, it sits too high to record an amp that’s on the ground. I have to prop the amp on something to make it work. It’s also too small to record acoustic guitars, I need to get a chair for it and it puts me in a weird position. I borrowed one from my brother (thanks Nicolas!) and I haven’t used this one in a while. I sometimes use my Zoom H4n to record amps as it’s easier than using this mic stand.

Life’s too short for a short mic stand

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

Definitely the Korg Monologue. It’s heavily featured on two releases of mine and it’s been used on many demos as well. I’m still doing the Monologue + looper jams, the last one being my 37th one. I love it very much and I hope it’ll stay with me for ever.

Korg Monologue

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

I’d get a decent looper pedal. I used a garbage one for so long and it ruined many early recordings I did. They’re great to experiment with if you’re on a budget but I tried to save a few jams and it’s just too messy. I had the chance to use many great loopers from Electro-Harmonix (22500, 45000, 95000) over the years and I realize now that one of those would have made everything so much smoother.

EHX 22500

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

Tascam

Tascam Porta02 MKII. The power cord I have is a foot long, the headphone knob is scratchy and it hurts my ears when it moves, it uses RCA cables for the output, etc. There’s so many things I don’t like about it, but it’s still the only running tape machine I have. Tape loops became pretty much necessary for my workflow and I can’t see this one going away soon.

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


I recently shared the secret fuzz I found hidden in my Optomix. Running the audio signal through the strike input (or through the CTRL input for a different flavour) crunches the signal in a weird and pleasing way. Messing with the knobs alters the tone as well. It has a nice bit-crush/gated fuzz type of sound. It’s surprising for a module that’s known for its smooth and organic character.


Artist or Band name?

Couleurves

Genre?

Ambient/New age

Selfie?

Couleurves

Where are you from?

Curently living in Montréal, Québec! I’m originally from the surrounding countryside.

How did you get into music?

I played guitar when I was around 14 years old, but I quit as my brother got way better than I did and I felt discouraged. I didn’t practice so that didn’t help.

Records like Plantasia and Oxygene piqued my interest in late high school. I got hooked on that whole thing when I bought a Volca Keys in college. I got into the music that people like Jogging House and R Beny did back then and jumped straight from the Volca to my first modular setup.

What still drives you to make music?

Finding new sounds and trying new things. I dug deep in Sounds of the Dawn‘s YouTube channel over the last year and now I’m really excited to try a new direction. The mixer is the newest addition to the setup and it makes everything fun and easier to handle.

Right now, I’m excited to work with more acoustic instruments. I’m trying to distance myself from sequences to keep it organic and free-flowing.

How do you most often start a new track?

It starts with a riff or with a single loop. It usually flows pretty easily after the first part is layed down. If the rest doesn’t follow, it’s just not meant to be.

How do you know when a track is finished?

I don’t know! I stop working on a track when I can’t add anything else to it or if it feels done. I almost never rework half-finished things. It’s very spontaneous!

Show us your current studio

Couleurves ome studio
Couleurves home studio recorder
Couleurves home studio floor and pedal board
Couleurves studio desk
Couleurves guitars
Couleurves mixer


Best creative advice that you’ve ever heard?

I’ve been told to just show up. You can’t do something good if you don’t do anything. Just being there, without any idea of what to do, is a great start. 

“I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.”
― Dale Cooper

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

I self-released fils and douzaine over the last few months. They’re available on Bandcamp, on my YouTube channel as well as on a few streaming sites. I also recorded a live session featuring tracks from douzaine which can be watched on my YouTube channel! 

I’m currently working on a new album which, I hope, should be out next year. https://couleurves.bandcamp.com/

I’ll be posting a few behind-the-scenes on Instagram until then! https://www.instagram.com/couleurves


[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…
]


Pyn – DiscoPopGrin

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

The Cut-Off knob on my Dave Smith – Prophet 6. I use this a lot when I play around with arpeggiators.

DSI Prophet 6

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

No, I’m always looking for new things/stuff, although I’m really happy with my Prophet 6 and Korg Poly 61 synthesizers.

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

My MacBook, a microphone and a guitar to write the basic of a new song/idea.

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

I don’t really have a wish like that at the moment.

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

Yeah maybe the Roland MC-303, it’s really difficult to program it, so I don’t use it a lot.

Roland MC303

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

I started playing guitar and I still do, so I guess guitar is the most important instrument for me. Ableton Live made me develop my production and beatmaking skills.

PYN and sparkly Telecaster

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

Still a guitar, a computer with Ableton and a microphone. And I would still want to learn how to play guitar first, it’s great to learn an instrument so you can play and sing your own songs.

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

I guess microphones, it is a constant search to find the right one that completely suits your voice.

Blue Mic and Shure SM7B

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

Use Guitar Rig on other instruments than just guitar. You can get crazy sounds when you put a Guitar Rig on synths, vocals etc. and tweak them to a cool sound. And of course the reverse knob in Ableton, who can live without that these days 😉


Artist name

PYN

Genre

Pop/Disco

Selfie

PYN

Where are you from?

Bloemendaal, The Netherlands

How did you get into music?

Playing guitar since I was 10, writing and singing since I was 15 I guess 🙂 When I was 21 I started my study at the conservatory.

What still drives you to make music?

Listening to new and old music of other artists drives me to be create, and ideas that pop up in my head drive me to stay creative.

How do you most often start a new track?

It can start by an instrumental idea I have, or a melody or line that pops up in my head.

PYN at the pink guitar

How do you know when a track is finished?

This is the most difficult part of music. It is never really done, so at some point when I am happy and my team is happy, I send it to mixing and mastering engineers and they finish it.

Show us your current studio

PYN’s studio

Best creative advice that you’ve ever heard?

Make room for playing while you’re creating. The fun of creating must never disappear.

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

My latest releases are the song ‘Spring Fever‘ an up disco track and ‘Night Drive‘ an 80’s duet with MATTEO.


[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…
]


Benjamin Shaw – Ponderer Sounds

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

Recently I got the Type One Analog Ensemble by Tom Oakes of Horrothia FX who just
happens to live in my town of birth, Cornwall in the UK. Asides from being an absolutely gorgeous chorus the Type One has this excellent arcade style button for the footswitch and it is so satisfying to click.

Type One Analog Ensemble

I also really love the Speed Control dial on my Sony Clear Voice Walkman, it’s old, plastic and the dial is knurled and recessed almost past the point of being able to turn it but the tactile experience mixed with the sonic result is awesome.

Sony Walkman varispeed

Lastly I don’t own one yet but I’m really looking forward to getting a Nakedboards MC-8 MIDI controller, the faders are a little larger and spaced nicely for using with orchestral software libraries to add that ‘human’ feel.

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

A recent addition for me is my StudioLogic SL88 Studio MIDI keyboard. I have an old family heirloom upright piano that is gorgeous but I haven’t been able to relocate it to our current residence, so getting a properly weighted, natural feeling, full size key bed has made writing with software instruments way more enjoyable and inspiring, so far I wouldn’t change a thing on it.

StudioLogic SL88 Studio MIDI keyboard

I used to manage a mates boutique shop, Pedal Empire, in Brisbane and build pedalboards professionally, so I have played hundreds, if not thousands of individual pedals, my ethos from that experience is that ‘perfect’ is a relative term and every pedal, if you allow it the time, can yield some ‘perfect’ results in the right context. I think it’s up to the player to find the gold and follow where it leads. Even something as amazingly engineered as the Chase Bliss Blooper for example, is full of quirks, artifacts and limitations of sorts, but if you ironed all those out to be ‘perfect’ it probably wouldn’t be half as fun.

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

Since moving to a rural, coastal location in Tasmania in recent years I haven’t had need to take a rig on the road much, however if we do go away for longer than a few days and I need to film a demo or make some music I’ll usually take the Walrus Audio Slö, Bondi Art Van Delay, 1981 DRV & CBA Blooper. Those with a guitar, laptop and little interface is all I need for guitar inspiration.

Walrus Audio Slö, Bondi Art Van Delay, 1981 DRV & CBA Blooper

I’m also building a small modular system that is easy to take out and make generative ambient music.
If I don’t have need for anything and just want to make some music in the moment I love using the Fugue Machine app, it’s great for coming up with a simple melody and layering in different speeds and directions… too much fun.

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

I use PaulStretch a lot, something about taking a 1 minute piece and making it 15 minutes long is so fascinating to me and PaulStretch does that in it’s own special way, I’d love that in a pedal. I’m pretty new to modular synth but perhaps there’s a module that does that.

I recently got hold of a Pecan Audio Edera which is a stereo warming unit in a small simple pedal format. Previously I would use some plugin distortion on the fx bus to warm up tracks while wishing I had something like the Analog Heat, but way less complicated, so the Edera has fulfilled that wish.

Pecan Audio Edera

Back the other way, hardware I wish was software, I still haven’t found a plugin or process that yields the same result as recording to cassette or tape and slowing down. 80’s and 90’s tape/cassette equipment all have their own oddities that they impart to a recording. They sounds so good to me and even the best tape emulation can’t quite nail it just yet. They’re getting closer and closer though.

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

Years ago I made my mind up that I wouldn’t have any extra pedals/gear laying around that weren’t in constant use or on my pedalboard so I used to sell everything surplus to my needs and made my mind up not to regret any of it. I don’t follow that mantra anymore and have heaps of gear in corners and on shelves. I have bought and sold an El Capistan about 4 times now, currently don’t have one, that’ll probably change again. I did have an original Bondi Del Mar that I let go right before the prices got exorbitantly high which is a bit of a bummer, but I kinda despise that part of the gear community anyway, I like to sell knowing people are getting a good deal.
Working at PE for years made it easy not to miss things I’d personally sold when it’s always there in store if you need a fix. I would get way too sad if I let myself think too much about what I’ve let go, safe to say I’ve moved through hundreds of pedals on my board in the last 10 years. I don’t think I’ve regretted a purchase ever because it’s all a learning experience finding out what works and what doesn’t.

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

My process for making pedal demos has always been to let the subject pedal guide my noodling and musing so mostly when you watch one of my videos you’re hearing snippets of how the said pedal has inspired me.
I always get inspired easily by Spitfire Audio orchestral samples, they just capture so much realism and are emotive to play, same goes for Fracture Sounds, The Phonoloop and Felt Instruments.
Pedal wise the Hologram Electronics Microcosm is pretty much the most inspiring analog thing I’ve owned and I can rest assured that plugging into it will spark something if I’m ever drawing a blank.

Hologram Electronics Microcosm

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

I started playing guitar in the ‘Big Amp Heavy Guitar’ era, if I could go back and tell myself to get a Telecaster and a Princeton it would make a world of difference. My first pedals were a Line-6 DL4 and a Crowther Hot Cake which I still think now for the way I like to write and play are great pedals to start with.

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

I feel like maybe I’m in a sweet spot where I’ve narrowed down my choices to equipment that largely improves my work flow. That said, I recently dived headlong into modular synthesis after a few years of deliberating, and though I have a clear vision for what my desired sounds from Modular are, the learning curve is pretty dramatic. The Patch & Tweak book from Kim Bjorn Bjooks is helping a lot though.

Ponderer Sounds eurorack

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

In the box I love to duplicate tracks, hard pan them, and then zoom in and move one of them just a few milliseconds ahead for a massively wide sound. Also a fun trick is recording something to tape, physically speeding it up and recording it again and then slowing it down and stretching it out to overlay with the original recording. This adds textures that I absolutely adore the heck out of.

Hardware wise the Horrothia Type One I mentioned earlier is a terrific widening tool with the chorusing effect dialed at it’s slowest where you can’t actually discern the movement. I nearly always record guitars for stuff other than demos through the Type One in stereo even if I later end up panning or summing to mono, it just sounds so good and I leave it on constantly. The only downside is I don’t get to smash that arcade button as much as I’d like!


Artist or Band name?

Ponderer Sounds – My Youtube Channel for gear demos and music creation

Genre?

Ambient/Post Rock/Dream Pop/Orchestral

Benjamin Shaw

Where are you from?

Originally Cornwall UK – Live in Tasmania Australia (but probably not for too long)

How did you get into music?

I played piano under my grandmothers supervision from about 4 or 5 years old. Music was always encouraged in our home. I have fond memories of crawling under the dining room table with a small cassette radio and a cushion and listening to George Harrison’s Cloud Nine album till I fell asleep. I would have been 6 or so. And I grew up with a nice collection of records from the Beatles, Bee Gees and Creedence Clear Water that I played to death, plus when someone else wasn’t playing music my mum always had Beethoven or Tchaikovsky on. My childhood had a constant soundtrack.

I think I started guitar when I was 17, I’d steal my sister’s boyfriend’s sparkly silver Ibanez and teach myself how to play punk rock like Rancid & Bracket. I remember discovering the power chord and then it was all full steam ahead. Later I got into Pearl Jam, Stone Temple Pilots and Foo Fighters before getting into less mainstream and more indie/emo stuff in the late 90’s.

What still drives you to make music?

It’s my life blood, being creative is the way of the future and I believe it will only become more and more important to us the more automated the rest of our lifestyle becomes. It amazes me that there’s only a handful of notes, limited combinations of them to create chords and melody, but somehow the human element of interpreting them constantly yields fruit that didn’t exist previously, and an individual can move so many strangers with mere vibration.

How do you most often start a new track?

I’ve never been one for learning other peoples music, when I sit at the piano/keyboard or pick up my guitar I gravitate towards making something myself. I’m in the process now of adapting small musical ideas from pedal demos and turning them into full tracks so typically that’s where a new idea spawns.

How do you know when a track is finished?

I don’t really know, but when I’ve added everything in my head and find myself getting lost in it, when I’m supposed to be listening back subjectively, I know it’s pretty much ready to go.

Show us your current studio

Ponderer Sounds Studio

Best creative advice that you’ve ever heard?

‘Inspiration exists, but it has to find you working.’ Pablo Picasso.

Always start, move yourself till something moves you and then chase that down.

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

Head over to my youtube channel (Ponderer Sounds) to watch weekly demos on great pedals and gear, and stay tuned for a new song creation series I’m working on.

https://www.youtube.com/channel/UCgHpuhheoXRxZVKONOOFE_g/

[Editor: All photos in this interview are by Tiarne Shaw]


[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…
]