1. Favourite knob/fader/switch on a piece of gear and why?
I love the even VCO main knob from Befaco’s Eurorack module. It’s beautiful, and I
like the feeling when you turn it. And I like to use it (it changes the octave) mostly if
it’s plugged on a reverb.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
The Octatrack is for me almost perfect. A kind of similar software like the Overbridge for the other Elektron machines would be perfect. Of course a possibility to record the 8 tracks separately, but simultaneously. Add it a simple synthesizer and it would be totally perfect.
3. What setup do you bring on holiday/tour/commute etc.?
On holiday, I take a small battery powered devices because I like to be outside. It can
vary from a sampler (MicroGrany for Bastl Instruments or SPS-404) or the Teenage
Engineering PO-35, or the iPad. I almost always take a recorder (Zoom) to do field
If I am on the train or plane I love to work on the computer, either exploring some Max for live patches I never tried or some other little software that I usually don’t use.
It is interesting how having fewer devices force us to explore other ways to do music.
When I perform I always take my Machinedrum, often the MicroKorg XL and if not
other small synths. Now that I have one, I would also take the Octatrack. I also take a
few MIDI controllers like the Novation Lauchpad and the my old Korg NanoControl,
they are small and are practical.
4. What software do you wish was hardware and vice versa?
Borderlands (the iOS app) as a hardware could be interesting to imagine, although I
have no idea how it could look. Probably this is also the reason I like this kind of app, which really use the touch screen and couldn’t have exist as a hardware. On the other side I have the feeling most of the hardware now exists as a software. I find modular synthesizers as software pretty nice, even if it never can replace it. It is perfect to try some modules, learn to use it, or if you cannot afford it.
5. Is there anything you regret selling… or regret buying?
My first machine was an MC-303, but at this time I had nothing else. It was interesting to learn, but alone it was a bit limited. I was a teenager I had no access to any studio or couldn’t buy more machines. I sold it to buy a MIDI keyboard which was at the time the best for me. If I see one I get a bit of nostalgic and I sometimes regret I sold it.
6. What gear has inspired you to produce the most music?
The Electron Monomachine, it was my first proper sequencer and it made a huge
difference in my way of doing music. Having a sequencer improved so much the way
to use synths. But then it is the Machinedrum which inspired me the most and for a long time.
7. If you had to start over, what would you get first?
I should have get the Elektron Machinedrum as soon as it got released.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
Only an old M-audio firewire sound card which is very small and has midi in/out + 2
stereo audio outputs and one stereo input, so everything you need all the time. I took
it everywhere, it worked forever, the most stable I ever had. Unfortunately it now
doesn’t work on the new OS. I still have a hard disk partition with an older system on
my mac to use it. But because of this I use it less and less… Only because of the
driver is not updated.
9. Most surprising tip/trick/technique that you’ve discovered about a bit of gear?
Nothing really crazy for a user of modular synthesizers. But as I am still in the discovering phase, I enjoy this little self-discoveries, and find it funny to trigger the steps of a sequencer (In my case: Pop Corn from Bastl Instruments) just by touching the cable. Of course, it is doing an electric impulse which makes it goes to the next step.
Artist or Band name?
Electronic music of many kinds from ambiant, experimental, to slow techno with a touch of house sometimes.
Where are you from?
Nantes in the west of France.
How did you get into music?
I started to learn play the piano which is an instrument I like a lot, but I stopped after 2 years. I wanted to play my own tunes, still it was the first keyboard experience. I guess, it was listening to techno music late in the night on the radio as teenager, that I really started to really love music and wanted to do some.
What still drives you to make music?
Life in general, but more nature than humans. I guess I need music and often I have
something in mind I want to express. What I work on is sometimes the only thing that I want to listen to. Like an infinite exploration. The nature and listening to its subtle sounds, is definitely the most inspiring to me.
How do you most often start a new track?
By experimenting with and making sounds, textures or loops most of the time, but it can really always be different. The only sure thing, I never start with a structure.
How do you know when a track is finished?
I can be hard to know. If I don’t know, I stop to working on it and let it be, so that I can listen to it with more distance a few days later, then it’s much easier. It can either be very simple and intuitive or be super hard. It can happen that I do 30 different versions and it makes it harder to choose. Sometimes it can also mean that it’s not worth it to finish this track.
Show us your current studio
It is hard to do in one only one picture, as the room i have, is long there is not so much place to take a photo. I also have a cupboard where some gear is resting quietly and safe from the dust before I feel like using them again.
Best creative advice that you’ve ever heard?
Trust your ears.
Promote your latest thing… Go ahead, throw us a link.
My last album “Melt Map”:
A new track “Infinite” on the compilation Kedi 2 on Baumusik:
[Editor: Do you have any tips or tricks with any of the gear in this interview? Leave a comment below]