Ricard Magnusson – Wheel

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

The boring answer is the Cutoff! It’s probably my most used knob after all… If I choose to interpret the question from another angle, and discuss the overall feel of my favourite knobs, I’d say the knobs on my Novation Peak. There is a stiffness to them that makes them feel sturdy and reliable, and a rubberized texture that is really great. The Peak feels like it could survive anything! For me it’s really important to connect with a synth on an aesthetical level, an UI level. It needs to look and feel great and be inspiring. For me that’s the whole point of hardware!

Novation Peak

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

Elektron Model Cycles

There are two pieces of gear that I have recently owned that I liked a lot, but had some shortcomings. First off – The Elektron Model Cycles. Fun, cheap, and almost everything you do on it sounds good. But I really would have liked individual outs on all tracks and the ability to play it like a 6 voice poly. The other thing is the JU-06A, which also is a fantastic piece of kit that just sounds awesome. But why only 4 voices… Bugged me a lot!

Roland JU-06A

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

Since my computer is the only thing I can’t do without when producing, I’d have to start off by saying my Macbook Pro. Just bought the 2020 13” which is a perfect size for me. My Keystep usually tags along as well, it has great feel in the keys and a good size. Add my Beyerdynamic DT770 Pro headphones and I’m all set! All I actually really need, holiday or not!

Macbook Pro and Beyerdynamic DT770 Pro

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

There is a piece of software I always dreamed of having in hardware form: The Sonic Charge Microtonic drum synth. I use it all the time and in all my productions. I really like hardware drum machines, and would really enjoy getting hands-on with the Microtonic in a fully analog hardware form. I would really like a software version of the Boss Tera Echo pedal. Maybe there is one that I haven’t found? I mainly use software effects to be able to tempo sync easily, automate parameters etc, and the Tera Echo is the only thing I haven’t really found a software equivalent of.

Boss Tera Echo TE-2

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

This is a hard one… I have a complicated relation to hardware (even wrote an editorial about it: https://producerhive.com/editorial/confessions-of-a-compulsive-gear-flipper/). I constantly buy and sell stuff. Basically, I regret buying almost everything. I kind of regret selling the Sequential Circuits Pro One I used to own in my 20’s (by the start of the millennium). I owned early on, when I was just getting into synthesizers. I have realized that I didn’t appreciate it enough when I had it… Would love to turn back time an own it again, a beautiful and fun machine! The only synth by Dave Smith that hasn’t failed me… I had a Prophet rev 2 that I had to replace the main controller board on, even though I bought it brand new. Had a Tetra recently with a dead sub oscillator and bad LCD-display. Also owned a Prophet 08 Desktop with encoders that had a life of their own…

Guts of a Prophet rev 2

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

I’d have to say Omnisphere. I keep coming back to it. It has a preset library that never ends, and great modulation options. It always leads me to exciting places I didn’t know existed. When it comes to hardware it’s probably my Novation Peak. It has a perfect balance between complexity and easy tweakability.

Novation Peak and Arturia Keystep

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

Nothing. Well, not really, but I would try to not get too hung up on getting the “right stuff”. Give me a Mac laptop and I’m good to go. I started out with nothing but my computer, not even a midi keyboard. I just entered notes in the Piano roll (in Cakewalk, at the time).

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

I’m trying really hard to live by the code “Don’t get stuff you can’t do without”. But I guess it’s my computer. Can’t do without it when it comes to music making. It’s also many times a source of frustration. I have a new computer now, but the one before it was a real pain. I accidentally poured a cup of coffee (my biggest addiction) over the keyboard, which made it act really irrational. Had it like that for like 6 months before I gave up and got myself a new computer! Computers have historically been a big source of annoyance for me, mostly due to failed hard drives. Nowadays I have a rigorous backup solution, so nothing gets lost.

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

Maybe not that surprising, but at the moment I’m really into random waveform LFO’s, that are key synced. I really like making sequences where each note played gets a random modulation of some parameter. On the Peak you can modulate just about everything which is great fun!


Artist or Band name?

Wheel

Genre?

Electronic music, mostly quite chill. A reviewer once called it Chill-glitch, which kind of sums it up quite well!

Selfie?

Ricard Magnusson aka. Wheel

Where are you from?

Sweden

How did you get into music?

Started playing a nylon string guitar, inspired by my grandfather who played classical guitar. My dad and brother also played a little, so there were always guitars around. Moved on to playing with a progressive death metal band in the mid-nineties. Kind of slowly digressed to synth driven, electronic music from there… How did that happen?

What still drives you to make music?

I need to have a creative outlet that is not about demands or goals, just about being creative and reaching a flow state.

How do you most often start a new track?

I’d say with a pad sound. Most of the time it doesn’t stay in the production, but I’ve always been a sucker for pads, and I use them to set the mood of the production and get some basic chord progressions going.

How do you know when a track is finished?

When I can listen to a track and not instantly come up with things I would like to change, it’s probably close to finished. If I feel the same after not listening to it for a day or two, it’s probably done!

Show us your current studio

It’s constantly changing, and I change up my gear all the time. But the pic shows the current state!

Best creative advice that you’ve ever heard?

Wow, there are lots of advice floating around and I’m guilty of a few myself… But the one thing I try to remember is to not overthink my productions. Let go of the fear and just release stuff!

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

Sure thing! Make sure to check out my editorials at producerhive.com, where I write about the connection between the mind and music production/creativity. You find it all here: https://producerhive.com/author/ricardm/

The latest single I released is found here:

https://open.spotify.com/album/17HQRNPSGUIJRMS4W3yuFa?si=u_SeC-tbQVqGwza_b9J4sg

Michael Hell – Minimalist Conjuring

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

I think this is a toss up between the fader on the Octatrack and the magnetic encoders on the OP-Z, they both feel great on their own terms so I would say both.

Octatrack Fader and OPZ encoders

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

The OP-Z is great and I think it is almost perfect. The big one is of course the hardware itself. I am currently having lots of issues with miss triggering and double triggers and it’s getting a bit annoying tbh and of course I hear people having issues with warpage of the OP-Z itself and popping encoders. On a lighter note, I would love to have the tonic drum engine (from PO-32) in the OP-Z as well, then it would be perfect.

Teenage Engineering OPZ

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

I think it might be obvious by now…. OP-Z.

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

I would love to have OrcΛ in hardware form, I just dreamt of a hardware device similar to Polyend tracker, but instead of a tracker for sequencing it’s OrcΛ.

PolyEnd Tracker

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

I miss my Moog Minitaur a lot actually, the bass that thing churns out is staggering. I also miss the MPC Live at times, it was a really nice partner with the OP-Z. But I found the workflow really boring tbh

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

OP-Z for sure. I love how you can twist and bend a sequence with it.

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

Octatrack, It’s just a stream filled with possibilities.

Elektron Octatrack

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

The SP-404 I love the thought of it, but I hate using it, but I don’t want to sell it. One day I will truly master it! and I also feel like i should enjoy Eurorack a lot more, but I’m actually on the fence about selling all my Eurorack. I’m really down with minimalism. Ohh and the keys on the Arturia Keystep are atrocious, but that little thing is so damn handy.

[Editor: I had the SP404 years ago and sold it coz I just didn’t use it enough. Then I just got the SP404sx model with sd card. It’s strangely a lot more useful. Dunno why]

Roland SP404

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

Octatrack and QY70 go really well together. The standard midi template on the Octatrack corresponds with the midi implementation of the QY70. So basically you just have to connect them via midi and then start p-locking parameters without even setting up the CC’s. Also realizing that the midi implementation on the MPC Live is actually fantastic once you connect the devices with both midi in and out. the MPC reads all the midi CC settings so you can automate everything on the machine. its pretty incredible tbh.

Octatrack with Yamaha QY70

Artist or Band name?

Grååskala or Graaskala for you non nordics Genre? IDM…. i guess… Glitch… Maybe?

Micheal Hell

Where are you from?

Märsta outside of Stockholm. Currently living in the north of Sweden with wife and family.

How did you get into music?

Played piano and violin as a kid (briefly) but really connected with music through a friend who was doing troubadour gigs at the age of 21. Learned to play guitar and sang to that. Then I went on to study music as a vocalist for two years. Played in bands and such as a vocalist. Got into the electronic hardware thing just a couple of years back, when I wanted to get back into music, but didn’t have anyone to play with… so basically I made a one man band.

What still drives you to make music?

It’s a stress relief thing, I just love disappearing into music. Plus I have a primal need for creating stuff, I guess that’s why i became an engineer by trade so that i can always be in the process of creation.

How do you most often start a new track?

Drums. Almost always drums.

How do you know when a track is finished?

Through my work I’ve learned to adapt to the phrase “good enough”. I know a track is ready when I feel like I have a structure in it or rather a story, there’s almost always imperfections in my recordings, but I chose to honor it instead of shunning it.

Show us your current studio

I’m not a collector in any sense. I have a ‘one-in-one-out’ policy and I strive towards having a streamlined workflow and most importantly FUN. So this is what I’m playing with currently.

Michael’s studio

Best creative advice that you’ve ever heard?

On the subject of writer’s block Björk stated something in her Reddit AMA that really resonated with me. TL;DR don’t force your creativity.

“I think creativity always lives somewhere in everyone, but its nature is quite pranksterish and slippery and every time u grab its tail, it’s found a new corner to thrive in. Perhaps the trick is not to force it and put it up against a wall and want it to be in a particular area. But rather with a lot of kindness sniff it out and wonder where it has gone to this time around. If its in sauce recipes , writing theater plays , paper-mache improv with nephews, discovering new hiking routes or simply trying to figure out a family members sense of humour . I definetly don’t succeed in this all the time, but feel overall things have been more fertile when I trust this creatures instincts and follow it, rather than me willfully reforming it into a circus animal colouring by numbers”.

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

Well it’s not new by any sense, but it is my latest, my OP-Z only album released on Golfshoe Music. Straight stereo recordings of performances, with imperfections and all.

Thanks for having me! Stay safe and creative folks!!


Victor Öberg – Urba Doloro

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

Right now I’m crushing hard on the faders of the Verbos Harmonic Oscillator. But in a longer perspective I’ve got to say the Octave and Waveform switches on the Vermona Perfourmer, the resistance and “click” is true perfection.

Vermona Perfourmer

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

That would be my analog noise machine, aka my cat, Frasse. He  makes all kinds of inspiring noises. But he would benefit a lot from a gain knob.

Frasse Cat

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

My laptop and, if not completely impossible, my trusty eurorack case!

Urba Doloro’s Eurorack

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

The blisko cello kit from felt instruments. I absolutely love it, but I would love it even more if I could have a small(ish) stand alone device with knob per function.

Blisko VSTi

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

I once bought and later sold the Waldorf Streichfett. Then I bought it again, and sold it again. Give me another year and I’ll probably have bought it a third time..

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

My Hammond SK-1. Right now I use it as part time Hammond organ and part time midi keyboard for using the Spitfire felt piano.

Hammond SK-1

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

I would, as last time, get a piano first. Learning the piano and music theory is really the staple of how I approach writing music. I find it very enjoyable to compose on the piano and then arrange it for eurorack, strings and piano.

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

My laptop. I can’t say I enjoy working on the computer when making music, but I can’t see myself managing without a computer at this moment.

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

Not really a trick, but I recently was surprised by how much I love the distortion you can create with Mutable instruments Veils just by pushing it towards the exponential mode. There are like a million sweetspots there when using it with various sound sources!


Artist or Band name?

Urba Doloro

Genre?

Somewhere between electronic minimalism and classical music maybe?

Where are you from?

Sweden, currently living in Västerås. It’s basically in the middle of Sweden, close by Stockholm.

How did you get into music?

I often went to a small record store called Jay’s records to buy a bunch of Bob Dylan albums when I was like 16 or 17 years old. One day the store owner told me he had put away something special for me. It was The Brown Album from The Band. It 100% blew me away and for the first time I understood why people love both playing and listening to music. I spent all summer learning the songs on piano. To this day the track King Harvest is still one of my absolute favorite songs of all time.

The Band

What still drives you to make music?

It’s a combination of doing it for myself because I feel a need to, but also to be able to communicate views on human society that I feel is not the most focused on in music. Urban alienation being the main theme I try to work with.

How do you most often start a new track?

It’s twofold. The creative process is generally started with reading scientific articles/books within my line of work, urban planning, to find topics to composer over. The actual writing of the music is almost always starts at the piano. I tend to start out with a few rules of limitations and then improvise over them for an hour or two. Then I try to find pieces of the improvisation I like and start arranging them.

How do you know when a track is finished?

I really don’t. I’ve had serious problems finishing projects the last few years. However, I’m really trying to find some kind of middle road right now by letting friends listen to my tracks. Based on their reactions (and of course my own judgement) I decide when things are finished.

Show us your current studio

I’m waiting for a new grand piano, which will spice up my “studio”. So for now it’s just my eurorack case, my laptop, and my hammond. I tend to try to move it around a lot in my apartment to stay inspired, here is a summer-version of my studio!

Eurorack and cat

Best creative advice that you’ve ever heard?

I’m going to go with something Todd Barton recently told me when discussing what to buy/not to buy and how to stay creative, he told me to “Follow the sound”.

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

My instagram always loves some support.