Gabriel Vinuela – Viñu-Vinu


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

White MoogerFooger RingMod

The knobs on my MoogerFooger RingMod are the best, I think. They have the good resistance, size and shape. They just feel right!

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

Elektron Digitakt

The Elektron Digitakt is almost perfect for me. I love the workflow, its limitations, the sequencer, the size and the sound. That box sounds so good and has such unbelievable headroom! I guess I would like to have a slot for an SD card for more storage and easier sample transfers.

Digitakt and friends

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

I always bring my Zoom H4N everywhere to record field recordings which I really enjoy doing. For a minimal holiday setup, I would add to that my OP-1. Not super original here, but you can do so much on the OP-1 alone, it wins for a minimal setup!

OP1 and Zoom H4N

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

I think having PaulXStretch in an effect pedal format would be pretty cool! Freeze, stretch the signal to immense drone with frequency shift, filters etc…
For a while, I was wishing for the Digitakt sequencer to be available as a software, but with overbridge it’s almost the case now. Also, Ableton 11 implementing randomisation in the sequencer totally fills that gap now for me.

Paul Stretch

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

I don’t really sell gear, cause I’m always afraid I’ll regret it later and that I might need it for a project. To be fair I’m also really cautious of the gear I buy and I don’t have a lot. I sold my first electric piano which was a Yamaha S90 a while back. I kind of regret selling now, because it had a pretty good keybed and I think I could use it now as master midi keyboard. Therefore, reinforcing that I should not sell gear! haha

Yamaha S90

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

I know it’s not a hardware piece, but I need to say Ableton Live. It’s definitely “the piece of kit” that got me started and I can still find endless inspiration within. I like that there’s so much different workflows possible, different ways of doing things and it’s such a modular environment to make music. No two person use it exactly in the same way!

Ableton

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

Something like the Minilogue I think. A synth with almost all the functions on the front panel is way better to start learning about synthesis.

Korg Minilogue

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

Cables!!! We absolutely need them, but there are too much cables around everywhere in the studio: xlr, 1/4, usb, dongles. It never ends OMG.

Cables

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

A surprising trick I learned watching a Dave Meck tutorial was that you can create FM tones by setting a really fast bpm multiply on the LFO and modulating the sample tune. Better to check it out here: https://www.youtube.com/watch?v=3Wsu7CB1SSI

Digitakt FM tones

Artist or Band name?

Viñu-Vinu

Genre?

Electronic music, ambient, downtempo, experimental, melodic, beats (I guess??)

Selfie?

I’m cheating here… That’s a photo taken by my friend Mathieu Lalonde (Couleurves)

Gabriel Vinuela aka. Viñu-Vinu

Where are you from?

Montréal, Canada.

How did you get into music?

I started taking piano lessons when I was 10 years old and continued studying music and classical piano performance all through college and University. I completed a Bachelor degree in both classical and jazz piano performance at University of Montreal. Around 2013-14 a friend showed me Ableton and I started experimenting more with sounds and textures and started doing electronic music and music production more seriously around 2016. And here we are!

What still drives you to make music?

I think what still drives me is the infinite quest, exploration and learning experience that music is for me. I’m always looking for something new to make or to learn.

How do you most often start a new track?

Most of the time I fire Ableton Live and then it so much depends on the day! I generally like to establish and think about a process first. For example: explore this new plugin, today granular stuff, starting with a hardware synth, work with that new sequencer. The process gets me going at first and then I can go where ever from there and a new track or idea start emerging from that.

How do you know when a track is finished?

When it’s released and I’m listening to it on the Bandcamp or another platform stream. It’s really the only way you’re sure the track is fully finished… haha. Joke aside, that’s such a hard question to answer. For me it’s really a gut feeling, a sense that all the pieces of the puzzle are together, like I almost see the whole thing visually. Sometimes it happens really quickly and sometimes it takes for ever to get there.

Show us your current studio

Studio
Studio
Studio

Best creative advice that you’ve ever heard?

See your art as a practice and practice it everyday. Even for a really short amount of time. Blankfr.ms posted something in those lines a few days ago in an Instagram caption. It’s something that I always tell my piano student, but it kind of reaffirmed it for myself reading it. You’re better practicing 10 min a day, than an hour once in a while. Getting that sense of daily creation is such a good and rewarding feeling too.

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

I just released my new album Exilio Transitorio:
Vinyl + download:

Exilio Transitorio

https://vinu-vinu-music.bandcamp.com/album/exilio-transitorio

Streaming: https://album.link/i/1557425920


Mike Berndt – Pedal Of the Day

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

Feedback knobs

I tend to lean towards the Feedback areas of pedals that can perform that function, so Feedback knobs, on Delays especially, and Gain knobs on dirt pedals would probably be tops. If you can mix the two and get an overdriven or distorted signal to feedback into self-oscillation, with the possibility to get completely out of control, that’s my happy place.

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

For years now, all of the demos I record have run through a Universal Audio Apollo Twin Duo, and I recently upgraded to the Twin X Duo. The preamps are so nice, and the plugins you can get replicate so much vintage gear right at your fingertips…it’s pretty incredible. The functionality / ease of use is perfect, it’s almost a plug-and-play type of situation, with as big or small of a learning curve as you want.

Universal Audio Apollo Twin Duo

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

Well, we haven’t really left or gone out or done anything over the last year, but usually when I travel for a vacation, I just bring along an acoustic guitar. I’m surrounded by electronics and hardware and pedals the majority of the day, and vacation is a time to get away and take a break from all of that. The acoustic lets me get back to why I started playing guitar in the first place, lets me focus on the raw energy that those instruments bring, and opens up or reinvigorates a passion for stripped-down music that can sometimes get lost in the world of effects. Been using an Alvarez AD60SC for about 16 years now, and still love it, but really want a nice Martin or Taylor or something along those lines at some point.

Alvarez AD60SC

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

I use some plugins with my UA Apollo Twin X Duo to clean up and finalize the audio for Pedal of the Day’s demos, but there’s something about having an actual rack of gear right in front of you that just can’t be replaced by a computer screen. Having a Teletronix LA-2A, Studer A800 and an actual vintage Tape Echo unit here in the studio would be rad. As for the opposite, they’re making pretty much everything you can think of into some form of plugin or patch these days, and there are many devices which let you run your analog effects straight into your recording, so the sky’s the limit there.

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

TONS of gear. I wish I could keep every single pedal or guitar or keyboard that I have ever owned, but I don’t have the space, and I wouldn’t make any money!

During the last Covid-infused year, I have had to get rid of some long-time favorites, but I think the ones that really hurt were my Moogerfooger Delay, Phaser,

Mooger Foogers LowPass, Murf and 12-stage Phaser

Low-Pass Filter and MuRF. I’d like to say I’ll have them all back again someday, but even since I sold them last year, the prices have skyrocketed, so those might just be gone for good.

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

I think all gear can be inspiring, even a piece that you may find boring or dull at first. With pedals especially, you need to sit down and really get to know them, how they act/react, what their key functions are, any hidden features or treasures they hide, waiting to be discovered, etc… Part of the fun of this line of work is the constant exploration and uncertainty about each effect, and since we all use them differently, there’s really no wrong way to go about that.

I think the demo community provides a lot of different perspectives on how each pedal can be utilized and exploited – the companies themselves seem to enjoy how different all the demos sound, as we each are giving an individualized interpretation of the effects, and come up with sounds the original designers might not have even thought of.

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

A vintage Fender Blackface Deluxe Reverb, a cheap-ish guitar (maybe a Strat or Tele) that I could mod and customize, and a Delay pedal. I have enjoyed swapping pickups and wiring out of guitars over the years, but haven’t had the time or focus to do so recently, and think that would be fun to jump back into.

Fender Blackface Deluxe Reverb

The Deluxe Reverb is a perfect pedal platform, plus you already have the Reverb and Vibrato built in. Delays are by far my favorite effects, so it wouldn’t even really matter how wild or crazy it was, just something simple to get started, like a Boss DM-3 or a Way Huge Supa-Puss, something along those lines.

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

Years ago I bought a couple of old Ibanez rack delays from the ’80s, a DM1100 and a DM2000. They each have this Hold function that can be controlled by and external switch, and the DM2000 has one for its Modulation settings as well. The DM1100, when it’s set the way I have it and you play a note or chord and hit that Hold, it takes the audio and continually ramps it up and down, with a thick, seemingly uncontrollable modulation sound that is different every time. It can get super annoying, but also adds a certain layer of chaos into the mix that is just lovely to experience.

Ibanez rack delays DM1100 & DM2000

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

There isn’t one specifically, but I love to dive into the more complex pedals (Microcosm, H9, ZOIA, etc) and see what hidden treasures await. The designing and execution of musical ideas over the last couple of years has been astounding, and I’m glad to be a part of bringing these sounds to people everywhere.


Artist or Band name?

I haven’t released anything new in a number of years, unfortunately. I had a number of little side jam projects starting to happen right before Covid hit, so those are all obviously on the back burner for right now. Years ago, I was in a bar band called Alcoholocaust, and we just played bars around Boone, North Carolina, where I was living at the time. I also released some tracks under the name DJ Big Berndt a couple years ago, mostly chill, ambient kind of background music, and that was a lot of fun.

Genre?

I love ALL genres of music, except for pop country. REAL country I can listen to all day, but the pop garbage I can’t do. Classical, metal, rap, jam bands, disco, yacht rock, classic rock, techno, you name it….I love it all.

Selfie?

Mike Berndt

Where are you from?

Born in Madison, Wisconsin, raised in Milwaukee, Wisconsin, currently reside in Weaverville, North Carolina (USA)

How did you get into music?

My dad bought a drum set when I was 8, and he taught me a little bit about it before my folks split up. The drum set stayed, though, and I learned to play down in the basement with headphones, playing along to Zeppelin and Guns n Roses and the like. I got a cheap neon yellow guitar and a little Gorilla amp when I was 12, but didn’t stick with it for whatever reason. I finally got an acoustic when I was 19 or 20, started taking some lessons from a friend of mine, who ended up selling me his Epiphone Sheraton, and it was all over from there.

What still drives you to make music?

Music is everything! Constantly looking for inspiration in not only the music I create but from all kinds of outside sources is just the greatest. The way that different tracks, genres, artists and sound can influence you at any given time of day, or with anything that’s going on in your life, at any moment, is a pretty spectacular thing to be a witness to. The fact that music has and continues to evolve constantly, around the world, on a daily basis, is just a spectacular phenomenon, one I hope that never goes away.

How do you most often start a new track?

As a drummer, the rhythm parts are the keys, so getting a simple beat and maybe a little bass line down is always a great place to start. However, sitting around jamming on your acoustic can open up a can of musical worms as well, and when inspiration strikes, you gotta capture it. I have a lot of handwritten notes scattered around the office that have been building over the years, as well as a bunch of quick ideas I’ve recorded into Amplitube on my phone. Whether any of them will ever turn into something more or get recorded remains to be seen, hopefully I can revisit them soon and start working more on finishing some of them up.

How do you know when a track is finished?

You don’t. You can sit and overthink and tweak over and over and over, and still never truly be satisfied with the result. The first mix that sounds the best, stick with that. It’s kinda like recording a number of different guitar solos and then trying to decide which is the best – chances are, the first one was the best, because you were just playing, rather than comparing it and second-guessing yourself, you know?

Show us your current studio

Amp wall
Amps and friends
Mike’s Pedalboard
Studio desk

Best creative advice that you’ve ever heard?

My grandpa used to say, “As you go through life, let this be your goal: keep your eye on the donut, and not the donut hole.” I think that you need to focus on all aspects of whatever you do, not just on one particular thing, whether it’s how you approach a new recording session, or how you cook a meal, or how you interact with your family and other humans in general on a daily basis. Focusing on the little things can be key, of course, but seeing the bigger picture, breathing and taking it all in is how I try to live and create.

Instagramming with Mike

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

Pedal of the Day – https://www.pedal-of-the-day.com/
Pedal of the Day on YouTube – https://youtube.com/c/pedaloftheday208
DJ Big Berndt on YouTube – https://www.youtube.com/c/DJBigBerndt


Chris Calvert – Enjoy Scenery

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

Rossum Panharmonium

If we’re talking sensorial tactility, then nothing beats the firm yet liquid luxury of turning any of the knobs on the Rossum Panharmonium (or any Rossum module, for that matter). I don’t think any other manufacturer uses them, but it seems like they really get how important the tactile nature of Eurorack is. 

As for the actual function, the Panharmoium’s ‘Voices’ knob can take you from a close approximation of the input source to an ethereal choir just by reducing the number of oscillators. Less impressive on synth sounds, but plug my Dictaphone in there with some fingerpicked guitar and you’ve got an ambient track right there. almost feels like cheating.

T-Rackonizer

A close second would be any of the knobs on the T-Rackonizer. From “is this thing on?!” to “woah!!!” in about two degrees of turn. Even though I’ve read the fucking manual, I still don’t know what I’m doing, but it sounds amazing. 

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

Sounds weird, but maybe my SQ-1. I’ve had a few sequencers, but none have allowed me to play around so intuitively, and none have resulted in more surprising sounds than that little black, metal brick. I say ‘sounds’ rather than melodies because I often use one channel for pitching the Loquelic Iteritas and one for Rings, run the two channels polyrhythmically and then you get these moments where the two pitches clash to create the grinding, clanging tones. HOWEVER, the fact that Korg uses a different sync standard to everyone else means I always have to mess around with clock dividers and I’d definitely make the battery life better and the battery access less like an ode to Russian military hardware.

[Editor: Ha! Yeah that battery access drove me batty as well]

Korg SQ-1

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

Before COVID, I was traveling from Copenhagen to Stockholm by train every week to see my girlfriend, and so when Intellijel’s Palette Case came out, I felt the planets aligning. Five hours in a comfy seat with mains power and beautiful Swedish countryside flying past your window – is there a better place to get lost in making sound? The nest of patch cables always garnered interesting looks from fellow passengers, though! My plan is to revive the palette this summer with a battery and record some stuff out in the wilderness. 

Intellijel’s Palette Case with buddies

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

This is a tough one, but apart from things like wishing that Spitfire’s Cinematic Piano was a real piano in my actual apartment, I’d have to say some of the Inspired by Nature Max for Live devices like Bouncy Notes. I know there are similar things in hardware, but the graphical visualization feels very accessible and intuitive. I think it’s nice to ‘see’ how generative things work so it doesn’t just feel like a black box with pleasing random shit coming out of it. Conversely, I’d love if there was good Marbles-like plugin for my DAW. VCV Rack has a lot of ports of other MI modules, but not Marbles. I’ve lost count of the number of times Marbles has formed the foundation of a track. 

[Editor: I’ve been informed that Marbles has been added to VCVrack. Thx TimCox … It’s just called Random Sampler]

Mutable Instruments Marbles

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

What I love about Eurorack is that there’s such a great second-hand market, so regrettable purchases can be recycled in no time. Recently, I’ve been regretting selling my Chronoblob 2. I got rid of it when I went over to a hybrid Euroack/DAW setup and figured plugins would handle all my delay needs, but I underestimated the creative, compositional power of a delay. I used to put a fairly mundane beat or melody into the Chronoblob, turn that delay time knob, and suddenly you were transported into a ping-ponging, syncopated kaleidoscope.

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

I know it’s a boring answer, but it has to be the modular. For me it’s the ultimate creative instrument because it’s never just one thing – it evolves. Not just through buying new modules but also the ones you think you know really well. There’s always some way you’ve never thought of using something. I also love that it’s ideally suited to randomness and experimentation. I always feel like I’m guiding this thing rather than playing it – or sometimes it’s even guiding me. You feel like you’re discovering rather than composing. 

Eurorack modular… so many knobs!

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

My journey from first synth (Korg Minlogue) to first Eurorack module was about six months, so I’d probably just cut straight to the modular. However, if I could ‘start again’ but keep everything I already have, then I’d love to try the ‘guitar and bunch of interesting pedals’ route. I’m actually on the lookout for a guitar or lap steel to put through the modular, so I guess it’s kinda happening. 

Studio stuff

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

Clocks. Since I went partly back ‘in the box’, the most frustrating time I’ve had is syncing things up. I’ve got all my midi set up through the Poly 2, but I always end up with some Morphagene loop I’ve mangled, or some distorted thing that seems to have no beginning or end that I want to put some sample strings on in Logic, but then I can spend hours trying to get it to behave. 

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

I’m not sure if it’s surprising, but maybe using Rings as a resonator to process audio rather than a voice on its own. The problem is that plucking Rings makes such a seductive sound, it’s easy to forget what Emilie Gillet’s original intention was. I like to put a really nasty VCO through it, like the Loquelic or Manis Iteritas, and then play the pitch of that and Rings like I mentioned before. You discover sounds that you couldn’t conceive of without just playing around.  

Rings and Manis Iteritas

Artist or Band name?

Scenery

Genre?

Ambient? Soundtracks from imagined movies? Elevator music for extremely tall buildings? 

Selfie?

Chris Calvert

Where are you from?

Born in England, lived in Copenhagen for 14 years, and currently in Stockholm.

How did you get into music?

Played all sorts of instruments for five minutes at school, then discovered the bass and played that in school bands. Then guitar in a few bands in London. Then nothing but bedroom strumming for years until I figured something was missing and bought that Korg Minilogue. 

What still drives you to make music?

Music so immediate and powerful. Everything else in life feels so tangled and overthought – nothing’s just what it is anymore. Music isn’t like that. You hear it and you feel something. And the great thing about making it is that you get to experience it as you’re creating it and you can use the feelings it elicits to fuel the music. I have a terrible attention span for everything else, but with music I can go deep and long without needing to come up for air. 

How do you most often start a new track?

I like to start with something random, often just to have some kind of melody to drive a VCO for the purposes of sound design. Then I just try to follow that – maybe it’s nothing but maybe it’s something, and even if it is, it’s never the thing I thought it would be. 

I often just record track after track of some kind of texture or melody in Logic, trying not to be too precious. Then I’ll go back another day and listen again and if something feels good, I’ll try and add something to it that steers it in a particular direction. I remember reading once about how jade sculptors would just look at a solid block of jade and decide what they would carve based on the swirls and patterns they saw inside it. I try and think like that. The music is already in there, I just need to be open to it and carve away. 

How do you know when a track is finished?

At the end of any work session, I bounce down a mix and upload it to SoundCloud. Then I live with it for a bit on walks and make mental notes about the bits that I feel are off or that I stumble over, and then I go back and change them. I know it’s done when nothing breaks the ‘spell’ of the track when I listen. 

Show us your current studio

Chris Calverts Studio
Chris Calverts Studio with plants and daylight

Best creative advice that you’ve ever heard?

Something my girlfriend said when she was getting into her ceramic work. She was talking about how she often fell into the trap of getting obsessed with the end product: what was it for? Was it good enough? Was is it finished? She would snap herself out of it by focusing on how much she enjoyed just having her fingers in the clay. So, whenever I get obsessed with results, I just remember that sometimes I just need to get my fingers in the clay.  

DIY resonator. Fingers right down there in the clay.

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

Just released my second album:

Confabulations by Scenery