Author: Martin

Operator Inpaints – Outside the Lines

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

Well here you’ll find a strange answer, never used this gear in one of my videos, this one was one of first gears I got since I started playing the electric guitar. This Ibanez pedal isn’t anything special but I’m a “big fan” of faders and this one was my first pedal with a fader. Underrated pedal imho, really had good times with my guitar.

Ibanez Echo Shifter

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

This question it’s so easy to answer, obviously my OP-1 from Teenage Engineering. Oh I have a lot of things I would change: more than just 4 tracks, a better keyboard construction and MIDI port…. Mmmmh maybe a lower price also? 😅

Teenage Engineering OP1

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

So hard to decide between one of my Pocket Operators or my OP-Z. These two kinds of gears are so portable and funny, but which one to choose? How did I solved this dilemma?
Taking both of them.

Pocket Operators and OPZ

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

I use Audacity for choppin/editing my samples for the SP404, it’s so easy to use and work well also for other things, would be nice to have a gear that has the same functions (ok maybe already exist, but not with the same easy functions) so I will be completely Dawless.

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

For a materialist like me it’s hard to sell anything, this is why I’ve never sold anything (also beyond my music gears) it’s not like I want more things or instruments, I build up a connection between my gears and me and I categorically exclude to sell anything, I love all my instruments in a different way and I’m sure I could regret any sale. But I have a sort of regret buying…. All my Pocket Operators: after all my purchasing, Teenage Engineering, released the OP-Z that is like many PO in just one gear…. THANKS 😤

A rash of teenagers

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

Firstly I thought I would answer with “OP-1” and could be the truth, has so many ways and styles you can reach but, in a different way and with some really good live effects, I have to say that my SP404A inspired me so much and so many times! There’s a special and magical process during the research of the “perfect” sample that drives me crazy every time. You can jump from hip hop to techno and also making some drones.

Roland SP404

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

Maybe some piano lessons, I’m an “ex” guitarist and I (fortunately) studied music theory, but I wish I would have studied piano so I would be able to improvise staying in the right scale and choosing the right chord when I want… Still time for taking some private lessons!

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

Maybe I’m the lucky one that is happy with his gears! For now my PC, I need to change it 😅

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

I have to choose a phrase of one of my favorite architects Ludwig Mies van der Rohe, you can also spent on music or anything: “Less is more”.
Don’t keep adding sounds, more things doesn’t mean more beautiful!

Artist or Band name?

inpaints

Genre?

From ambient to lo-fi hip hop

Selfie?

Mmmh I really have to?

Operator Inpaints

Where are you from?

Italy

How did you get into music?

Started studying classic guitar in secondary school, get into synthesizer’s world thanks to my father and the videos of Jeremy (Red Means Recording)

What still drives you to make music?

The community, seriously. Started as a hobby now I have so many “synth-friends”, this keep me focused on human side of the music. I also love when I watch videos from another people and learning/talking about synthesizers

How do you most often start a new track?

Usually pads or bassline.

How do you know when a track is finished?

Everytime it’s hard to add some new sounds, if doesn’t sounds as I want it’s time to stop

Show us your current studio

Inpaints Studio

Best creative advice that you’ve ever heard?

Dad:”Add some reverb!”

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

https://www.youtube.com/watch?v=8msEjwonovg

[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…]

The Galaxy Electric – Synth & Tape Duo

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

Big fan of the Rogan Alpha knobs used on some of the vintage Buchla stuff, namely the original Music Easel. I actually bought some to use on a DIY Video synth I am working on. They look great on those modules as well.

Rogan Alpha knobs

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

Perfection is not something we typically strive for with our gear. We actually appreciate the imperfections. So, the most perfectly imperfect bit of kit that we own is our Tascam M-308 8 channel 4 Bus mixing desk. It’s from the mid 80’s I believe. It’s a bit dark as compared to say, a brand new set of high end A/D converters. But it has character, warmth, and a thickness that we haven’t been able to achieve with a DI or vanilla Audio Interface. We typically use it as a front end for our tape machines.

Tascam M-308 8 channel 4 Bus mixing desk

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

For any musical getaway we would bring a portable Buchla rig, our vocal FX chain (space echo pedals!), some tape loops and our Tascam 4-track. This gives us all the textures and effects we need to have fun and get spacey. It also works for a live improvised drone, which is something we do pretty regularly on our livestreams.

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

I have the software versions of the Buchla 296e and 259e for Modular. Sometimes I wish I had the hardware versions. It would be fun to patch them with the rest of my system. I also wish Softube would port more of the Buchla stuff over. It would be great if I could completely duplicate my rig in software.

Buchla 296e and 259e for Modular

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

The way I see it, gear is an endless journey you shouldn’t be afraid to go on. I take a lot of risks when it comes to buying and selling. Sometimes I sell something to try something else and then sell that to get the other thing back again! Then I realize I’ve just gone in a circle. I don’t really have any regrets that can’t be corrected. Most things turn up eventually. Patience is key. If you are in love, don’t let it get away!

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

By far, the tape machines we’ve collected, mostly TEAC and Tascam reel to reel and cassette 4 tracks and the Buchla style synthesizer. Also really love different flavors of spring reverb! I have an old point-to-point wired Shure Reverberation Mixer I am quite fond of.

Shure Reverberation Mixer

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

I would probably build or obtain well built Buchla clone modules. It’s hard to say whether I would choose a 258 or 259 dual oscillator. Really depends on the day and mood.

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

Tascam Porta 02mkII

Tape Machines can be a real hassle to keep up. I have belts fail, heads get worn, channels stop working or act inconsistently. They cause me a lot of anxiety, but at the moment the two that we use the most, TEAC A-3440 and Tascam Porta 02mkII are acting reliably. Knock on wood!

Teac A-3440

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

I’d say the one that is the most fresh on my mind is that you can turn a multi-channel function generator (if it is the kind that outputs a trigger when the function completes its cycle) into a basic sequencer by cascading the stage pulse outs to the next channel’s input and the last stage’s pulse back to the first. Your decay rates control the timing of each channel and the cv output of each stage. You could connect other modules to make it a bit more interesting, but it’s a fun way to generate a sort of drunken pulse pattern as the basis for a patch. I made a video featuring this sort of thing called Patch and Tell – E1- Buchla Clones 280 266 – Pseudo Sequence – Source of Uncertainty -1979 DAO.

Artist or Band name?

The Galaxy Electric

Genre?

Cosmic Tape Music

Selfie?

The Galaxy Electric

Where are you from?

LA originally, now, the Midwest.

How did you get into music?

Both of us grew up feeling called to music and participated in school and church music programs. Eventually we decided a band was the only way to fulfill the artistic lifestyle we craved and stay true to our unique musical voices within.

What still drives you to make music?

Over the years we have honed our skills and have been able to narrow what we do down to something we call Cosmic Tape Music. Getting extremely specific about the type of music we make has made us even more passionate about our creative pursuits.

How do you most often start a new track?

It really depends on the type of piece but usually either a riff, a vocal, or a pre-recorded groove. Our latest album, however, is all improvisations that were made using synchronized loopers with the outcome going straight to tape.

How do you know when a track is finished?

The ideas stop flowing even after several listens, sessions. It’s kind of like a water soffit that is eventually dry. You have to trust that it is done when the ideas either slow to a stop or start to feel forced. Sometimes, we listen years later and hear more. That can be frustrating, but it’s rare. I think it comes with experience to learn to get good closure with a track.

Show us your current studio

Best creative advice that you’ve ever heard?

Be uniquely you, and do what only you can.

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

Our new album Pre-Orders run from Aug 12 – Sept 8:

https://www.kickstarter.com/projects/1511715045/the-galaxy-electric-is-releasing-new-music-on-reel-to-reel

And our main website and shop links:

https://thegalaxyelectricshop.com/

https://www.thegalaxyelectric.com/

[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…]

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

[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…]