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


Christian Colabelli – Metalicious Pedaler

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

I would have to say that it’s the pickup selector on my guitar. I think a five-way super switch is essential to my style. There is so much sonic territory and versatility on tap simply by switching pickup positions. It allows me to become a chameleon and tackle any genre I’m trying to cover. I should add that in conjunction with the tone and volume knobs, the tonal possibilities are endless. I feel this is often glossed over by the vast majority and I can never understand why!

Strandberg Guitars Pickup Selector

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

I’ve been endorsing Strandberg Guitars over the last several years. I love everything about them: the ergonomic design, weight relief, playability and sound. Maybe I would drop a middle pickup in on my seven-string version… I don’t know though… It sounds incredible as is.

Strandberg Guitars

Also, I have to give a shoutout to Pickboy Picks which I’ve endorsed for ten years now! The Pos-A-Grip Jazz 1.5mm in Tortoise Shell is unrivaled in my opinion: http://www.osiamo.com/christianColabelli I have a graveyard of picks that I’ve spent an inordinate amount of money on over the years in search of the perfect plectrum. I feel that tone is in your hands and the right pick is essential. I’ve tried pretty much everything out there and I can honestly say that this particular pick is the one for me. I can’t live without it! 

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

Purple-ish Eventide pedalboard

The above picture displays my board from 2020 NAMM. I built this for Eventide demo purposes, and it magically fit into an overhead bin on the plane! My fusion band, Surreal Measures also played at the Eventide Booth and this setup covered everything I needed sonically. This was one of the last live shows I played before the pandemic hit so I’m looking forward to taking this rig out again soon! 

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

The luxury of working at Eventide is that we have such a wide range of hardware and software available. I truly feel like I’m covered. Not to mention, we have some crossover between the platforms in certain products. I think I’m spoiled! 

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

Hmmm… I used to be a guitar hoarder of sorts (I still am). I sold a Peavy EVH Wolfgang, Gibson Les Paul Standard, Fender American Deluxe Stratocaster, PRS Custom 22 Brazilian Limited, Ibanez Prestige S5470SOL and this wild high-end USA parts-telecaster called a Voodoo Special that some guy on ebay used to sell years ago that I probably should have kept! I miss them all. Oh man… I can’t go down this road again… It’s a dark void… 

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

This is a really tough question… Maybe the Yamaha THR10X practice amp/interface purely because of the ease of use (for recording purposes)… not to mention… it sounds great! 

Yamaha THR10X practice amp

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

I don’t know if I would do it differently. My first electric guitar, a Gibson “The Paul II” is still very near and dear to me. I actually used it for the Eventide Blackhole demo content! I have no regrets and I feel this instrument really shaped my playing. 

Gibson “The Paul II”

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

Probably a USB mini cable because it’s essential to link the Eventide dot9 and Rose pedals to Eventide Device Manager – our free editing software… I have five of them now because there was a period where they would just inexplicably disappear into the ether. They are truly the bane of my existence!  

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

This: https://www.talkingbass.net/grolsch-straplock-trick-for-bass/ This is INVALUABLE! And… you kill two birds with one stone… or… something like that! 


Artist or Band name? 

Circuitry – https://circuitry.bandcamp.com/

Sightharvest – https://sightharvest.bandcamp.com/releases

Surreal Measures – https://surrealmeasures.bandcamp.com/


Genre?

Circuitry – Progressive Metalcore

Sightharvest – Instrumental/Progressive Metal/Fusion

Surreal Measures – Fusion

Selfie?

Christian Colabelli


Where are you from? 

New Jersey, USA! 

How did you get into music? 

I was exposed to music and music instruction at an early age. My parents were always playing a variety of genres around the house. They initially signed me up for piano lessons when I was 7 years old… from there I transitioned to viola… then to saxophone (which I ended up playing for 9 years). At age 13, I begged them to get me a guitar and finally they acquiesced and there was no turning back. It was full immersion. To say I spent a lot of time in my bedroom, endlessly practicing is a vast understatement.

What still drives you to make music?

It’s a never-ending quest. Music is a lifelong study: there’s always something to learn and perfect. I’m always trying to incorporate new aspects and nuances of the language. There are so many absurdly gifted and inspiring players. I really enjoy transcribing lines from the masters and then making them my own. I think the driving factor is continuously trying to develop my voice. I want to sound like myself! That’s a simple statement but when you dissect it, you realize the quagmire it becomes. 

How do you most often start a new track?

It really depends on what I’m working on and who I’m working with. I can easily adapt to other musicians’ workflows as I’ve done a lot of studio work. If it’s my own stuff, I will usually just have a loose goal/harmonic concept in mind and have a guitar in my hands and start playing around until something sticks. Once I get an initial motif, I record a short video so I don’t forget (as I’m constantly writing and everything is in flux) and then I dig in to develop it.

How do you know when a track is finished?

Well, there’s a DaVinci quote that has always resonated with me: Art is never finished… only abandoned… That couldn’t ring truer. A track is finished when every avenue and minute detail is exhausted and you finally decide to walk away from it!

Show us your current studio

I leave the production to the pros… Here is a picture of Matt’s studio (he plays with me in Sightharvest and is also a producer/engineer by trade. This is the setup we used for the EP we just recorded:

Sightharvest Studio

Best creative advice that you’ve ever heard?

“Life is full of mistakes. Don’t be afraid to make one in your playing.”

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

Here is a link to my website: https://www.christiancolabelli.com/ which links to everything I’m working on… 

I just finished recording the newest Sightharvest EP which is a melting pot of genres. It’s a heavy instrumental project that was originally going to be video game music. However, during the writing process of the first record, we realized that it was destined to be more. It became the aural equivalent of the premise of a video game meaning: each track is like a video game level, that progresses in intensity. Hopefully we will have a release date soon! 

I also started my own fishing website/brand: https://www.bigfishsynergy.com/ I’m an avid bass fisherman and it’s been fun to immerse myself in finally devoting the time to making these fishing videos that combine fishing education, comedy, music and art. 

Christian also plays the 1-string for super heavy bass!

[Well, hey-deli-hoo dear Reader – Who would you like to see do an 9 Odd Questions interview? Throw some suggestions via comments below…]