Tyler Cassidy – Studbagl

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

Sequential Mopho X4

My favorite knob is actually a combination of knobs; cutoff frequency (LPF in particular) and Resonance. Coming from a jazz saxophonist background, I did not have any interest in gear until my mid 20’s when I was at a music store with a good friend of mine. We sat down at the synths, found my way to a Microkorg XL, again with no real interest in them, and then I somehow managed to play around with the filter knob. I was mind-blown how cool sweeping a filter was! It was so space-sounding and magical and a sound I didn’t expect to find. I sat there for 30 minutes just playing a chord, letting it sustain while I swept the filter/resonance to get the dreamy space sound. The picture is of my Mopho x4, which has a stunning LPF Cutoff and Resonance combo.

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

Pedalboard

I love my pedalboard! Again, as a saxophonist, there was no clear tutorial I could find on YouTube to figure out how to get the sounds I wanted to now achieve using a saxophone. I started experimenting with pedals in 2017, and have found a great balance between in-home solo ambient jamming and live performance utility. At home and by yourself, you can try any pedal/combination for anything, but playing with a live band, especially in a jazz setting, it becomes difficult to find the right pedals. The saxophone is a very difficult instrument to use with pedals live because most of the sound still will come acoustically. Therefore, I had to choose effects that would compliment my sound rather than change it. Looping makes a cool background in live settings, delay/reverb always nice because it lingers in the spaces of your playing, and the right kind of pitch shifting will add depth to your playing. No dirt here because it doesn’t really work well live because you’ll basically only hear the acoustic sound.

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

Recording setup – saxophone with pedals

With the pandemic going on, there has not been much opportunity to travel for musical reasons however, I was able to go and record my dream album in Washington D.C. back in December. It is an all-original music album of mine where I utilize the same pedalboard in the picture above in combination with my saxophone. When traveling home for holidays, I usually only bring the saxophone. I don’t end up playing much but will sometimes get some practicing/noodling in to try and stay in shape. The picture is of my set up from the album recording back in December

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

To be honest, I don’t use too much software as far as instruments/effects are concerned. I mostly just use Ableton to record my solo-ambient music and lightly mix/master it there. I prefer the hardware due to my tactile way of approaching music. I learn best through my sense of touch and it is crucial for me when playing/writing music. This is probably why I am so bad at vocals, but also why “button” oriented instruments like saxophone, piano/synth, pedals are my instruments that I use the most.

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

Earthquaker Devices Avalanche Run and Meris Hedra

There is nothing that I regret buying. I take a very long time thinking about what gear I want and why I want it so I never really have impulse purchases that I regret later. I do have a few pedals that I don’t often use; for example, the Avalanche Run and Hedra. However, they are not regrets as I still will pull them out from time to time to create a song or two. They are just not as crucial for most of the things I do with my music. I also have never sold a piece of gear so I can’t really say I regret selling anything, ha!

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

Meris Polymoon

Finally, an easy question to answer! The Polymoon by Meris is ABSOLUTELY 100% the gear that has inspired me to produce the most music. It has so much to offer, especially when you run it at the end of your chain. It can do the simple delay stuff, but also has a gorgeous phaser-verb when you crank the dimension. Putting it 100% wet mix will give what I consider the most beautiful sound a piece of gear can offer to this day. Not only that, but it has a wealth of modulation options that I use in so much of my music. Most notably, the octave up/down pitch shifted delays add such a beautiful space-cruising sound to your song. Being in the end of the chain, after my loopers and everything else, you can manipulate your loops by doing any of those things mentioned above and it will really dynamically change your composition/jam.

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

Afterneath by Earthquaker Devices

If I had to start over… this is a tough question to answer. My first purchase was the Afterneath by Earthquaker Devices, and it was probably the best thing I could buy to get into this stuff. I really wanted to find a way to stack multiple notes on saxophone as it is a monophonic instrument. Afterneath having the capabilities of having a really long/pronounced sustain, it was perfect for what I was trying to do. The only issue I ran into was when I would stack a chord of some sort, playing over the top of it would get added into the Afterneath. So going back, I would probably get the NS-2 by Boss and run it in conjunction with it. That way, I could stack my chords, then essentially mute my microphone so I could, acoustically, improvise/play over the top of my new chord. Also, I would buy a phaser, because as Stefan from the Pedal Zone has shown, running a phaser after the Afterneath is just beautiful and has that sweeping motion that first got me hooked in the first place.

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

Boss NS-2

I don’t know if I would call it annoying per say, but I have found that the NS-2 by boss is absolutely necessary for probably any player who relies mostly on their acoustic sound. When playing live with a band, especially the louder bands, your microphone is going to bleed in all those drums, guitars, whatever. The NS-2 is SO useful with its gate function so it will only pick up whatever is directly in front of the mic. Not only that, but it cancels any feedback that I would get in those live settings which playing with a microphone will almost always give you (especially when using noisy effects). The only reason I would consider it slightly annoying is that because it takes up real estate (in my pedalboard picture you can see that I taped it to the side of the board) for something that I use basically as a one-trick always-on effect. However, it must be said that the NS-2 is a live-setting modified saxophonist’s biggest buddy.

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

I think the best trick I have learned about gear in terms of using gear as part of the compositional process is to experiment with your signal path and definitely put effects AFTER your loops. For example, having the Polymoon after my looper lets me change the composition so drastically that you almost wouldn’t believe it’s the same exact loop if I showed them separately. That is a very powerful thing to have at your disposal for those live gigs when a solo interlude to start the second set is warranted. Another idea is to put a pitch shifter after your loops so you can modulate to a different chord/key center to give you something new to play over the top of (this might require more parallel signal paths but I have done before and is very cool).


Artist Name

Tyler Cassidy (studbagl on youtube, Instagram, etc)

Genre

Adventure music, jazz, ambient.

Selfie

Tyler Cassidy

Where are you from?

I am originally from Fort Lauderdale, Florida, now living in Boston, Massachusetts.

How did you get into music

I played saxophone in middle school and was very neutral about it; it wasn’t fun or boring. But then my first day in high school in 2006, my grandad picked me up, who was the only other musician in the family. He had the music of Richie Cole and Charlie Parker playing on his CD’s and I couldn’t believe my ears. I didn’t know these things were possible on a saxophone. So when I got home, I opened up YouTube and listened to everything I could. It all spiraled from there.

What still drives you to make music?

I love writing music! As I said previously, I wrote an album and got to record it with a bunch of my friends and some new people back in December. The feeling of writing songs and then having them come to life is nothing less than fulfilling; you feel proud, happy, and satisfied all at the same time. This particular album was special for me because I got the chance to record live with a huge band. It was 10 people, myself on saxophone/effects, an electric guitarist, nylon/steel-string/electric guitarist, pianist, bassist, drummer, string trio and person conducting the string trio. It was magical and I can’t wait to write more and bring them to life.

How do you know when a track is finished?

So this question is better answered for my solo ambient stuff. Being a live-oriented musician, I usually one-take all of my compositions. So whatever you are listening to was all done live and in one track. It basically boils down to if I was satisfied with it or not and that’s how I will know if it is finished. Most of these compositions are live jams, some have a little more planning, but never usually that much.

Show us your current studio

I call it the LazerMaze

Tyler’s home studio

Best creative advice I have ever heard?

Trust your ears. If your ears say it’s good, it is good. Sometimes it’s easy to let your brain get in the way when it says, “No, this definitely shouldn’t work” or “This wouldn’t make sense to go from this chord to this chord”. Your ears should always be trust! We are musicians after all.

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

The latest thing I have out is “Gentle Shore” which is a solo ambient album of mine. On my studbagl.bandcamp.com you can find 3 of my solo ambient albums as well as an album I did as a bandleader back in 2017 in Washington D.C. Definitely want to look out for the new album coming out in summer 2021 that I just recorded though; it blends all the jazz, ambient, post-rock, romantic adventure music that makes up my imagination into one.


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw us a comment below…
]


TJ Dumser – Six Missing

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

Jazzmaster volume knob

Yes, absolutely, without a doubt, the volume knob on my Jazzmaster. Coming from a band background and learning how to blend with other musicians and when to step out front, I was always using my volume knob. Mostly to clean up my tone and then to send it into overdrive. I play expressively and dynamically, never with a compressor pedal so I am always going for the volume knob. I can control swells and it’s become such second nature to my playing that my pinky just sort of rests there all the time.

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

My room is pretty dialed in right now. Since my day job of being a sound designer and mix engineer for advertising, film, and TV keeps me mostly in the studio, I’ve put a lot of time and effort into making the room my instrument. I have my modular rack, my pedalboard, my synths all patched and routed so I can send and receive audio from any of those places – I have total freedom to create. But I would change the amount of space I have, haha, I always want more.

The Six Missing hub

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

Since the start of the pandemic we haven’t traveled anywhere. And before that I wasn’t touring all that much since my live setup got pretty large, in fact, the setup got to the point where I wasn’t able to take the subway any longer – I need a cab or to drive to the gig. Which for people that have never lived in NYC, that’s a huge dealbreaker as you’ll often spend the money you made from your set on cabs. So the biggest thing for me when I go on holiday is my headphones. I try to create music every day so when I take a vacation, I am truly off-the-grid. But now that I’m in Austin which is far from my home in NYC, I have begun planning a travel/mobile rig – it’s Ableton based and I think the Arturia Keystep looks like the best investment in a tiny keyboard as I could integrate it into my modular rack as well as controlling VSTs. I fall prey to the “I want to have all my options be options” mentality, so traveling light will be a fun challenge I look forward to. I’ll have to check back in with you and keep you posted on how I net out!

Compact setup: MacBook, UAD soundcard and guitar

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

An interesting question indeed. I had seen someone else you interview mention that a lot of software is hardware emulations or based on some piece of hardware, which I agree with. I don’t get picky, though I do think that having Big Sky algorithms in plug-in format would be super cool. Although, I’m sure you’d need a separate computer to run all that DSP, which then circles back to having a box, so I suppose they thought about that and why they stayed away from it. I mostly feel like there’s a companion piece of hardware or software for anything you can dream of these days, and like I said, I don’t discriminate – while, yes, an original Minimoog Model D probably sounds better than a VSTs version, I don’t have the $10k for the real thing and dang if presets aren’t awesome to recall.

Moog Matriarch and Eurorack

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

I’ve been fortunate enough to never really have buyers remorse because 30-day return policies are awesome. But I will say that I purchased the ROLI Seaboard recently with hopes and dreams of it completely transforming how I compose with strings and MPE devices and it was just…awkward. Perhaps I didn’t give it enough time to grow on me. The squishy part was fun for a bit, though I can see it attracting cat hair like crazy. I have only ever sold gear I know I was never going to use again. I tend to hang on to things because I’m a sound designer and having random old pieces of gear are inspiring and you never know when you’re going to need it.

Pedalboard goodies

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

Surprisingly, diving into modular gear was the most inspiring and overwhelming. And now that I’ve picked up Norns and Grid, I’m feeling that same sense of “how do I control you!” which I really think makes you enter into that beginner’s mind and where the magic happens. It’s for this reason (and I’ll get roasted for this, I’m sure) that I absolutely never read a manual. I love clicking about/turning knobs/making horrible mistakes when I first get a piece of gear. I think not knowing what you’re doing is when your true talent shines through. You just kind of use The Force to figure it out and stumble your way through. But to stop getting preachy and answer your question, modular. My newest EP on Inner Ocean Records happened in about three weeks after I got all my rack set up, it was just insanely inspiring to have semi-generative sounds morphing and allowing me space to write other lines over it with other instruments.

Norns and Grids

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

If I had to start over I would still start with just a single piece of gear and learn it completely inside and out before buying the next piece of gear. I admit to falling victim to gear acquisition a while back but I always had this sense of wanting to know how to use the gear I had before stepping up. Granted, I have a ton of pedals these days, but it took me a good three years to get to this point.

Pedals galore

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

Haha, this question is great. The most annoying piece of gear I have (though I still love it) is my DD-20, the old big block delay. When the thing boots up it defaults to being on. There’s probably a way to change that but I never looked it up and when it kicks on with the board the first algo is my custom 16-second delay. So if there’s a bit of hum from the unplugged ¼” cable or I flub a note I won’t hear it for another 16-seconds, way after I’ve forgotten and then I’ll chase line hum or a looper pedal somewhere in the chain for five minutes, until I realize it’s just the delay kicking around every 16-seconds. I have Nels Cline to personally thank for making me lust after 16-second delays.

Boss DD-20

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

Hologram Electronics Microcosm

I got to be one of a very small handful of beta testers on the Hologram Microcosm, so I had the pedal well before the public did and I have never had the opportunity to speak directly to the minds that designed and created the pedals I played, so I learned tons of fun insider tricks with it. But my most favorite trick on it, is taking a live effect and capturing it into the looper and then sending that loop back through the live effects pre-effect and processing that loop a second time but through a different live effect. So fun.

[Editor: The Microcosm is gonna be a classic!]


Artist or Band name?

My name is TJ Dumser but I perform as Six Missing.

Genre?

Ambient, Electronic… Meditation Music sounds grabby, so does Furniture Music or Music for Plants. Music that allows you to do other things and zone out to it.

Selfie?

TJ Dumser aka. Six Missing

This isn’t a selfie, but I spent money on this session with this talented photographer Shervin Lainez and so I usually like to get some mileage out of it 😛 

Where are you from?

I’m from NY, but have been spending the past year (lol, let’s be real, quarantine) in Austin, TX. 

How did you get into music?

I have always loved music and performing, I used to do it even as a baby in diapers, shouting nonsense into a microphone and directing orchestras through the kitchen. But it really hit when I saw Back to the Future and caught my first glimpse at Marty’s red Gibson 335. After that, I uncovered milk crates of records in my grandma’s attic and heard Stairway to Heaven and had my mind blown as a 11 year old. After that, I needed to have a guitar. So I was able to convince my parents that I was interested enough for them to get me one and had been playing since I was 12.

What still drives you to make music?

Music has always been a way for me to retreat from other stresses. Given the state of the world and the general level of collective anxiety, music has given me a way to take care of myself. It’s a way that I can contribute something positive. It ends up making me genuinely feel better having taken some time to play. My hopes are that I’m able to give just even the smallest bit of relief to people who hear my music, maybe it gives them that chance to take a breath or to help them meditate or go to sleep – which I realize isn’t every musicians dream “for folks to fall asleep to my music” but hey – if that helps someone, then I’m happy.

How do you most often start a new track?

It has morphed. When I was mainly composing ambient guitar loops or guitar based tracks, I would just turn on the gear and let the DD-20 sit in 16-sec delay mode and start piling layers into it, slam that into the Ditto x 2 and knock it into half speed and that became my bed. But these days I’m spending more time with eurorack modular gear and synths like the Monome Norns. I can usually get a nice atmosphere created by sending some audio to my modular gear and manipulating over there, capture some ideas and then start adding a bass line with the Moog Matriarch. Though I’m new to it, Norns is massively inspiring and I love the idea of having a tiny digital bandmate taking care of melodies and rhythms for me.

How do you know when a track is finished?

I’m sure the answer is very different for the musicians you’ve interviewed, but for me my answer changes all the time. I have a set of tracks that comprise an LP, about 11 tracks, just sitting collecting dust because I “still feel like they need something” and then I have EPs that I sit and complete in a weekend. Honestly, it’s that different for me. I suppose there’s just a knowing you feel about the track, like, did I serve this? If so, I move on. Also, if I get bored with or anything I try to add to a track starts sounding like garbage or I spend far too long working on a line…that’s how I know. If the track tells me it’s complete. It’ll push away all the superfluous junk.

[Editor: That’s a different way of doing things, it sounds almost like your songs have their own desires and needs. I guess a more empathetic approach to composition by considering the needs and wants of a piece, independently from your own wishes as a composer]

Show us your current studio

Six Missing home studio

Best creative advice that you’ve ever heard?

Show up each day and do something. Whether that’s reading about someone who set out to achieve a goal or career and is doing it. Or just noodling with the guitar. Or perhaps even just turning on the synth, just to let it warm up. You don’t have to expect a masterpiece, but the fact that you’ve done something with the day means that you’ve placed your intention on it and odds are you’re going to get surprised every once in a while.

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

Thanks for asking! I have my debut EP coming out on Inner Ocean Records called “Patricia” on February 12th.

It’ll be available via Inner Ocean’s site as well as mine – or you can stay tuned to my Instagram (www.instagram.com/sixmissing) for more!


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw us a comment below…
]


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


[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…
]