Prior Use – Andreas Bak-Reimer

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

Gettin’ it on with the Roland SH-1

The power switch on the Roland SH-1. It’s an old synth, and the button has a distinct mechanical quality to it. The way it feels, the way it sounds, and the way the power LED lights up immediately – it just feels like getting it on! The SH-1 does that really swell PWM (pulse width modulation) that I enjoy immensely, and simple as it is, it invokes an atmosphere of a simpler time, with a lot of nostalgia to it.

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

My Roland Juno-106 is close to perfect for it’s purpose. Countless 80’s and 80’s emulating tracks have been born using it, and it’s built in a way that grants plenty of sweetspots, and not so many dead ends. Some people prefer non-DCOs, and have plenty to say about the 106 being a budget synth, but mine’s fresh back from service, and it makes me happy.

Roland 106

I sometimes wish it had another oscillator with an easy option for detuning, to get a wider sound from it, but there is a lot to be said about limitations to foster creativity.

… Also, I am not particularly fond of the way the resonance sounds when it’s cranked way up. It’s glassy instead of being juicy – and rarely that’s a good thing. On the other hand, I don’t have any other things that sounds like that, so it’s probably best to leave that unchanged.

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

Roland TB-03

Laptop, almost certainly. I am no where near anything dawless, and don’t have anything that I could arrange anything with, besides a computer. If I weren’t writing, but merely playing around, I would bring my Roland TB-03, or Yamaha Reface CS – built-in speakers and battery operated, they are 1. 2. go!

Yamaha Reface

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

Absynth, Brain, Modular.

Software -> Hardware: I think Native Instruments Absynth. I have had that since forever, and still use it heavily. Also, I would like to see the physical shape/color/layout of such a thing!

Absynth

Hardware -> Software: My brain. Although it feels soft at times, I consider it hardware. It certainly interfaces like 40+ years old hardware (poorly that is), it is sometimes difficult to control when hot or cold, and it’s almost never in tune. Also – patch memory is severely limited. If I could instantly recall patches, production tricks, channel-settings and export/bounce the tunes and sounds directly, like with a lot of software, then… Well, it might take out the fun at times.

Brain

To be serious: My modular setup would be nice as software – mainly for patch recall.

Eurorack modular

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

I never sold anything ever, so that doesn’t apply. And therefore I never regret selling anything either!

I once bought a portable recorder, thinking I could get a lot of good sample material that way. I only did once, but it never made it into a track I finished. I have fond memories of getting up early to catch a few big trucks on big roads going by, though… So, no regrets I guess…

Tascam Recorder

I bought an Ensoniq SQ-R module, because it features Transwave synthesis. Never used that, but it had a nice belltree sound that I used once or twice. It’s probably the thing I’ve bought that comes the most close to being a regret.

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

My trusty iPod classic 80 GB. That’s a lot of late 90’s goatrance… Listening to that is what inspired me most over the years. It had a growing line of dead pixels over the course of a year, and when the line was fully dead, the pixels started working again from the beginning of the line! A year after, the whole display was good again. That is probably my strangest experience with any electronic gadget ever.

iPod classic

If I should channel this to some sort of an inspirational tale, it would something like how the small and weak Hobbits defeated the mighty Sauron – it might appear to be failing, and an unlikely source of victory, but give it some time, and it will surprise you.

That is also why I have never sold anything. You never know.

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

A decent room for working in. Go all crazy thinking about getting the ‘right’ monitors, nice preamps, the perfect cables (ugh!)… But if your room is horrible, none of that matters. I have sunk a fair bit of time into acoustic treatment, and it has made a world of difference.

Foam

Also: time. So that’s it. Time and space – that’s all I want. At first…. Then a Mac.

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

Laptop

Mac laptop

Again, my computer. Ill timed software updates, one too few CPU cycles in stacked projects, failing disks… The woes are many, but I wouldn’t have written a bar of music without it.

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

Roland JV-2080

About 20 years after I got my Roland JV-2080, I realized it was capable of faux PWM. If I set a regular sawtooth wave on one osc, and an inverted sawtooth on the other, and modulate pitch slowly and independently, then it happens. I wish I had known that 20 years earlier, but that would probably mean I wouldn’t have bought my SH-1 (with the fab power button) – so it’s all good!


Artist or Band name?

I have mainly been producing under the moniker “Amygdala”. Goa and psychedelic trance in the old (old!) sense of the word.

Lately, I have been making some drops in the already over saturated ocean of synthwave music. I enjoy that very much, and as a child of the 80s, it takes me back to a simpler time – worries forgotten. The moniker for this activity is “Prior Use”.

Genre?

Many kinds of trance music: Goa, psychedelic, melodic, uplifiting, minimal, tech-, progressive.
Besides that, a bit of synthwave, and the odd “psy-bient” piece.

Selfie?

Andreas Brain

Where are you from?

I am from Denmark – just a tad north of Copenhagen, but most of my music has been produced in Århus. You can really tell what a big difference those 170 km makes!

How did you get into music?

My parents and brother. Music was omnipresent at home when I grew up. My parents encouraged me to take up playing violin when I was 6, and I have had some great experiences with that. When music production became reasonably available to the regular consumer with computer interest, I was hooooked! At first, it was just another thing I could do with the computer, but rather quickly it was pretty much all I ever did with it.

What still drives you to make music?

The two biggest drivers are probably the “flows” and “highs”.

Flow when I can be completely engrossed in production, enjoying the situation, and getting something done which I like and feel as an accomplishment. Time flying as I ignore my body’s attempts to drag me to the loo, trough or bed.

Highs when I hit something that (in the moment) is spectacular – a catchy tune, a sweet timbre, or a really dope fill or transition. It can still make me laugh after all these years, and the surge of energy and motivation I get from that is unparalleled.

How do you most often start a new track?

Sometimes I start with a very simple idea like a tune, a chord progression or a synthesizer patch concept. Then Drums. Then bass. That’s the most usual case, although sometimes I skip directly to the drums. Lately, I have been thinking that it’s not the best way to go, as I am finishing fewer and fewer tracks. I often end up with a pretty decent groove, but lacking the centerpiece idea that makes the track stand out. I polish the rhythmic section and transitions, until there is not space left in the spectrum (frequency and/or mental) for anything else.

So, from now on, I am trying to start off a new track with an idea, and then build drums and bass around that. We’ll see how that goes.

How do you know when a track is finished?

When a track has all the arrangement elements (intro, good stuff, breakdown, great stuff, climax, outro – or some other configuration), I bounce it and listen away from the studio. I make a lot of notes I want to change, enhance, remove, whatever. When that list feels complete, I do those changes. Hopefully I am happy with the result, because at that point I am usually fed up with the piece. I am not one for endlessly tweaking everything, and I have a tendency to detail focus early – which means I “decide” that this bit is perfect, and then unconsciously prohibit myself from editing it (too much 🙈).

I know there is some degree of contradiction in the above, but I’ll just hide behind “you can’t argue art”.

Show us your current studio

Andreas Studio
Andreas synths

Best creative advice that you’ve ever heard?

I bought a CD from Eat Static sideproject Dendron (Merv Pepler). I think he burned the disc himself and mailed it. Included in the package was a makeshift invoice with the words “always experiment” on it. I think that’s pretty good advice. It’s hard, because as time grows scarce I tend to stick to the beaten path, but even though it feels like it’s safer and more productive that way, I get less enjoyment from it.

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

As mentioned above, I dabble in synthwave. Swing by https://soundcloud.com/prioruse and tell you friends.

[Editor: if you want to check out Andreas psy-trance stuff it’s here: https://ektoplazm.com/profiles/amygdala]


Jonas Bjerre – Very A-Mew-Sing

[Editor: It’s with great pleasure that I present this interview. In case you didn’t know, Jonas is the lead singer in Mew; a very influential danish alternative rock band. A bonafide rock-star and a music gear junkie to boot]

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

The frequency knob on my Analogue Systems RS-240 Bode Type Frequency Shifter is pretty tasty. It’s huge! And I love turning it slowly to find the sweet spot I want to create a sort of strangely widened stereo image from a mono signal.

Analogue Systems RS-240 Bode Type Frequency Shifter

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

A few years back I bought a slightly expanded Make Noise Black and Gold Shared System, which I love dearly. I use it almost every day. I have a lot of other modules as well, but could probably get by with just the Black and Gold system – except I absolutely needed to be able to send clock from my DAW, which is why I opted for adding the Polyend Poly as one of my first additional purchases. I appreciate that Make Noise wants it to be separate from computers, and I think it would be strange if they made a midi to cv module, but that was the one thing that I absolutely needed.

Jonas’ Make Noise Black and Gold Shared System with lots of buddies

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

Usually just my notebook, my laptop, and a little usb keyboard. But I rarely work on music during vacations. I tend to take pictures instead.

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

Oh, I don’t know. They both got their own thing going on. I can’t think of anything.

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

There are some modules in my modular system that I don’t use very often. Maybe because they don’t feel as intuitive as I would like them to. I mainly don’t like modules with sub menus and whatnot, as it tends to disrupt my creative flow. But I have no regrets, I will get into using them when the time is right, or I will sell them. 
Quite a few years ago I bought a Paca, to run Kyma X, and I have still only touched the surface of that. It’s a bit like Max, but it runs on its own hardware. I really got into it at one point, and it’s an exciting system, you can do boundless things with it, but I am a little unhappy that it still only runs on soundcards with firewire (and a few oldish usb ones). And it’s not just about the connection, and getting an adapter, it really has to be specific soundcards. They really need to upgrade that soon, to usb-c, or I don’t think I’m going to be using it again, as I no longer have a firewire based soundcard, and it seems kind of foolish to have to buy one.
I regret that Mew sold our Juno-6 many years ago.
[Editor: Ouch!]

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

Honung & Møller Grand Piano

My very sweet parents gifted me a Tascam Portastudio 424 (mk1) 4-track casette recorder when I was about 14 (thanks mom and dad!). The fact that I could make overdubs opened up a whole universe to me, and we recorded the first demos for Mew on it. Of course this seems like ancient history today, with DAWs. Over time it’s probably been my Fender Jaguar and my Hornung & Möller piano. These days I am using my modular synths for almost every project, as well as my cello.

Yamaha CS-50, Prophet VS and Rhodes MkII

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

At present day, probably a laptop, soundcard, DAW, and mics. To me, the studio is the most important instrument. But then of course you’d need something to make sounds, and I don’t really like the feeling of using software synths. So I would get a nice analogue polyphonic synth, and a guitar. And a piano. And some drums. I’d definitely get into modular synths much sooner than I did.

Jonas’ instruments

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

Most problems I experience are with the software part of my DAW, corrupted preferences files, etc. Can’t do much recording without it, but sometimes I wish I had some simpler way of recording. In the last 5 years I’ve been using my Oberheim Matrix-1000 a lot, and that unit has caused me some headaches occasionally. I don’t really mind though. I don’t mind that things take time, and effort. To me, that’s part of the process of finding the happy accidents, and appreciating the results.

Marshall JCM2000 and Telefunken U47 vocal mic

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

Making feedback loops through reverbs and delays. You can design whole worlds of sonic texture, mixing an output back into an input. The Make Noise Erbe-Verb has this brilliant thing where the volume of the main output is translated into a control voltage, which you can patch and use to control the decay, so that it never completely distorts. Put a sound through it, and let it just reverberate for hours, cv-ing all the variables, it goes through an odyssey of sonic changes.


Artist or Band name?

Mew, Tachys, and Apparatjik

Genre

Oh man. 

Selfie?

Jonas Bjerre

Where are you from?

I’m from Copenhagen, Denmark.

How did you get into music?

I think I got into creativity as a whole, not necessarily music at first. I think, when I first watched Yellow Submarine with my dad as a kid, that’s when I first thought “oh of course, you can go wherever your imagination takes you”. So today I’m really into music and animation. It was the friendships with people at my school that formed the band, not so much wanting to be in a band necessarily.

What still drives you to make music?

More than anything, curiousity. And then of course this underlying need to create things, I am not sure where it comes from. I don’t want to believe it’s all escapism, but it’s probably all escapism.

How do you most often start a new track?

It really depends. I try to rid myself of methods. I just go with what happens. I always get the best results when I work without having a specific goal as to what the piece is going to be used for. Once I get too goal-oriented, it becomes less of a pleasure, and I think my best work comes from a process that I can take some kind of pleasure in. But I suppose a lot of the time, I start at the piano, or patching up something unexpected with my modular.

How do you know when a track is finished?

Sometimes it’s difficult. The really big ideas usually come about in an instant, and then I (or we) spend months trying to finish it in a way that doesn’t go against the flow of the initial idea. And towards the end, it’s often hard to let go and say it’s done.

Show us your current studio

Jonas’ home studio

Best creative advice that you’ve ever heard?

Let the song be what it wants to be, don’t force it. I think Michael Beinhorn told me that.

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

I did the soundtrack for a documentary series about Scandinavian Star, a cruise ship which caught fire in 1990 and killed 160 people. The music is pretty dark, for obvious reasons. I did most of it using my modular system, cello, and violin. It is out as a soundtrack album.
Currently I’m working on first Tachys music, my new project with Tobias Wilner of Blue Foundation, I’m really excited about that project!

[Editor: Scandinavian Star Soundtrack on Spotify]

[Editor: Also check out Mew]


[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…
]


Kir Åge Jæger – Persian Electro Orchestra

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

The ROLI Seaboard (midi-controller) has an X/Y-Pad which is very powerful because it connects with the software “Strobe2” that has a so-called “Euclid” processor. It’s way easier to show on a screen, but imagine that when you drag the “target” symbol with your finger on the ROLI, the small dot (orange arrow on picture) follows the target. You can program HOW the small dot should follow the target with different parameters like slew, damp and rate in order to create some pretty original soundscapes. So far I have only used it for film scoring.

Roli Seaboard with Strobe2

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

This is probably not very original, but just like clichés exist because they are usually true, the PUSH 2 (from Ableton LIVE) works very well for both music production and live performance. What would I change? The fact that Ableton LIVE does not include quartertones as a standard.

Ableton Push 2

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

My setup is quite simple, actually. Even when I play with my orchestra, I can carry everything myself. My laptop, soundcard (Behringer UMC404HD), microphone (sE2200A||C), and headphones (Sennheiser HD 280 Pro) usually do the trick. A small midi-controller is useful too (AKAI MPK Mini). I once brought this with me to Beijing to visit my friend and we ended up inviting a vocalist from Tinder to jam with us.

Travel setup

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

I would love to have the VsT-plugin “Manipulator” by Infected Mushroom as hardware. Manipulator is always in my effect rack when I perform live on my santoor.

Uuh.. Speaking of… A midi-signal santoor would give my music production wings!

Infected Mushroom Manipulator VST

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

Hmm… I really regret buying any “Waves”-VsT plugins. They tried so hard to prevent people from cracking their software that it ended up being a headache to use legally. I decided to boycut them some years ago. 

Waves

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

Well… If software is gear I think “Nexus” from “REFX” inspired me the most. It is a so-called ROM synthesizer. The sounds are so delicate (yet expensive) and the software is very intuitive. I even heard that they programmed the sounds in order for you to combine them.

REFX Nexus

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

I started in “Music Maker” for Playstation (1998), then I changed to FL Studio (2003) and eventually Ableton LIVE in 2013. I definitely would’ve skipped FL Studio and gone directly to Ableton LIVE.

FL Studio

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

Hehe… That would be my cheap-ass in-ear monitor system that I bought for my orchestra musicians so that I can talk to them during a live show and they can listen to their own performance on a backing track. The sound is absolutely awful, but they’ve accepted it so far. 

Wireless In Ear Monitoring

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

That would definitely be the world of Persian tonal systems through my santoor. They have 7 tonal systems in Iran. We only have one in the western hemisphere. Working with electronic music (and thereby frequencies) has made it easier for me to understand these systems.

Santoor

Artist or Band name?

Persian Electro Orchestra

Genre?

Hmm… Well… Downtempo/Techno/World/Organic/Persian

Selfie?

Kir

Where are you from?

Copenhagen, Denmark

How did you get into music?

No one in my family plays an instrument. The interest was kind of there from the beginning. I started borrowing cd’s at the library at the age of 10.

Free CD’s from the library

What still drives you to make music?

Music – and everything that surrounds music – is the reason I am alive.

How do you most often start a new track?

With a fat polyrhythmic beat!

How do you know when a track is finished?

None of my tracks are ever finished. I always make new mixes and arrangements for live performance, hehe.

Show us your current studio

Kir’s home studio

Best creative advice that you’ve ever heard?

Finish your shit and get it out there – even though it is not “perfect”. It will only make you thirsty for more when you get your first “real” feedback.

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

There is a bunch of songs being released soon, but meanwhile check out “Losing My Impatience”:
https://song.link/dk/i/1488153140


[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…
]