1. Favourite knob or fader or switch on a piece of gear and why?
The switches of our Pioneer RT-707 reel to reel that was a gift from Mikkels wife’s uncle Peter!
Pioneer RT-707
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
Tascam 424 mkiii – Is so perfect, but I really wish it looked like the older brown portastudios with the vu-meters and all the colorful knobs. This model has a very, shall we say, nineties aesthetic. Once we started recording with that instead of an interface, it all just made sense!
Tascam 424 mkiii
2.1 Hagström Viking Baritone guitar.
It’s so pretty and the perfect size for me (Mikkel) to play. Mikkel plays it “Chalie Hunter-style” with two bass strings and four guitar strings for extended tonal range. A “Submarine Pro” pickup sends the two bass strings out one output and the four guitar strings are sent though another output. I guess it has already undergone plenty of modifications, so no more are needed.
2.2 Volca Beats
It just sounds really cool and dusty – I just wish it could save more than 8 patterns…. And included a mono synth……. So we use it together with a Volca Kick, Volca Modular, a walkman and have an Elektron Digitakt midi sequence everything:
Beat machines
2.3 Jacobs Fender Rhodes MKII from 1985
So so so, perfect…. Except for the weight!!!!!!
3. What setup do you bring on holiday or tour or commute etc.?
3.1 Mikkel Hald
A childrens guitar and a notebook for gear-dreaming and a Zoom R8 for recording sketches if anything good should emerge from holiday noodling.
Zoom R8, sketch book and acoustic guitar
3.2 Jacob Oliver
Yamaha Reface CP and my notebook for sketches. The Reface is easy portable, runs on batteries and small. The perfect “sketchbook”.
Yamaha Reface CP
4. What software do you wish was hardware and vice versa?
I really wish we didn’t need software at all.
Trying to get as close as possible with our 4-track tape (Tascam 424 mkiii) setup for recording and mixing down to 2-track reel to reel (Pioneer RT-707) The “mastering” is just a limiter and an EQ to cut a lot of bass before going to the 2-track reel to reel. The output from the 2-track is then recorded to a computer to send to streaming services.
5. Is there anything you regret selling… or regret buying?
I regret selling the original MFB Tanzbär. The sounds were really cool and seventies dusty in just the right way, but the build quality, and the sequencer interface put me off.
6. What gear has inspired you to produce the most music?
I (Mikkel) have always hated delays…… until I “discovered” tempo-synced delays. So an electric guitar with a tempo synced delay and Jacobs Fender Rhodes.
7. If you had to start over, what would you get first?
Mikkel: A nylon string guitar – it’s just such a lovely and acoustic sound.
Jacob: A vintage vibe electric piano, which is a new instrument, that is a mix of a Rhodes and a Wurlitzer….. but it’ so much lighter than my actual Fender Rhodes from 1985.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
Stupid, stupid computer that we need to transfer our perfectly flawed analog creations from tape to wav-files so that it can uploaded to streaming services.
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
The Tascam 424mkiii is really great for our creative process. We record live to all 4 tracks at once and do a mix down to a 2-track reel to reel (Pioneer RT-707). The 424 only has a basic eq and for reverb we just send direct to a spring reverb tank and mix that in when mixing down to the 2-track reel to reel (Pioneer RT-707).
Some people are very talented at mixing – we are not. So we try our best to embrace the “demo-sound” in our recordings. We would never ever be able to make it sound any more professional anyways – so might as well embrace the “sound”, mistakes and all:-)
Artist or Band name?
Oliverhald
Genre?
Nordic electro-acoustic jazz
Selfie?
Oliverhald duo
Where are you from?
We both live in the Copenhagen area of Denmark, but met at gymnasium (high school) in Aarhus, Denmark.
How did you get into music?
Mikkel – My father plays the guitar, and my mother played the organ when she was young.
Jacob – My father played the cello and my brother and sister also played music. I was the only one to keep playing. And the real eyeopener was when I started exploring jazz music. That was so nice!
What still drives you to make music?
It’s so cool to actually make something from scratch that you get to take way way too seriously and nerd-out about full throttle.
How do you most often start a new track?
Most of the time one of us brings a tiny groove/chord snippet to rehearsal, and we build melody and song structure together from there. Sometimes Jacob plays something while Mikkel tunes the guitar or Mikkel plays something when Jacob is adjusting the Rhodes with a screwdriver.
How do you know when a track is finished?
With the very limited recording setup (4-track cassette and 2 track reel to reel) we have, there is not a lot that can be done after recording. We listen back, pick the take that we like the most, do small eq adjustments and mix down to 2-track from there. And then it is done.
Show us your current studio
We rehearse and record in Mikkels basement in Valby.
Best creative advice that you’ve ever heard?
“Don’t overthink it and just do something”.
Promote your latest thing… Go ahead, throw us a link
We just finished playing 3 gigs as part of the Copenhagen Jazz Festival that we are extremely proud of.
Besides that, we have released our first EP on vinyl and CD:
1. Favourite knob or fader or switch on a piece of gear and why?
Sequential Prophet-6
I would have to say the filter cutoff on any synth. Having spent quite a bit of my life as a musician—initially as a bass player and vocalist— but beside singing, I’ve spent the last ten years playing synths more than anything else. The filter knob is just beautiful for controlling dynamics and emotion; you can make “orgasmic emotional expressions” with just a single note if you get the movement right. I often spend more time perfecting the filter motions than the actual notes themselves. You can even see on my Prophet-6 that while the other knobs are still tight, the filter knob is super worn out from so much use. And if you wanna see me sweep some knobs I’ll be playing at Store Vega in Copenhagen on the 27. May 2027.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
My Sequential Prophet-6 is very close to being perfect. It sounds fucking amazing, and I’ve used it for three solo albums and a lot of WhoMadeWho records. It is definitely my most beloved synth ever. However, the cutoff button is wobbly and tiny. It’s not a good knob for monkey-ing around with, especially in a live setting where it has now started to feel quite frail. If I could change one thing, I’d give it a much sturdier knob so I could really work it. Like the frequency knob on my Oberheim OB-X8. Now that’s a big, bold knob!
Oberheim OB-X8Oberheim OB-X8
3. What setup do you bring on holiday or tour or commute etc.?
Holiday and tours are two very different things for me. On holiday, I bring nothing if possible. On tour, my MacBook is the most important thing because that’s where I produce my music. Travel gives me “slow time”—long stretches on planes or in cars where I can work in a deeper way and really get into the details.
MacBook
In the studio, I deliberately stick to a schedule of 6 to 8 hours per day, and often I have a lot to get done, so I don’t have the patience or time for slow puzzles. But on tour with a long transatlantic flight for example, I can sit for hours and puzzle over just three lines of lyrics to get them perfect.
4. What software do you wish was hardware and vice versa?
I love hardware, but I use plenty of software. I’d love for the Roland Jupiter-4 I’ve been borrowing to be software because it is so tactile and ‘clumsy-in-a-good-way’. It’s old-school, hunky, and very random compared to modern, sleek gear.
On the flip side, I rely heavily on the UAD Apollo ecosystem for its Unison preamps. The difference between their software Neve 1073 and the real thing is so small it’s basically just down to the tiny variations between units, which is a total game-changer for getting high-quality input without the hassle of vintage hardware.
UAD Apollo 8
5. Is there anything you regret selling… or regret buying?
I regret selling my very first amp and electric guitar from when I was 14. It was a smallish Orange amp with that hessian front, with a spring reverb, combined with a brownish guitar by Vantage. That combo would look incredibly cool, if it were in my studio now. My biggest regret buying is a USB hub for 3000 danish kroner that was supposed to be the “best”, but it creates an annoying electrical noise that messes up my workflow. It’s a shitty piece of crap gear that I’m currently just stuck with. It is hidden away behind my outboard rack, so at least I don’t have to look at it.
USB hub for midi
6. What gear has inspired you to produce the most music?
Definitely the Prophet-6… again. It just became a central part of my sound as a solo artist. I got it right before I made my first solo album in Danish. I tried a friend’s for five minutes and immediately knew I had to get one. It feels “extra analog”—dusty, woody, and smoky. While I also have a Jupiter-4 and two Juno-60s, the Prophet is my desert island synth.
Sequential Prophet-6
7. If you had to start over, what would you get first?
Well, if I can’t keep answering “Prophet-6”! Then I’d say a computer and a good sound card, specifically from the Apollo ecosystem. Being able to plug a mic directly into the card and know you’re getting professional, high-quality audio without fighting old, noisy cables or temperamental vintage outboard, is essential for focusing on the music, rather than technical issues.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
The computer and Logic DAW. It’s the backbone of everything I do, but it’s also the thing that can suck you into technical troubleshooting for an entire day instead of actually making music.
Also I would say my voice is also kind of a piece of gear that is ‘annoying’ to me, because I spend the bulk of my time in the studio singing, so I can’t live without it. But I have had 4 surgeries to fix my vocal chords, and through so much use, I have damaged my voice and I have to be very deliberate and careful with it now.
Teenage Engineering OP-1
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
The “Village” method of gear. I’ve been borrowing a friend’s Jupiter-4 for ten years, while he’s been borrowing my double bass for the same amount of time. Borrowing and swapping gear keeps things fresh; after 20 years with a synth, it’s nice for it to “go other places” while you try something new. It’s a beautiful way to keep the creative cycle moving through your musical community and network.
Sequential drum machine
I also hate using pop filters on a microphone. So I use the old Frank Sinatra trick of angling the mic down 45 degrees above my mouth, so that the plosives and air go ‘under’ the diaphragm of the mic. Then you can really emote and get into all the feelin’ of it… Like so:
No pop filter necessary on that Neumann U87
Artist or Band name?
Tomas Høffding (solo project) and WhoMadeWho (band).
Genre?
Indie / Electronic / Alternative… Dance-able yet sad.
Selfie?
Tomas Høffding
Where are you from?
Roskilde, Denmark. In fact, when I was very young, I lived in a house under a bridge, which was a little iconic/infamous in that area. The address became the title of a song “Darupvej 109” which I wrote about that time and place.
How did you get into music?
Oh, I’ve been doing this a long while, started around age 14 when I bought my first amp and electric guitar. I eventually became a conservatory educated bass player and singer. Been in a rock band where we released 3 albums, then electronic dance-punk music with WhoMadeWho, where we’ve done 7 albums together and continue touring the club scene all over the world. Now I’m also 3 albums deep with my solo project.
Honestly I feel there was no other way for me, but to do music. It was the most natural thing for me to do, and it just kinda came easy for me.
What still drives you to make music?
The need for emotional expression and the constant drive to finish albums and songs. Balancing two full musical careers keeps me moving forward. About 7 years ago I started getting into writing songs with danish lyrics, and it has really renewed my energy, as well as motivated me, and given me a new burst of creative output.
Roland Juno.60 and a CR-78Acoustic guitar – BjärtonAcoustic guitar – Bjärton
How do you most often start a new track?
There are many way into a song for me. Could be a melody or lyric, a riff, a beat, a thought or even simply a certain feeling. But I’d say that I am very process-oriented. I often focus on the physical “motions” of the gear, like the sweep of a filter, to find the right dynamic and emotional starting point.
How do you know when a track is finished?
I have a huge library of songs and ideas and I’m forever able to bounce from one thing to the next, so I’m never lacking for something to do. And I work in bursts of energy. I get super excited to build a studio or a track, but once that initial burst is over, I prefer to be finished because my patience for the “puzzle” of it ends with that first momentum. The exception to that is the ‘slow time’ on tour, and even then it’s the deadline of arrival that focusses the mind. But I know I have a work ethic that keeps me grinding away until its done… or I take the idea and go in a different direction with it, and find a use for it in a different context.
Show us your current studio
Studio
The studio features gear like the Prophet-6 and Juno-60, alongside vintage preamps like the Urei Teletronix LA-3A units that have a lot of history—some were even used on Michael Bundesen’s vocals (legendary danish singer in Shu-Bi-Dua) and Kim Daugaard bass! (another legendary musician).
I designed and built the interior of the studio myself. It is a curated selection of gear, furniture, pieces of art and acoustic regulation. And it has got 3 large windows angled upwards to the sky with great view of a surprisingly industrial part of Copenhagen. It’s a creative space, that isn’t sterile, and is setup for a good vibe. One of the best studio spaces I’ve had.
Don’t disappear into not making music. It’s easy to spend an entire day on technical problems like a faulty USB hub or A/B testing gear, but the goal is always the song.
Promote your latest thing… Go ahead, throw us a link
[Editor: This is an updated interview. CPH Mush was one of the very early artists on this blog, and his setup and studio have evolved so much that we both thought it would be interesting to do an update with new questions. Enjoy!]
1. Has your favourite knob/fader/switch changed since last time? Why do you think it grabbed you now?
Expressive E Touche
I think quite a lot has changed since the last time (it was five years ago). Back then I had some really clever answer of a very technical note. I think that goes with how I have been changing my approach to making music in the last five years. Nowadays I enjoy playing instruments and sounds a lot more than I did in the past (those 15-min a day on the piano have really paid off). So I see my studio as a balance on approachable and direct instruments vs. more complex and deep ones. There is of course time spent on both sides, but I am enjoying the playability more and more. So to answer the question about my favourite knob/fader/switch – I would go for the Touché by Expressive E. I didn’t do much research before buying it, so I thought it would be something like the morphee on the Arturia Polybrute – but it is not. I keep it beside my Expressive E Osmose – and I find it both intuitive and expressive in the sense that I can tap rhythmical changes or just sweep the surface and change the color of the sound I’m currently playing.
2. What’s a piece of gear you didn’t expect to love, but now you rely on constantly?
Mackie Big Knob
This might be the most boring piece of equipment ever, the old Mackie Big Knob. It is just a monitor controller (I bought it as I have the idea to add some old hifi speakers as well as some other listening to the studio. But as it has both dual phone amplifiers and lots of connectivity it has made life a lot easier, especially as my new studio is much bigger than what I have had in the past. The Big Knob just makes it quick and easy to mute speakers for recording acoustic stuff simple and having the phone jacks in an accessible position, means that it is much easier moving around compared to using the soundcards jack in the rack.
3. Which piece of gear in your setup has aged the best — and which feels the most dated?
The best – my first purchase, back in 1993 when I had just turned 13. My Korg MS10. It is a very simple synth, but it is extremely playable and has a unique character that just seems to fit with whatever I am doing. My personal move towards more playing vs. sequencing has made it shine brighter than ever.
Korg MS-10
For the most dated it leads me to drummachines as a category, and the older ones specifically. I have tons of drummachines and drum modules, and I think I like the idea of them, more than I actually use them. To be sincere I don’t use them much at all, as I prefer to build rhythms by other means. So the answer here is a tie between the old 8bit digital Korg machines and the Roland CR78. If you record these unprocessed it will sound like a time capsule to the years straight after their releases.
Korg DRMRoland CR-78
4. What’s the last “happy accident” that happened in your studio?
Eurorack corner
I think my synths in general and the modular ones in particular is “happy accident” machines. When I turn on a modular synth, I usually have an idea of something I want to explore, but 10 minutes in, I am somewhere completely different. I know that there are a lot of people working their modulars into playable live instruments – I admire that patience. For me it is just a luxurious idea generator – I am operating it, but it is also operating me and we end up in interesting places all the time. For regular synths, I am taking a lot of the modular thinking with me and when I make patches I like to work with modulation busses as much as I can.
Mush of Eurorack
Making patches is usually something I make when I am not making music – the goal is to explore a synth and save as many interesting patches as possible on the way. (I have a video or two on youtube exploring this).
5. If you had to banish one category of gear from your studio (pedals, drum machines, plugins, etc.), which would hurt the most?
Well, the drummachines would hurt the least, as I mentioned before. I like to play instruments, so banishing all keyboards would be brutal. I don’t think I would spend time in the studio if I only had sequencers, guitars and touch surfaces.
Drum machines and Keyboards
6. Has a new bit of gear changed the way you think about making music, not just how you sound?
I have just bought an old Hohner keyboard at a flee market – it is an old digital PCM thingy with internal speakers (it is likely a rebranded Casio). It does nothing unique, it lacks velocity on its keyboard, but it is immediate in a sense. Whenever I play with it, on its own or playing around with it over a tune I am working on, it just brings ideas. The internal speakers is creating a nice, soft distortion too, and the sounds have some stereo motion. The limitations makes me much faster, but it also moves my focus to the tonality instead of the sounds. To be honest, I have likely used it more already than I have used my Arturia Polybrute12… so 20 euros well spent.
The Hohner keyboard is mid-bottom in the image
7. If money and space weren’t an issue, what ridiculous piece of gear would you add to your studio today?
I’d love a Fazoli F308 Grand Piano or an EMS Synthi 100 – likely the first over the second. However, my piano chops or space is inadequate for such a gem of an instrument.
A handful of guitars
8. What’s the most “you” sound or technique that came directly from your gear choices?
Interesting question – my wife passed the studio a few days ago saying “wow, that does not sound like your usual stuff”. The day after she came in “well, now it does sound like you”… I had added some rhythm elements….
I am not great at programming beats – it has never been my thing (weird that I have so many drummachines…). It has never been the thing I listen to in music either. But rhythms are important to music – so I have found ways to make stuff that I find interesting – and apparently it is the “Rasmus” sound… (I have a video on Youtube showing how I use the Monomachine to create rhythmical textures).
9. Looking back at your answers last time — what’s the biggest shift in your relationship with gear since then?
I had some really good answers back then (read it, if you don’t believe me) and I still don’t think the “what gear” is important. The important thing is to be creative and to use whatever is around – having a studio filled with inspiring instruments is a luxury, but being able to move from idea to recording fast is much more important to me. I don’t think there is any pivot here for me, but I thought a lot about how I would build my new studio – and what would be important… So I am going to use this question to write about something else – how to build a space to be inspired and productive in…
Studio space
Three year ago I moved from a small apartment with both a basement and a livingroom filled with instruments – to a big house in the remote suburbs of Copenhagen. A semi-old house that used to be both a home and a plumbers workshop. I love DIY for various reasons, so I have been spending lots of time renovating the place and bring out all its character. The last part was the old workshop that I started working on in the beginning of the year – that was to house a dining room, a second livingroom and my music studio. As I was without a studio for like two years, I used my home office (which houses my Kawai piano) as a mini studio. With a growing collection of gear as I kept buying stuff (while most of the old stuff was still packed down).
Studio
Well. It was not an ideal space in any way, but it made it easier to focus on individual instruments, to get to know them in depth. (I also added a keyboard stand in the livingroom, so I could just make patches and stuff with one machine at a time). This lead me to think about that I might prefer having a different kind of studio than I ever have had before. I started thinking about having just a DAW in the middle of a room with a table to put one or two instruments on – and storage units around the walls, where I could store all my other instruments and boxes. The idea was to take out one at a time to not feel overwhelmed. I explored this path for a long time, until I came to the conclusion that I would likely not fit me that well. Partly because I like to look at instruments (some synths just looks sooo good) – and I remember to use different stuff if I see it…
Studio desk
I kept the idea of a table in the middle of the room and kind of building islands or stations for the more stationary instruments around the room. For the more portable stuff I keep the other idea – having desktop stuff, pedals and tape machines available on open shelves, that I bring down to the table and that I can connect to the DAW in a few seconds. This hybrid model seems to work quite well for me. One of the main things I have noticed is that I actually enjoy walking around the studio, moving from one island to the next while the music is playing – trying out different stuff on different instruments… For keyboards that I want to explore deeper – I do have a keyboard stand (with the Buchla Easel in the pictures attached) that I use for synths I want to play more with. At the moment it is the Easel that I haven’t gotten my head around yet. So regarding my change in relation to gear – I want a closer relationship with every unit I have. 😀
Buchla Easel
Artist or Band name (still the same? any side projects or aliases we should know about?)
I don’t really make music in a serious way, it is more something between a personal diary and creative release. But there is some old projects up on the big streaming platforms. The stuff that shows me off best is probably the songs “A Home” and “MDMA” from an album in my own name “Rasmus Nyåker” as well as the album “Illiterate Poetry” under the moniker “Fejld” . I keep thinking about reviving Fejld, but the music I am working on at the moment has vocals in Danish and a bit of a folk-electronica feel, so I need to get that out of the system first…
Smattering of eurorack and sequencers
Genre (has it shifted, blurred, or deepened since last time?)
I think most of my stuff fits in either neo-classic or ambient-acid-rock. But I don’t know much about genres – it is a bit like the old library sorting system, which is irrelevant if you just like to enjoy a good book every now and then. (That is my relationship to music – I just try to enjoy it)
Selfie
Rasmus Nyåker aka. CphMush
Where are you based these days? (and how’s the local scene treating you?)
I moved from the city of Frederiksberg that is located inside Copenhagen, to the absolute outskirts and a sleepy suburb named Hedehusene (very close to Roskilde). I don’t think there is a local scene out here – there is a guy making a yearly “Jarre Experience” thing in a local church on a yearly basis, but I never visited. Basically I am too busy and old to have any musical ambitions and be part of a scene…
Doorway to synths
What’s changed the most in your creative process since your last interview?
I rely much more on playing stuff, than sequencing – I don’t even use midi anymore for my synths – as I think the process is much more efficient by just recording the audio directly with all of its flaws and character.
Synths galore
What’s the biggest challenge you’ve overcome as a musician recently?
I don’t see myself as a musician, so I can’t answer this. ;)
What continues to push you forward when music gets difficult?
I never feel that music is difficult – when I was younger and had ambitions, I struggled with trying to sound better than any artist I was currently in to, and with maintaining a feeling of getting better. The last part is however one of those things I have realized is often a false observation. As humans we seem to believe that we are constantly progressing, getting more clever, improving our musical skills, etc. But when we start to analyse old recordings or reading old notes – it is quite clear, at least to me, that it is kind of a false narrative. To make an example from something completely different. I planted a Magnolia tree in my front yard like two years ago – and when both me and my wife observe it, we mention to each other that it seems like it is growing in a decent tempo. But when we look back at pictures from when I planted it in the ground – it shows that the growth has actually been tiny (a bit depressing). It seems the wish in us to see it grow in our garden is influencing us to believe it. So, what is the conclusion to this – just trust your skills and make the most of them – art is never a competition – it is a way to let yourself or the listeners come in contact with themselves in new ways.
Eurorack and more
How do you usually spark ideas now — same methods as before, or new rituals/tools?
I have no problem getting ideas – just grabbing an instrument and play some notes always rewards me with something.
What’s your current marker for saying “this track is finished”? (has that changed?)
I don’t think that is important to me – the joy and almost trance like state that can appear during the jam and recording sessions is what I am after. I rarely finish tracks – if I do, it is usually to have kind of a diary of the time (listening to old recordings of mine has a way of bringing back all the emotions and feelings I had at the time).
Can we get a peek at your current studio — what’s new in the space?
Well, the space is new. It has a nice dark blue hue on the walls and the ceiling. The floor is covered by a nice wool carpet (wool carpets are great at making a basement feel less basement-like). And since last time I did an interview, I have gotten lots of stuff. My eurorack has grown, without me noticing (I made that 2 meter x 1 meter eurorack case that is hanging on the wall, and thought that it would be enough together with my DIY Buchla style folding case and the keyboard case with 4x168hp). It wasn’t enough. So I had to buy a few more cases (and I am still waiting for 2 more cases that’s going up on the wall shelves). But let’s talk about a few of the pieces I have picked up in the last couple of years.
Keybird X1 – a portable budget unacorda piano. It was designed in another suburb of Copenhagen, and I like supporting the locals. It is a different instrument to the Kawai I have in the home office – and it works very well with different effect units.
Keybird and Summit corner
A lot of synths, either bought out of curiosity or because I had them in the past and missed them: Arturia Polybrute12 and Matrixbrute, Korg Polysix, Akai AX60, Waldorf Quantum, Kawai K5000s, Waldorf Microwave 1 and XT, DSI Prophet12, Tempest and Pro2, Moog Muse, Novation Summit, Quasimidi Polymorph, Expressive E Osmose, Buchla Easel, Kilpatrick Phenol, etc. Of these my favourites are:
Moog Muse – I just enjoy playing it, making patches with it, writing music with it. It has a very mellow and dark character and is just great.
Novation Summit – This synth does not have a unique character but makes it up by being both direct and versatile and its sounds just works in almost any musical context. It also has the best arpeggiator in the world. (A tip for some fun with it – setup the same patch on both layers, change the arpeggiator settings on one layer (rhythm for example) and press some keys down)
Studio windowsWall of sounds
Best bit of creative or life advice you’ve picked up since your last interview?
I am usually not a fan of inspiring quotes, but I recently had one stuck in my mind “Life shrinks or expands in proportion to one’s courage.” (Supposedly a quote by the late french writer Anaïs Nin).
And finally: what’s the latest thing we should hear from you, watch, or support? Drop a link.
If you find me interesting I would suggest you to follow both my youtube and my instagram. My last post on Youtube (at this moment) was a little nice jam with my Keybird x1 and the Machinedrum (plus some synths) and is a good pointer on what I do in my studio 90% of the time…. Link to mentioned:
