Per Hansen – SongsFromTinPanAlley

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

Definitely the structure-knob on the Rings-module in Sympathetic strings-mode. I just love turning it and hear the subtle changes of harmonics! And it’s bigger than any of the other modular knobs I have.

Mutable Instruments Rings-module Structure knob

I also recently got the Microcosm from Hologram and the filter knob is turning out to be a favorite too. Turning it all the way clockwise and the reverb cranked nearly all the way up results in such beautiful and musical textures.

Microcosm from Hologram Electronics

But to be totally honest, then I’m more of a fader-man. I actually think knobs tend to be tedious and not so expressive and musical as faders. Just purchased the Sweet 16 from Tesseract Modular and I love being able to control my Disting ex and especially parameters on my Norns with it. I feel more focused and in control with faders.

Tesseract Modular

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

The Deluge is the mothership of my setup. Even though it has some flaws, like its lack of a decent file structure where you have to scroll through all the synths till you find the one you need, killing the flow, I cannot live without it. In an almost dawless environment, it is essential!

Synthstrom Deluge

And of course, I cannot live without my feelings. I consider feelings my main instrument and 100% my most perfect kit. All compositions start and flourish from the state of mind I’m in and it’s important for me to embrace it and let it unfold without any dogmas and restrictions.

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

My Oscar Teller guitar and the Deluge! Used to own the OP-Z, but unfortunately had to let it go to finance other gear. The Zed has a more handy size compared to the Deluge, but the Deluge has some other aces up its sleeve, like the fact that you are able to record very long samples on it and its ability to create an endless amount of tracks.

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

I’m actually trying to spend the least time possible with software. I get impatient behind a computer screen. What I love about making music is the tactile experience. Tuning “knobs” and “faders” with a mouse doesn’t give me that 😉

Audio Damage Quanta

It could be cool, though, to have the Qaunta by Audio Damage in a hardware eurorack- or synth version, with all the matrix possibilities.

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

Went down the eurorack-rabbit-hole and had to let go of my OP-1. I miss it every day, but they’re too expensive compared to what they can do!

I also sold my two polysynths – Digitone and Novation Peak. Miss them dearly every day. Maybe I have to buy a new secondhand Peak in the near future.

I usually don’t regret buying anything. Cause every purchase is a new adventure for me.

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

Definitely the Rings module. Whenever I send a sequence to it, it turns out to be a keeper.

I also get very inspired when looping random objects and instruments using the Cheat Codes script on my Norns.

Norns and Grid

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

A Grand piano in my own giant palace. Joke. It’s just a dreamers mind speaking, living with four kids in a relative small apartment.

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

My mini Mac!

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

Marantz PMD 222

Thanks to @perbarfot I discovered how cool it is to run an instrument through the Marantz PMD 222, while giving the loop tape a good scratching massage. Love the wow and flutter effect it gives. Also tried it on my Revox B77 using the tension arm with very good results.

ReVox B77

Artist or Band name?

Songs From Tin Pan Ally

Genre?

Ambient

Selfie?

Per Hansen

Where are you from?

Denmark, Copenhagen

How did you get into music?

When I was 15, I got a worn-out classical guitar from my grandmother and my first step was to learn every GNR song from a tabs book! Must have sounded pretty bad because I didn’t know how to tune a guitar 😉

But I really loved it and after learning the basics a friend of mine and I started a band and from there I began writing my own songs.

What still drives you to make music?

I’m always striving for music of chance. That’s my drive. Love the way a simple melody or a sound of any kind of music instrument can turn into something totally mind-blowing! And you end up asking yourself… Did I really do this?

How do you most often start a new track?

I often start a new track while patching my modular stuff and turning knobs. It can be a sound, a melody or just a drone-kind-of-sound that express a feeling or a mood. That’s the foundation. From there, I just try to add different layers to that foundation.

How do you know when a track is finished?

When I press stop rec 😉

I listen to it many times the following days and if it still blows my mind, it’s a keeper.

Show us your current studio

Per Hansen’s Home Studio

Best creative advice that you’ve ever heard?

Don’t think too much. Just play and make a lot of mistakes!

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

I’ve just released ‘tænkeRUM’ on bandcamp and not long before that ‘Time’, which is also available on any streaming platform. In a couple of months, my first physical release is a reality. I’m planning on releasing it on cassette. At the moment, I’m calling it ‘autumn lullabies’

https://songsfromtinpanalley.bandcamp.com/album/t-nkerum

https://songsfromtinpanalley.bandcamp.com/album/time


[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…
]


Frederico Chiesa – Ooramusic

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

Roland TB-303

For years my main instrument was a Roland 303 and the frequency knob was the thing I used to tweak most. I kinda feel that on every synth my relationship with the filter knob has to be great, or I will not feel comfortable. I have given up on amazing instruments just because the responsiveness of the filter was not what I wanted.
Nowadays I’m way more into ambient, so things changed. Lately I love to play with the portamento switch on my SH-101 to create variations on patterns, it’s kinda funny what comes out of it.

SH101 Portamento

I love when brands uses big knobs, I have huge hands and I need a good grip: Death By Audio is great for that, I love touching their stuff.

Death By Audio Rooms

I love Moog knobs too, with that vintagey vibe.

Moog Subharmonicon

I hate most of the eurorack modules knobs and sliders. It’s damn hard to perform and you need to use a level of care that is not really my thing.

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

I think my mixer is almost a perfect instrument. Its the Play Differently Model-1, and is an instrumental piece for my production and live shows. It is beautifully made, sounds amazing BUT has one thing that was a big compromise for me: no direct outs. Which means that everything I record is always a stereo track, with no possibility of editing later on. It’s kinda good, because forced me to PLAY rather than program, and as a result, I’m finishing way more material. Still sometimes I wish I wish I could mix things better after the fact. Seriously, add direct outs to that mixer and it becomes the best tone shaping tool ever.

Another piece I love to death is the Deluge: that thing can do ANYTHING, it is a brilliant concept, but the decision of not having a screen for such a complex instrument, is sometimes hard to swallow. But I really admire Synthstrom and if their stance is NO DAMN SCREENS, I embrace it. Deluge is at the moment my main brain for live performances.

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

I hate bringing a lot of stuff when I travel or I’m in holiday. Used to bring many things and never use them. So lately i just bring the Teenage engineering OPZ or OP1. They both let you create full arrangements, even if they have two radically different approaches. Opz works better for electronic / techno stuff, while Op1 is more versatile for ambient pieces (imho , of course).
Lately I’m vey interested in small package synths with lot of power, especially if battery operated. Is great to be creative anywhere and anytime.

Op-1 and Opz

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

I would love to have my cassette or tape recorder perfectly emulated in software. That is something that is still really hard to get. The vibe that comes out of real tape is something you need to experience to understand.

Revox Reel to reel

And definitely i would love to have the SoundToys suite as hardware : I use that a lot and I think is brilliant. I can probably mix an entire album only with those plugins.

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

Regret selling …here is the list LOL:
Roland 909, Digitakt, Prophet 6, two Junos 106 (yeah, for a time i had 2…) , the full OTO effects family, my mastering console with the most amazing rack units (API2500, Distressors, Fatso, Bax eq, SSL G comp….)… and so on and on. The list is long and I feel I would cry if I keep remembering…. awh!
Regret buying.. not really, but there is a guy that I bought and sold FIVE times: Elektron Octatrack. I have it at the moment, but it frustrates me so much. Is a brilliant concept and I’m so jealous of people that know how to use it. I’m selling mine right now. Gonna buy again I’m sure.

[Editor: That’s gotta be some sort of record!]

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

For years all the XOX roland vintage synth. I still own them all, except for the 909. They are simple and straight to the point, I love that in an instrument. No menu diving, no hundreds of functions. They do one thing GOOD.
Recently I think Monome Norns and Op1 gave me a great creativity boost, while way more complex than Roland, they keep an user friendly approach and they are beautifully designed.

Grid, Arc and Norns

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

Well, I would buy all the Roland boxes in the 90’s when they were cheap. But probably an SH’101 would have been the right choice to learn the basic of synths. Add a 808 and you are golden 🙂

Roland Ms101

It can be overwhelming starting today : so many things you can buy for cheap. The risk is getting too may synths and never learn to use them in the right way. I have been into modular on and off, and for me that is the most dangerous world: I used to buy lot of modules and then getting lost in them , with very little work done.

[Editor: It’s kinda nice to hear. I’m totally infatuated with Eurorack stuff. But I fear that I’d never get anything done]

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

CABLES? I fkn hate cables. I spend a lot of my studio time cleaning and organizing.
Then I hate the need for a computer to record things. Sometime I wish I’d be brave enough to switch to a full on tape-style production.
All of the instruments I use need to have at least one characteristic: do not frustrate me. I only keep things that are easy to understand and give me instant gratifications. I love fiddling with stuff, before reading the manual. If I manage to get something cool, then the instrument is suitable for me.

[Editor: Do not frustrate! That sounds like a good rule]

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

Lately I’ve been blown away by using the tape recorder on the OP1 creatively. Sometime i put the tape speed 2x, record stuff and then slow it down 1/2. You drop the pitch 2 octaves and you get into ambient territory instantly. It’s super fun and easy.
Another great trick I’m using is sequencing a 4 voice synth (like the Roland sh01a) with 4 different patterns that have different lengths. you get really interesting pieces that are always evolving.


Artist or Band name?

OORA / Federico Chiesa.

Genre?

Ambient, Dub Techno.

Selfie?

Frederico Chesia

Where are you from?

Italy.

How did you get into music?

When i was a teenager, playing guitar and singing in a Nirvana tribute band.

What still drives you to make music?

I guess music is my favorite language, and the best way i can express myself. The more I learn and create, the more i feel complete. Many other things make the process worth it, not least finding some appreciation from your peers. The final dream would be to make a living only with music, and that idea keeps me focused.

How do you most often start a new track?

I try to record a new idea every day. Not all of them are good, though.

How do you know when a track is finished?

I never know. I put strict rules on the time I spend on a track and after the time is done, I embrace what i got. I like spontaneity and avoid trying to post produce perfection.

[Editor: That is a really interesting approach to finishing stuff and getting music DONE]

Show us your current studio

Best creative advice that you’ve ever heard? Less is more. As basic as it might seem i feel that the real evolution for any creative is embracing limitations ad create art with the least amount of clutter possible. Try to say one thing clearly and use the best tool to do that in the simplest way.

OoraMusic Studio

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

My latest album is called “The Subharmonicon EP”. Made only with the Moog Subharmonicon and pedal effects, is a study on simplicity: how, in a time of turmoil, the clarity of a minimal approach can convey the message of beauty.

https://oora.bandcamp.com/album/the-subharmonicon-ep


[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…
]


Per Barfot – Last Norwegian Viking

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

I love the joystick on the Elektron Analog Keys (Freudian interpretation anyone?). It’s made of plastic but has the right feel in terms of resistance. And controlling different parameters with the tip of your finger is simply so much fun. And while we’re on the Analog Keys, the sound selection wheel isn’t too bad either. Sure, it is also plastic and a bit wobbly, but it’s big, and most importantly, it gives audible click-feedback when turned. Satisfying.

Joystick on the Elektron Analog Keys

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

That would be any instrument/module/effect before I buy them. Actually owning and creating music is often a struggle, even though it can be an enjoyable struggle. But some pieces of gear make the struggle easier. I’m talking about gear I can co-create with to produce an environment of happy accidents. Lately I’ve been moving away from precise and controlled sequencers like those in Elektron machines, and towards a more intuitive approach with modular and Monome equipment. And I’m in love with Grid as a sequencer. But, actually, the first one that comes to mind when I think “perfect” is Chase Bliss Thermae. Pair it with anything and it will be an “almost perfect bit of kit”. It’s a magic little box (well, it’s actually an analog pitch shift delay with just the right ratio of control vs surprise). As long as you let it be in control, giving it enough room to express itself freely, the result will often be mind blowing.

Chase Bliss Thermae

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

I’ve changed up my equipment a lot lately, so if I’d go now (well, when the pandemic is over) it’ll probably be Monome Norns with Grid and maybe a tiny modular system. But last time I brought an instrument on vacation was when I took the Analog Keys on a bus trip to a friend in Norway. Let’s just say I won’t do that again (bringing the Keys on vacation that is, Norway is the best).

Monome Norns

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

Soft > hard: I have a 2hp Pluck that emulates a string instrument, which I use a lot. But I don’t know of a module that emulates a piano. Sometimes I can make the Mannequins Mangrove sound a bit like one (well…), but how cool wouldn’t it be if Felt Instruments released their pluggin Lekko in eurorack format?!

Tape loop over Norns and Elektron Keys

Hard > soft: I love the way tape color sounds (mostly), but actually working with tape can be annoying. The recorders are old and sometimes malfunctioning, the tape loops break, and hiss can be too loud or too harsh. I’ve tried a number of pretty good tape emulation plugins out there, but it’s not the same as real tape. And maybe will never be?

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

Half a year ago I sold a modified Marantz CP430 (it had a double speed switch). At that time I was tired of tape, and of recorders breaking down. I had bought three Marantz recorders within a pretty short time, but ended up selling two of them. I regret I didn’t sell the unmodified one instead.

Marantz

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

A couple of months ago I got the Monome Grid. Using it with Ansible running Kria is probably the closest I’ve come to “effortless” sequencing (well, learning Kria was a bit of a hassle). I love how it allows me to discover happy accidents within a framework of control.

Monome Grid

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

I started my synth journey with the Analog Keys. I had it for more than two years without any other pedal or additional synth. And I found that to be liberating. Now as I’ve gathered more and more gear I do feel more stress, and maybe a bit of shame, that I’m not using each piece at it’s full potential. So I’m happy I began my journey as I did.

A nest of Eurorack

But I could also see myself staring over with Norns, Grid and a tiny eurorack system based around Crow and a couple of Mannequins modules.

More Eurorack and a wooden egg

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

It could be a number of different answers. I don’t use the Analog Keys so much anymore since getting into modular. It’s a big synth with a small screen. And it doesn’t inspire me very much at the moment. But it can do almost anything. It even has 4 configurable CV outputs for gates, pitches, lfos, envelopes, and even a CV sequencer. And sometimes it’s just feels nice to play on actual keys.

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

It’s been mentioned before, but I’d have to say live-processing anything into a tape loop on my Marantz CP430. It makes almost any sound 100% better, objectively speaking. I’m normally running the sound from my case through the recorder and then back into the case again for delay/reverb processing. I imagine some of the harsher aspects of tape will disappear that way, but I could be mistaken.

Bonus technique: using randomised arpeggios and conditional trigs on the Analog Keys to create unpredictability, and thus turning it into a happy accident machine.


Artist or Band name?

Per Barfot. Might change in the future. Per is my middle name. And Barfot is the name of a Norwegian king (1073-1103). My grandfather studied genealogy and discovered that Magnus Barfot is our common ancestor, supposedly. He is described as the “last viking of the Norwegian kings”. “Barfot” means “barefoot”, a name he (probably) got because he at one point had to flee from Swedish soldiers without shoes on.

[Editor: What a great story! Keep that name]

Genre?

Melodic lo-fi ambient.

Selfie?

Anders aka. Per Barfot

Where are you from?

Kungälv, Sweden.

How did you get into music?

Played guitar as a teenager. Recorded two singer/songwriter albums in my twenties. Discovered experimental synth music maybe five years ago (mostly via Hainbach’s YouTube channel I think).

What still drives you to make music?

Few things touch me as deeply as music does. It’s a crack in the fabric of reality. I want to be a part of that.

How do you most often start a new track?

I turn on the modular system. Press on a number of buttons on Grid without too much thought. Listen. Adjust. Often I record long pieces so I have the opportunity to come back later and continue working with the best parts.

How do you know when a track is finished?

I’m never finished. I started recording a lo-fi indie synth pop EP a year ago. It’s been 90% complete since last fall. But now the songs don’t correspond to where I am at musically, because I’ve moved on. But I also don’t want to let it go because I’ve spent too much time and effort making it. Will it ever be finished? No idea.

Show us your current studio

Best creative advice that you’ve ever heard?

Don’t be afraid to copy from who ever inspires you, and make it your own.

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

I guess, just keep updated on instagram.com/perbarfot, and hopefully some day I’ll confront my insecurities and actually release my EP 🙂


[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…
]