Mike Berndt – Pedal Of the Day

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

Feedback knobs

I tend to lean towards the Feedback areas of pedals that can perform that function, so Feedback knobs, on Delays especially, and Gain knobs on dirt pedals would probably be tops. If you can mix the two and get an overdriven or distorted signal to feedback into self-oscillation, with the possibility to get completely out of control, that’s my happy place.

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

For years now, all of the demos I record have run through a Universal Audio Apollo Twin Duo, and I recently upgraded to the Twin X Duo. The preamps are so nice, and the plugins you can get replicate so much vintage gear right at your fingertips…it’s pretty incredible. The functionality / ease of use is perfect, it’s almost a plug-and-play type of situation, with as big or small of a learning curve as you want.

Universal Audio Apollo Twin Duo

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

Well, we haven’t really left or gone out or done anything over the last year, but usually when I travel for a vacation, I just bring along an acoustic guitar. I’m surrounded by electronics and hardware and pedals the majority of the day, and vacation is a time to get away and take a break from all of that. The acoustic lets me get back to why I started playing guitar in the first place, lets me focus on the raw energy that those instruments bring, and opens up or reinvigorates a passion for stripped-down music that can sometimes get lost in the world of effects. Been using an Alvarez AD60SC for about 16 years now, and still love it, but really want a nice Martin or Taylor or something along those lines at some point.

Alvarez AD60SC

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

I use some plugins with my UA Apollo Twin X Duo to clean up and finalize the audio for Pedal of the Day’s demos, but there’s something about having an actual rack of gear right in front of you that just can’t be replaced by a computer screen. Having a Teletronix LA-2A, Studer A800 and an actual vintage Tape Echo unit here in the studio would be rad. As for the opposite, they’re making pretty much everything you can think of into some form of plugin or patch these days, and there are many devices which let you run your analog effects straight into your recording, so the sky’s the limit there.

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

TONS of gear. I wish I could keep every single pedal or guitar or keyboard that I have ever owned, but I don’t have the space, and I wouldn’t make any money!

During the last Covid-infused year, I have had to get rid of some long-time favorites, but I think the ones that really hurt were my Moogerfooger Delay, Phaser,

Mooger Foogers LowPass, Murf and 12-stage Phaser

Low-Pass Filter and MuRF. I’d like to say I’ll have them all back again someday, but even since I sold them last year, the prices have skyrocketed, so those might just be gone for good.

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

I think all gear can be inspiring, even a piece that you may find boring or dull at first. With pedals especially, you need to sit down and really get to know them, how they act/react, what their key functions are, any hidden features or treasures they hide, waiting to be discovered, etc… Part of the fun of this line of work is the constant exploration and uncertainty about each effect, and since we all use them differently, there’s really no wrong way to go about that.

I think the demo community provides a lot of different perspectives on how each pedal can be utilized and exploited – the companies themselves seem to enjoy how different all the demos sound, as we each are giving an individualized interpretation of the effects, and come up with sounds the original designers might not have even thought of.

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

A vintage Fender Blackface Deluxe Reverb, a cheap-ish guitar (maybe a Strat or Tele) that I could mod and customize, and a Delay pedal. I have enjoyed swapping pickups and wiring out of guitars over the years, but haven’t had the time or focus to do so recently, and think that would be fun to jump back into.

Fender Blackface Deluxe Reverb

The Deluxe Reverb is a perfect pedal platform, plus you already have the Reverb and Vibrato built in. Delays are by far my favorite effects, so it wouldn’t even really matter how wild or crazy it was, just something simple to get started, like a Boss DM-3 or a Way Huge Supa-Puss, something along those lines.

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

Years ago I bought a couple of old Ibanez rack delays from the ’80s, a DM1100 and a DM2000. They each have this Hold function that can be controlled by and external switch, and the DM2000 has one for its Modulation settings as well. The DM1100, when it’s set the way I have it and you play a note or chord and hit that Hold, it takes the audio and continually ramps it up and down, with a thick, seemingly uncontrollable modulation sound that is different every time. It can get super annoying, but also adds a certain layer of chaos into the mix that is just lovely to experience.

Ibanez rack delays DM1100 & DM2000

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

There isn’t one specifically, but I love to dive into the more complex pedals (Microcosm, H9, ZOIA, etc) and see what hidden treasures await. The designing and execution of musical ideas over the last couple of years has been astounding, and I’m glad to be a part of bringing these sounds to people everywhere.


Artist or Band name?

I haven’t released anything new in a number of years, unfortunately. I had a number of little side jam projects starting to happen right before Covid hit, so those are all obviously on the back burner for right now. Years ago, I was in a bar band called Alcoholocaust, and we just played bars around Boone, North Carolina, where I was living at the time. I also released some tracks under the name DJ Big Berndt a couple years ago, mostly chill, ambient kind of background music, and that was a lot of fun.

Genre?

I love ALL genres of music, except for pop country. REAL country I can listen to all day, but the pop garbage I can’t do. Classical, metal, rap, jam bands, disco, yacht rock, classic rock, techno, you name it….I love it all.

Selfie?

Mike Berndt

Where are you from?

Born in Madison, Wisconsin, raised in Milwaukee, Wisconsin, currently reside in Weaverville, North Carolina (USA)

How did you get into music?

My dad bought a drum set when I was 8, and he taught me a little bit about it before my folks split up. The drum set stayed, though, and I learned to play down in the basement with headphones, playing along to Zeppelin and Guns n Roses and the like. I got a cheap neon yellow guitar and a little Gorilla amp when I was 12, but didn’t stick with it for whatever reason. I finally got an acoustic when I was 19 or 20, started taking some lessons from a friend of mine, who ended up selling me his Epiphone Sheraton, and it was all over from there.

What still drives you to make music?

Music is everything! Constantly looking for inspiration in not only the music I create but from all kinds of outside sources is just the greatest. The way that different tracks, genres, artists and sound can influence you at any given time of day, or with anything that’s going on in your life, at any moment, is a pretty spectacular thing to be a witness to. The fact that music has and continues to evolve constantly, around the world, on a daily basis, is just a spectacular phenomenon, one I hope that never goes away.

How do you most often start a new track?

As a drummer, the rhythm parts are the keys, so getting a simple beat and maybe a little bass line down is always a great place to start. However, sitting around jamming on your acoustic can open up a can of musical worms as well, and when inspiration strikes, you gotta capture it. I have a lot of handwritten notes scattered around the office that have been building over the years, as well as a bunch of quick ideas I’ve recorded into Amplitube on my phone. Whether any of them will ever turn into something more or get recorded remains to be seen, hopefully I can revisit them soon and start working more on finishing some of them up.

How do you know when a track is finished?

You don’t. You can sit and overthink and tweak over and over and over, and still never truly be satisfied with the result. The first mix that sounds the best, stick with that. It’s kinda like recording a number of different guitar solos and then trying to decide which is the best – chances are, the first one was the best, because you were just playing, rather than comparing it and second-guessing yourself, you know?

Show us your current studio

Amp wall
Amps and friends
Mike’s Pedalboard
Studio desk

Best creative advice that you’ve ever heard?

My grandpa used to say, “As you go through life, let this be your goal: keep your eye on the donut, and not the donut hole.” I think that you need to focus on all aspects of whatever you do, not just on one particular thing, whether it’s how you approach a new recording session, or how you cook a meal, or how you interact with your family and other humans in general on a daily basis. Focusing on the little things can be key, of course, but seeing the bigger picture, breathing and taking it all in is how I try to live and create.

Instagramming with Mike

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

Pedal of the Day – https://www.pedal-of-the-day.com/
Pedal of the Day on YouTube – https://youtube.com/c/pedaloftheday208
DJ Big Berndt on YouTube – https://www.youtube.com/c/DJBigBerndt


Christian Colabelli – Metalicious Pedaler

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

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

Strandberg Guitars Pickup Selector

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

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

Strandberg Guitars

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

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

Purple-ish Eventide pedalboard

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

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

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

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

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

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

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

Yamaha THR10X practice amp

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

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

Gibson “The Paul II”

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

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

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

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


Artist or Band name? 

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

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

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


Genre?

Circuitry – Progressive Metalcore

Sightharvest – Instrumental/Progressive Metal/Fusion

Surreal Measures – Fusion

Selfie?

Christian Colabelli


Where are you from? 

New Jersey, USA! 

How did you get into music? 

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

What still drives you to make music?

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

How do you most often start a new track?

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

How do you know when a track is finished?

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

Show us your current studio

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

Sightharvest Studio

Best creative advice that you’ve ever heard?

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

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

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

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

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

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

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

Aqeel Phillips – A View to Aqeel

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

Monome Teletype

I’m gonna go with the Monome Teletype’s single “param” knob. It might be a weird answer, since this knob can do whatever you want it to do, but personally I almost always have it mapped to a global “probability” setting in my Teletype patches. Probability that a trigger will pass through, probability that triggers might jumble and be routed to an unexpected output, etc. I consider this a bit of a secret weapon, and discovering this was a moment when I was really feeling like I was figuring out how to work modular into my music. With this single knob, I can control the “energy” of a patch, taking it from sparse and mysterious to lively and animated with a quick flick.

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

Elektron Machinedrum

I’ll say the Elektron Machinedrum. It sounds amazing, and I feel like I barely need to edit and mix the sounds that come off of it, but it’s definitely dated. It doesn’t have all of the niceties of the newer Elektron boxes, like the Rytm mkII or Digitakt. I find it really easy to edit the wrong track, and it unfortunately doesn’t have the modern Elektron sequencer with trig conditions and microtiming. I’ve even considered sequencing it externally… But the sounds themselves are totally worth keeping it around, even with these limitations.

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

Elektron Digitakt

Historically, I’ve taken the Digitakt. It’s easy enough to throw in a backpack, and you can even record off it without an interface via Overbridge. For whatever reason though, I usually tend to be finishing projects while traveling, so it’s often just my laptop and headphones.

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

Strymon Big Sky

I don’t use a lot of software… I’ll cheat and say that sometimes I wish I had a real piano or Rhodes, as opposed to the VSTs that I use in my music. In terms of hardware, I often wish the Strymon Big Sky was a plugin that I could pull up on the computer. I really just use it as a master send effect from Ableton. 

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

ER-301

Most things I find myself regretting selling, I eventually end up buying again. It feels a little silly (and I lose some cash in the process), but sometimes it takes some time away from something to really respect its worth. I’ve sold and re-bought Make Noise Morphagene, Intellijel Metropolis, and I recently bought an ER-301 back from a friend. I did nab a really nice Yamaha electronic drum kit for an utterly insane deal a while back, and ended up passing it on to somebody else when I was living in a small apartment. Now that I’ve got the room for it, I definitely miss it.

I regret buying an Arturia Matrixbrute. Some of the keys broke somewhere along the way, and it’s so heavy and large that it’s been unruly to get it fixed and eventually sell it. I’ll get around to it, but I’m never excited about the idea of lugging it out to the car…

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

Make Noise Morphagene

Probably Morphagene, the same Morphagene that I’ve sold and re-bought haha. Nowadays, it’s genuinely my favorite module and really epitomizes eurorack to me. I never know what it’s gonna do, but I always love what it ends up spitting out, which is a huge part of the fun I have with modular. It’s like my little bandmate that comes up with something interesting and inspiring for me to craft a song with.

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

Make Noise Tape & Microsound Music Machine

In the same vein as my previous answer, I’d probably start with the Make Noise Tape & Microsound Music Machine. I’ve essentially got this in my system in my rack, purposefully placed right next to each other too. Each module in that system is something that I don’t believe quite exists in the software realm. So I feel like I could do a lot with that system and any DAW for drums, soft synths, effects, etc.

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

Hologram Electronics Microcosm

Pieces of gear that annoy me don’t tend to stick around very long. 🙂 I’ll say the Hologram Electronics Microcosm. I don’t think it’s very flexible, but what it spits out is absolute gold. It feels kind of scared of sounding “bad”, and I frequently find myself wishing I had access to the sounds “between” the settings that it offers. But at the same time, it’s my go-to for spicing up a track, and creating something unexpected. I will say, I think if I didn’t have experience with modular (meaning, having so much experience making bad sounds), I would be totally content with it. But with that experience, it often feels like a box of nice Clouds presets.

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

I mentioned the Machinedrum feeling a little primitive, but I’ve figured out a couple tricks here and there that get me where I need to go. One is that I’ve been using the “swing” to make my beats more interesting. The MD doesn’t have microtiming, but you can add swing per step (even on individual tracks), and adjust the amount of swing. I’ll often have fun with punching in a standard beat, adding swing to a couple steps, and then setting the “swing” amount to something extreme like 75%. This way, it might imply a 32nd note in some places, without adjusting the overall sequence timing to be 2x. It’s something that you could easily do with microtiming on something like the Digitakt, but it needs this fun little workaround on something older like the MD.

Machinedrum

Artist name

Aqeel Aadam

Genre

Some kind of downtempo, cinematic ambient meshed with hip-hop style beats.

Selfie

“Hey, can you take a picture of me?” in the middle of writing this.

Aqeel Philips in the middle of writing this interview

Where are you from?

Outside of Philadelphia, PA (which is where I currently live too!)

How did you get into music?

I started by teaching myself guitar and eventually started making sample-based beats with Ableton in high school. I wanted to trend more towards “composing” than “producing”, so I caught the hardware bug once I realized it could be like commanding your own little orchestra.

What still drives you to make music?

From a musical perspective, I don’t think I can honestly claim that it’s therapeutic or anything like that, but creating something is an activity that I genuinely very deeply enjoy (I suppose this is some form of therapy…). I like creating the music that I want to hear and feel like the world might enjoy. There’s also a sense of pride in creating something that feels very gratifying.

From another perspective, there’s a vast world of instruments that offers a great sense of exploration to me. There’s always a new stone to uncover, a new path to try out, some combination of things that you might never have considered before. Kurt Vonnegut said “we are put on earth to fart around,” and I can say for certain that hardware and modular synthesizers can provide you with a great deal of farting around.

How do you most often start a new track?

Ambience, atmosphere, texture – some kind of ambient wash that becomes the sonic bed for the track. I like to set up a generative bed with something like Morphagene or a granular module, which gives me the “kindling” to find inspiration from and write with. I’ll listen to these beds and hear accidental snippets of chords or melodies – this gives me inspiration to refine those random ideas into something more formalized. Also, I find it very hard to add in texture after the fact, so I like to start with it to keep myself sane.

How do you know when a track is finished?

In line with the previous answer – when I’m working on a track, I’ll hear “whispers” of things to add, little ideas that pop into my head that become a melody, bassline, chord progression, rhythmic element, etc. Once those stop revealing themselves, I take it as my cue to hit record.

Show us your current studio?

Home studio desk
Home studio with eurorack
Moog Matriach

Best creative advice that you’ve ever heard?

Probably to “invest in happiness”. Suffering from GAS and chasing gear is one thing, but if there’s something you can tell will help you feel creative and make your life more fun and easier, get it. Looking around my studio though, maybe I’ve invested in happiness too much 🙂 But at the end of the day, the only reason I hold onto something is because it makes me happy to use it.

Aqeel’er Studio [Editor: Ok. I’ll stop now]
Fx Pedals and 4-track tape
Ed O’Brian Strat [Editor: just about the perfect guitar]

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

I just put out a new collaborative EP with my friend Fossilize Me on Mystery Circles! 2 songs each from FM and myself, and one mash-up track. It can be purchased on a 7” vinyl here and is available for streaming under each of our names.


[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…
]