Aldo is Taken – Groovy LiveLooper

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

That’s a cool one! I really like the tone pot on my Stratocaster, it makes everything I play sound like silk.

Strat Knobs

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

I think it would be the Empress Effects ZOIA, it’s just so fun to use and so powerful. Also I like tiny stuff because I don’t have much space. I just wish it had more CPU so I could go even more crazy with it.

Empress Zoia

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

On holiday I just take my laptop to organize stuff and finish what I haven’t finished yet. And I don’t tour!

Macbook

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

Having Max MSP in a hardware format would be pretty neat. Don’t know about the other way, I’m really not into softwares!

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

Hmmm, not really a regret but I deeply miss my MPC 2000XL. It was my first piece of gear ever and I really enjoyed it. It was just a bit too old school and limiting for me, I sold it to fund other music stuff so yeah no regrets!

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

Probably the Digitakt! It’s just super fast and clear, nothing gets in the way once I’ve got an idea.

Digitakt

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

Can I say the Digitakt again? It can do so much!

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

That’s easy! I have a LOVE/HATE relationship with the TC Electronic Ditto X4. It’s the cheapest looper pedal with a proper MIDI implementation, but oh my god it’s so unreliable. It crashed on me several times and you need some weird workaround to sync it. But yeah I can’t afford any other options at the moment so I still use it all the time.

Ditto Looper X4

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

You can run audio into almost any input of the Make Noise 0-Coast, even the CV inputs! Each circuit will transform your signal into something weird, I really like it with my guitar.

Make Noise 0-Coast

Artist or Band name?

Aldo

Genre?

Not sure, mostly hip-hop I guess.

Selfie?

Where are you from?

France!

How did you get into music?

A friend of mine taught me some guitar chords when I was 13.

What still drives you to make music?

Spiritual freedom and hopefully financial freedom one day.

How do you most often start a new track?

By listening to another track. I often catch a vibe in a song and bring that vibe into my next track. I think.

How do you know when a track is finished?

When I already started the next track and just want to get rid of this one!

Show us your current studio

Best creative advice that you’ve ever heard

« Sucking at something is the first step towards being sorta good at something. » – Jake the Dog

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

Whatever is on my Youtube channel right now : https://www.youtube.com/aldoistaken

[Editor: Do you have any of the gear in this article? Then why not share a tip or trick? Leave a comment below]


Andreas Hald – Playful Filmic Composer

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

Roland Space Echo RE-201

Ahh, that’s a tough one – there are so many! But – I like big knobs and I can not lie – so I’ll have to go with the Mode Selector on my Space Echo RE-201. It’s big and clicky, and it sits on one of my absolute favorite piece of gear. Sometimes I just turn it on so that I can hear the tape whistling around in there. So great.

[Editor: Possibly the greatest knob on the greatest fx ever]

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

I don’t think so. What comes the closest, is my old trusty Juno-60. To me, it’s the most musical sounding synth I know of. It’s perfect with all its imperfections. Warm and noisy – “brown- and round-sounding” to be cliche, it so inspiring to turn on. Instant greatness. It would be fun to add some of the features from a modern synth like the Prophet 6, but again – the limitations that this (and others) instrument has, is what I like about it and keeps my fluids going. In my line of work I need limitations, so I welcome them.

Roland Juno-60

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

Well, back in the days I always towed a guitar, amp and ALL of my pedals to any vacation, but ending up not really playing it. So I don’t bring that much anymore. It’s more than often an instrument or synth of a kind that I want to check out further and haven’t had the time to do so. On my last holiday I ended up bringing my cello and a drum machine. I have this weird sickness, that I can only do proper work in my studio, so I try to avoid working elsewhere and don’t bring computer or anything. I need too much hardware to do my work.

Prophet 6 and Juno-60

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

In software to hardware – Xils 4, an “Analog Matrix Modular Synthesizer” from Xils Lab. Would love to have that as an enormous beast in the studio. I love that plugin, but mainly use my (hardware)modular synth now. But that plugin tickled me in all the right places. I’m really a big fan of hardware, so I wish that all software was hardware and that we from birth learned to write music on paper and record on tape ;-). That being said, I’m obviously a slave of the modern world.

Xils 4 VSTi

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

I only think I’ve sold three pieces of gear actually, and I regret all three. A Fender Hot Rod Deville 4×10 amplifier. A Bogner Shiva head amplifier and a Custom made Fender Stratocaster. Especially selling the Fender amp is a regret. I’ve listened to some recordings from back in the days when I had that, and it sounded awesome. I sold it to buy the much more expensive Bogner, which I then also sold. So because of that, I’m never selling anything again. I still have a Bogner amp though, and I’ll post a picture of it – just because it’s so cool looking. Can’t think of any regrets in buying.

Bogner amp

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

Pianos. There’s something incredibly satisfying in playing a real piano. Hard to beat. Instantly something sounds as proper music. I haven’t always had a piano at a studio, but I have now – and I would love to get a Grand Piano one day. But for now, I’m really digging the intimate and noisy sound from this upright. Just got it serviced, and it’s so good now.

Upright piano

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

Hmm. Good one. A cello or a pedal steel guitar. I want to be good at those and would (now) have loved to have played something else, that every kid on the block didn’t also play (guitar). I would also tell myself to buy the best equipment. Quality over quantity. I have a pedal steel with humbucker now and love the sound of it.

Cello

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

Maybe my Kemper Profiler. I use it all the time and love and adore it, even though I should record amps instead. I do both, but the Kemper is just so convenient. It just looks cheap – like it jumped out of the 90’s – and the menu scrolling is horrific. But sound and work-wise: Love it. I could add my computer to the list. Love/hate relationship – but I just can’t live without it.

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

Hardly a trick – but making my monophonic Korg MS-20 sound like an awesome stereo synth by using the headphone out in the external signal processor and then having two outputs from it, to plug into a mixer with panning possibilities and adding effects. Great revolution for me personally. I used that synth ALL THE TIME on a feature Netflix movie.


Artist or Band name?

Andreas Hald, composer for film and media. NBrigade – music teams for film, television and games.

Genre?

Filmmusic (which means all kind of weird genre-less music).

Selfie?

I don’t do selfies, but here’s a picture of me playing the pedalsteel!

Pedal Steel and film composer Andreas Hald’s silhouette

Where are you from?

Skagen, the very top of Denmark. Very small town.

How did you get into music?

Started playing rock music with a buddy when we’re 10, renting our own rehearsal space when we were 13 (one where we could do parties, drink beers and skip school without our parents noticing).We discovered and experimented with music together, and I’ve never let go of it. 

What still drives you to make music?

The moments with zen-like qualities that you can’t get elsewhere. They don’t occur daily, but when they do – it all makes sense. 

How do you most often start a new track?

With a weird sound created on a synth. Other times at the piano.

How do you know when a track is finished?

When I’m passed deadline. I need the deadlines.

[Editor: I also like the wooshing sound they make as they go by]

Show us your current studio

Here you go, a few pictures of studio and gear. My modular synth setup is connected with my guitar pedals most of the time, and i use Intellijell modules to do that. I didn’t have a 1 unit space in my rack, so I drilled them into a plate myself.

Best creative advice that you’ve ever heard?

“No matter how good you get, there’s alway ten Swedes better than you”.

[Editor: Ha!]

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

I’m currently working on two tv-series, one called Friheden ll (Pros and Cons) – which is the second season of a Viaplay Original series, and a series for DR (Danish Broadcasting Corporation) currently untitled.

Andreashald.com


[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…
]

The Front Room Fuzz Lounge – Lizard Of Distortion

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

The volume knob, as it makes things LOUDER!!!

LOUDER!!!

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

My old Arbiter fuzz face from 1966/67. That pedal sounds incredible, but it’s a little bit temperamental when it gets too warm, the work around is to put it in the freezer for 20 minutes to cool the old NKT275 transistors back down and it roars like a lion after that. 

Freezing Fuzz Face Arbiter

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

I actually prefer to be away from any kind of music making when on holiday, I see it as time to reset and recharge my batteries and also allow for a bit of mental clarity.

[Editor: That is also a refreshing way to think]

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

I wish there was a hardware version of Valhalla Shimmer in a pedal format, as it sounds beyond huge!!!! I’d love a Fuzz style VST that sounds close to a genuine old Fuzz Face, sadly I can’t imagine anything filling those boots.

Valhalla Shimmer

[Editor: I love ValhallaDSP plugins too. I find that I use the Particle Reverb algorithm on the ZOOM MS70cdr in the same way as Shimmer. Note: They don’t sound the same, just that I use them for similar musical purposes. There is also a shimmer reverb in the zoom]

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

If  I’m honest I’d say the Elektron Digitakt, not because it was a bad piece of gear, I just couldn’t get my head round it, despite trying, I think my simple brain likes simpler UI or more linear workflow, win some, lose some… ha ha.

Elektron Digitakt

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

I think having access to a DAW at home has probably been the most inspirational piece of gear. You can have all the ideas in the world, but if you’ve no way to capture them, they are soon lost or sadly forgotten….

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

Knowing what I know now, it would probably be a DAW, midi keyboard and headphones/monitors and then get creating.

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

As previously mentioned, I’d say it was my old fully loaded NKT275 Arbiter fuzz face, when conditions are good, it makes the guitar sing like a violin, when the conditions are wrong, its spluttery farts-ville… ha ha.

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

For me  the penny dropped when I discovered  automation in Cubase, total game changer (might not sound too ‘out there’ but I’m a simple guitarist ha ha). It massively helped me to control the dynamics of my tracks and also is a great tool for destroying sound when gradually applied to distortion and bit crusher VST’s too.


Artist or Band name?

John McRitchie

Genre?

Blues/Rock/Doom/Electro/lo-fi

Selfie?

John McRitchie aka. The Front Room Fuzz Lounge

Where are you from?

Scotland.

How did you get into music?

My Grandfather taught me to play bagpipes when I was 13, from there I progressed to electric guitar and synths. I soon realised what I had learned on the bagpipes could be applied to other instruments and also, having to play as part of a marching band developed a strong sense of timing in my playing, as my grounding was in odd time signatures vs. 4/4 of most rock/dance music.

What still drives you to make music?

Both the pure enjoyment of hearing the fruits of my labour and the challenge to keep coming up with something new. I have some close friends who are a sound board for me and it’s always good to get their input too.

How do you most often start a new track?

It’s all very mood dependent, often I’ll start a track with drums/beats just to set a temp then delete them and leave only the instrumental. Sometimes it will be a bit more abstract where I may use some pre-recorded sounds that I slowed down to form more of a soundscape.

How do you know when a track is finished?

For me, the whole premise of writing a track is to tell a story without using words, like every story it should have a beginning, a middle and an end. Often when writing a track it doesn’t always come together in such a linear fashion, you may write a riff or chord structure that,whilst sounding fantastic, might not be appropriate for opening the track with etc (handy tip,record it anyways and save for the future).

The part I find most cathartic is the arrangement process after I have recorded everything into the DAW. By applying the ‘like a story’ method, this is where you can really start to shape your track and ‘trim the fat’ in a sense, I see little value in machine gunning the track with some wild guitar solo if it doesn’t require it or some equally self indulgent “look at me” type of playing, its all about balance.

I tend to do a lot of my work late at night, as I feel that’s when I am most creative and because of this, I always will sleep on a track and revisit with a fresh pair of ears a day or so later, this allows me to be more critical with what stays, what goes and what maybe just needs tweaked to sit better in a mix.

I’ll end this question with a quote that from Takaakira Goto —  ‘Music is communicating the incommunicable’.

[Editor: ‘Like a story’ – I like that]

Show us your current studio

Best creative advice that you’ve ever heard?

My good mate David, from the band Slomatics, advised me to ‘make music for you first’. I took this to heart and have done so since then, if people like what I do, then that’s an added bonus. But as an artist, getting ideas out of your head and developed into actual musical pieces is incredibly rewarding.

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

Instagram The Front Room Fuzz Lounge


[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…
]