1. Favourite knob or fader or switch on a piece of gear and why?
UAD 1176 Rev E
The input knob on the 1176 compressor is my go-to. There’s this little trick I love—turning the attack off to turn compression completely off . It makes the compressor act more like a tonal distortion, adding this raw, saturated tone, especially on drums or guitar. Then you use the Input and Output knob to taste. Of course it has to be an emulation in software that replicates the whole circuit, and not just the compression part.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
Sontronics Helios Microphone
Yes! I’ve got this Helios microphone that sounds great, but it has this high-pitched noise that I can’t control. I bought it used, and it has some weird charm, but that noise can ruin a take if it decides to act up.
3. What setup do you bring on holiday or tour or commute, etc.?
I keep it simple with a nylon string Spanish guitar. It’s not a fancy one; just something that feels like home. Perfect for when I’m on the go and want to mess around with ideas.
Acoustic Guitar
4. What software do you wish was hardware and vice versa?
Decapitator by Soundtoys, hands down. I wish it were hardware. It adds this perfect, warm saturation, like analog gear. I use it on pretty much everything!
5. Is there anything you regret selling… or regret buying?
Oh, definitely. I bought this beautiful 1962 German-made 335 style electric guitar that looked incredible but played horribly. I couldn’t get a decent chord out of it. I ended up trading it for a Strymon Timeline pedal, which was a much better decision.
Strymon Timeline
6. What gear has inspired you to produce the most music?
Guitars, absolutely. I’ll start with guitar ideas and build the rest around them. I think it’s my main voice as a musician; it’s where my best ideas come from.
Fender Jazzmaster
7. If you had to start over, what would you get first?
I’d go for a guitar again, for sure. It just feels right, and it’s where I get the best start on my ideas.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
My tape machine, a Revox A77. It’s a hassle to maintain, and it breaks down more than I’d like, but I can’t imagine not using it.
Revox A77 Tape Recorder
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
There’s another trick I like besides the 1176 one. It’s the classic with the Pultec EQ—the ‘boost and cut’ technique. Basically, you pick a frequency, boost it, and then cut it at the same time. Sounds strange, but it actually saturates the tone in a way that just works. I use it a lot because it brings this really smooth, controlled sound, especially on drums or if I’m running it on a bus. It’s one of those little moves that changes the character of the mix without being too obvious.
Pultec EQ from UAD
Artist or Band name?
Just my name — Lucas Delacroix.
Genre?
Alternative… though it’s a mix. Could be rock, could be something else entirely. It depends on the track.
Selfie?
No selfies here, but maybe a picture of my hand?
Monty Burns as Howard Hughes tattoo
Where are you from?
Buenos Aires, Argentina. Currently living and working in Copenhagen, Denmark.
How did you get into music?
Guitar was always around when I was growing up. I think it was just natural—I’d mess around on it as a kid, and it felt like the most obvious thing in the world.
What still drives you to make music?
Sometimes I hear a specific guitar tone or melody, and it just fires me up. I could spend years chasing that feeling, trying to capture it in a track. It’s like a love affair that never gets old.
How do you most often start a new track?
Always with guitar. I’ll get an idea down and then build out the rest from there.
How do you know when a track is finished?
It’s a gut feeling. It’s like there’s this small voice that just says, “Alright, you’re done.” It’s rarely 100% satisfying, but at some point, you just know it’s time to move on.
Show us your current studio.
I like keeping it low-key. Let’s just say it’s an underground space, literally.
Caveman Records Studio
Best creative advice that you’ve ever heard?
It seems like it’s obvious, but mix at a low volume. I realize it feels nice to listen to a song loudly, so it feels like the earth is moving and something dramatic is happening. But it really does you no favors, if you’re totally deaf after mixing for an hour.
Promote your latest thing… Go ahead, throw us a link.
I’ve got a playlist with my latest productions which I have recorded and produced for other artist. Check it out. Also, if you’re curious about my own music? Here’s an album called Somos.
1. Favourite knob/fader/switch on a piece of gear and why?
In terms of aesthetics and tactility, it has to be the main rotary knob on the ZOIA by Empress Effects. The way it subtly clicks is super satisfying, and the chunky chrome design stands out compared to other pedal knobs. In terms of functionality I’ll go with the D-C-V (Dry-Chorus-Vibrato) knob on the Walrus Audio Julianna.
Dry-Chorus-Vibrato knob on the Walrus Audio Julianna
It controls the stereo spread of the effect and the mix of chorus and vibrato. The Julianna is an ‘always on’ pedal for me – the modulation sounds great and D-C-V knob helps to always find that sweet spot. I typically use the Julianna to make lofi guitar tones using the random LFO setting and a slow vibrato.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
I’ll have to go with the ZOIA again for this question! It’s one of my favourite pieces of gear and I use it in pretty much all of my music. It’s both dauntingly complex and surprisingly intuitive. It’s mind-blowing how much Empress Effects managed to cram into this small box! I’ve been using it for a couple of years now, but I still feel like I’ve only scratched the surface of what it can do. I use it in all sorts of ways, such as a semi-generative synthesizer, looper, midi controller and of course as a multi-FX unit.
ZOIA by Empress Effects
My only complaint is that because it does so much it’s difficult to know where best to put it in the signal chain. One possible solution would be a set of additional inputs/outputs for an FX loop, and the ability to assign modules either before or after the FX loop. A couple of additional assignable knobs would also make parameter control more immediate.
3. What setup do you bring on holiday/tour/commute etc.?
I’m a fan of the Elektron Model:Samples for making music on the go. It’s super portable and I like the directness of the ‘function per knob’ design. It’s perfect for quickly sketching out ideas whilst travelling.
Elektron Model:Samples
Other devices offer more features, like the OP-Z, but I have a soft spot for the Elektron workflow. I don’t use it in my main setup due to the lack of direct sampling, but it’s a fun device to kill some time with.
4. What software do you wish was hardware and vice versa?
I predominantly use a ‘DAWless’ setup, so I don’t have much experience with software. I only really use my DAW (Studio One 5 to be exact) to record/master and try to do everything else using hardware. Tactility is an integral part of making music for me, I like the physical connection to whatever I’m writing. I don’t have the same drive to write music when I’m working on a laptop. I also find a limited palette of sounds to be quite inspiring, so the inherent limitations of hardware gear can paradoxically be liberating.
Nathan’s pedalboard of tactility
That said, I would love a virtual version of my pedalboard so I could try out different setups without having to tear the whole thing apart!
5. Is there anything you regret selling… or regret buying?
I recently sold my Walrus Audio Slö reverb pedal and replaced it with a Meris Mercury7. Although I really like the expansive stereo sound of the Mercury7, I definitely prefer the modulation on the Slö. It has a unique dreamy quality which is perfect for lo-fi reverbs and woozy textures. I would rebuy it in a heartbeat if they ever made a stereo version with a random LFO mode
Sovtek Big Muff
My biggest gear regret is not looking after my Sovtek Big Muff. Unfortunately it’s been battered from years of gigging and no longer has the original knobs or switch. It’s just too temperamental to use regularly in my setup now.
6. What gear has inspired you to produce the most music?
Roland JU-06A
I’ve been really inspired by the Roland JU-06A synth over the past year, it’s the synth I come back to most often. I love the range of sounds, the simplicity of patch design and its compact size. Roland did a great job replicating that classic Juno sound in a small and affordable package. I also get a lot of inspiration from my humble Boss RC202 loop station. I love working with loops and layers, and the RC202 offers a good balance of features and usability. All of my tracks begin as loops, and I wouldn’t know where to start without my RC202.
7. If you had to start over, what would you get first?
This is a bit of a cop out, but if I had to start over I would probably start with some guitar and piano lessons! I’m completely self-taught, so I sometimes feel a little limited by my technical skills. To answer the question more directly, if I was starting over with electronic music production I would probably begin with an Arturia Microfreak.
Arturia Microfreak
Due to the wide range of features and relatively low price, it’s a great introduction to hardware synthesis. The keybed isn’t for everyone, but the range of synth engines, the intuitive modulation matrix and the analogue filter make it incredibly good value. If it had built-in FX it would be the total package. Although I don’t use mine much anymore, I still consider it to be a modern classic.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
As much as I love my Elektron Digitakt, it can be a real pain to use sometimes! There are a lot of functions which are not immediately apparent, and it takes time to learn how to use it properly.
Elektron Digitakt
I actually prefer the usability of its little brother, the Model:Samples, but the additional features of the Digitakt make it substantially more powerful. It’s basically the brain of my setup, even though I probably don’t use it to its full potential. Elektron have done a great job with software updates over the years and have added a number of clever features, like the secondary LFO.
9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?
The Expression Ramper by Old Blood Noise Endeavours is a deceptively versatile pedal, which offers a unique approach to expression control. There are so many ways to use this tiny pedal to drastically change how other pedals work.
Expression Ramper by Old Blood Noise Endeavours
My favourite trick is to use the Expression Ramper to control the pitch parameter on the Red Panda Particle v2. Whilst in reverse mode it creates a fantastic reverse pitch-shift effect which cascades with the delay repeats.
Artist or Band name?
Accelerator Jengold.
Genre?
A mix of lofi, synthwave, dreampop and shoegaze.
Selfie?
Nathan
Where are you from?
North Wales, UK.
How did you get into music?
Music has always been an important part of my life; I’m thankful that my parents and brother introduced me to artists like The Cure, Radiohead, Tom Waits, Massive Attack, Godspeed You! Black Emperor and Brian Eno. I took up bass when I was a teenager and played in a few post-rock and post-metal bands whilst in University. I later moved into electronic music production using software like Reason, and then got into hardware gear with an Arturia Microbrute (which I sadly no longer own).
What still drives you to make music?
I’ve always enjoyed being creative and having a musical outlet helps me to cope with stress and anxiety. I like having a way to express how I feel, even if I don’t always understand my own thoughts and feelings – which probably explains why most of my music has a downbeat or melancholy vibe. Producing something tangible from my creativity, like a finished song or EP, is a big driver for me. I think this is linked to my preference for tactile music production; using software feels too ephemeral to me. I love conceptual music and take inspiration from a wide range of books, films and other media when writing. Short-form jams on Instagram are my primary output, so I’m super inspired by other artists with a similar approach like Andrew Black, Joshua Dowell and Simon Von Walbrook. I’m really proud to have had my music featured on microbiology posts by Chloe Savard and Penny Fenton, and I would love to produce more music for other media.
How do you most often start a new track?
I typically start with sound design, either creating a unique guitar sound using various FX or developing a new synth patch. I’ll then loop a simple melody and experiment with different layers until it feels right. Sometimes I focus on the melody, other times I focus more on the overall vibe, it just depends on the individual track. Percussion usually comes last so I can choose samples and rhythms to fit the music.
How do you know when a track is finished?
Most of my music is based around looping and building layers of melody, so an important skill is knowing when to stop. When I can remove a layer and the track sounds better, it’s probably finished! If I get stuck on a track I’ll take a break for a few days and then come back to it with a fresh perspective. My least favourite part of making music is mastering, so I’ve developed a couple of mastering templates in my DAW to help speed up the process and remove some layers of indecision. For official releases on Spotify (etc.) I rely on my good friend Chris Walker, who always does a great job fixing up my masters.
Show us your current studio
Synths, samplers and loopers
My setup is in a tiny office/walk-in wardrobe in my house, but it has pretty much everything I need. I’m planning to add an analogue synth at some point (like a Pro-1 or Minilogue) and a Colour Palette electronic kalimba by Lottie Canto.
Studio desk
Best creative advice that you’ve ever heard?
I’m going to echo what Dev Bhat (Shipwreck Detective) said in his interview for this blog: “keep it simple, stupid!” This really resonates with my own approach to writing music. There’s a skill to communicating an emotion, theme or concept in an honest and direct manner without resorting to cliché. I like to embrace simplicity and try to express myself with a limited number of components. An important part of being creative is trusting your instincts and not focusing too much on what does or doesn’t work in theory – theory should be used to help us translate and communicate our ideas rather than to provide a rigid framework for them.
Promote your latest thing… Go ahead, throw us a link
I regularly post jams on Instagram (@accelerator.jengold), so that’s the best place to keep up to date with what I’m doing. My music is also available on most streaming platforms, just search for Accelerator Jengold. My latest EP, Pyre, came out last year and is full of weirdo synthwave tunes, go check it out! I’m currently working on a new EP and some upcoming collaborations. Thanks!
1. Favourite knob/fader/switch on a piece of gear and why?
Uher Speed Knob
The speed selector on my Uher. The older model has a tiny gear shift for selecting the speed, but the new one just has a knob; a knob with a nice feel and weight. When you move it, you can feel the shifting of the gears inside as the mechanisms thunk into place. It’s immensely satisfying.
Uher Speed LeverUher Tape recorders
My second place choice is the hi-hat decay knob on my 808 clone. Riding that during a groove is endless fun.
808 Hihat decay knob
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
It might be the SE-02. The first synth I really learned how to use was the SH-09. It taught me how flexible a simple architecture can be, and how rewarding learning how each piece of a synth works together is. It taught me that the controls are as much a part of the instrument as the keys. Ever since then, no synth has been as fun to play as a solid monosynth.
Roland SE-02
The SE-02’s very much in the same vein, and it seems to be able to scratch every sonic itch I have. The delay’s grainy in all the right ways. The filter has a character that doesn’t make me think “Moog” for some reason. The filter has grit, filth, and somehow feels cold. Not machine cold, but unfeeling in the same that the universe is. When that filter sweeps just right it feels like the dawn, it feels like the slow and sudden heat as the sun rises in the morning. I love this thing. There’s magic in the way the envelopes and filter interact with the delay.
There are three things I’d change. The first thing I’d change is the knob taper. It’s exponential and it makes playing the knobs an extremely delicate procedure. The second is I really wish I had full ADSRs. That extra level of control would be much more welcome than panel controls for portamento. The third is the sequencer. It would be a lot nice if I could have longer sequences, and I really wish the sequence transpose could latch.
3. What setup do you bring on holiday/tour/commute etc.?
The obvious answer here is the OP-Z. It’s fun, quick, and easy to use. It’s also super easy to take on a plane. Making a full track with just this is surprisingly easy and fun. It definitely caught me off guard with how user friendly and fun it is to use.
Teenage Engineering OP-Z
Realistically and historically, though, my preference is to bring either the Volca FM and Mini KP or the Roland SE-02. When I sit down to play I’m not typically trying to write or work on a song. Usually I just want to explore a sound or a musical phrase. The SE-02 and Volca FM are excellent for sound exploration. If I want to make a minimalist composition these are my go-to pieces of gear, and fortunately they’re small enough for a carry-on.
Korg Volca FM and Kaoss Pad Mini
4. What software do you wish was hardware and vice versa?
I am (un)fortunately a luddite. When I record or make music it’s almost entirely analog. One thing I wish I could do with my hardware setup is automate parameter controls. There are ways to do this if I went modular. If I used software I know I could automate some of the parameters of my physical instruments. Bringing Windows, Mac, or Linux into my setup would violate a lot of what my setup’s built on: spontaneity. I can write and record a song relatively quickly and easily, without worrying about system updates or getting sucked down the black hole that is the internet.
Analog recording
This is typically just called a DAWless setup. But I really don’t like that nomenclature. It defines a musical approach as being the absence of something, in a way. Really I just like playing instruments and don’t want to try and play a computer like an instrument.
5. Is there anything you regret selling… or regret buying?
DSI Prophet 6
The Prophet 6 is a rare animal. I’ve bought a lot of gear that I regretted, but this one the only one I’m keeping. It sounds great and it’s super flexible, but it has a lot of little design choices that drive me nuts. The problem is it sounds sooooo good. So, when I use it I love the sounds I get, but I always find myself frustrated by something.
It seems like it’s made for people working in studios who want to lay down tracks, or sample its lush sounds to use in a DAW. Regardless, it doesn’t seem to be made for my workflow.
DSI Prophet 6
But I am going to keep it around because it sounds ridiculously nice. The sound is so rich and deep I forget how annoying it was to program it. It’s like hiking up a mountain with uncomfortable shoes. It’s a real pain at times, but the views you get make the discomfort worth it.
6. What gear has inspired you to produce the most music?
The Volca FM is definitely my most inspiring. It’s endlessly versatile, and has more features under its hood than it has any right to for its size and price point. It has the wild and wiry sounds FM is known for, and the limited controls on the surface are deceptive in their simplicity. It’s easy to rely on presets, and tweaking the few controls on the surface gets you tons of control. It also plays nicely with any effect you want to pair it with.
Korg Volca FM
It’s an instrument I have a love-hate relationship with, though. I’ve owned three of them. Whenever I try to dive into the parameters to do some deep editing, it make me want to toss it out the window. The balance of features, and how easy it is to switch between playing modes to introduce variations makes it really fun to play.
7. If you had to start over, what would you get first?
The Jazzmaster. Even though any synthesizer can run sonic circles around any guitar/pedal combo, it feels more emotional to play than any synth or drum machine. Fiddling around with the different intervals on the neck taught me everything I know about music, too. It’s cliche as hell, but playing a guitar with some fuzz and delay could keep me happy forever.
Fender Jazzmaster
8. What’s the most annoying piece of gear you have, that you just can’t live without?
The Zoia is hands down the most useful and inconvenient piece of gear I own. If I have an idea that I can’t achieve with anything else, the Zoia can usually get me close enough. It does what it does better than anything else I know of, but I wouldn’t want to use it with a band.
Empress Effects Zoia
9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?
Envelopes are surprisingly underrated. Clones of “good” ones don’t really get talked about, and people don’t really seem to covet and worship the exact curves of one over another’s.
No two synths I’ve played have had the same envelopes. Each one has its own type of pluck, swell, and decay. It feels like they’re what transform a synth into a playable instrument. I wish there was more emphasis on modulating and controlling their parameters. Slight modifications to the decay of an adsr can completely transform a bland sequence. They really breath life into every sound.
Artist or Band name?
Willy
Genre?
I’ve never been good at sticking to a genre. It seems to waffle between synthwave, cinematic, harsh noise, and synth-pop.
Selfie?
William ‘Willy’ Stewart
Where are you from?
Benson, Utah
How did you get into music?
My mom signed me up to play violin in my middle school’s orchestra. After that it was relatively easy to play bass in my friend’s band. From there I was hooked.
What still drives you to make music?
It’s an emotional thing mainly. It helps me experience my emotions. Lately when I sit down to play it’s after a rough day, and it helps me process what’s happened. Other times, it’s when I’m feeling numb, and playing helps me open up and experience my emotions. This is essentially why I haven’t recorded very much music. It’s usually an expression of anxiety, depression, or fear. So, I don’t really want to live in that moment long enough to record it.
How do you most often start a new track?
Most often it’s with a riff or a phrase. I’ll have an idea for a sound, or find one via knob twiddling, and then I see what notes feel good with that sound. Once I’ve got something that makes me happy, I start seeing what other sounds I can layer in to compliment the original sound.
How do you know when a track is finished?
When I can listen to it without wincing, and it doesn’t feel empty. If I can listen without wincing it means I don’t have anything to redo, and as long as it sounds “full” I don’t need to add anything else.
Show us your current studio
William’s studio
Best creative advice that you’ve ever heard?
Play every day. Some variant of that’s what I hear all the time from everyone, but there really is no better advice. In my twenty years of music making experience, this advice has always held true. If you’re not inspired then try learning theory, practicing your technique, try reproducing real world sounds with synthesizers, try something outside of your comfort zone, or just have fun making noises. Keep at it every day to keep your tools sharp, then you’ll be ready to act when you actually have something to play.
Promote your latest thing… Go ahead, throw us a link.
