Martin Pedersen – Scores Of Zealand

1. Favorite knob or fader or switch on a piece of gear and why?

Space Echo RE-201 Mode Selector knob. Do you really need an explanation… Just look at it:)

Space Echo RE-201 Mode Selector knob

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

Maybe my Juno 106. Great for bass, synth stabs, arps, pads.  

Roland Juno 106 and Rhodes

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

Macbook Pro, 2 Samsung T2 SD’s (1 with samples and libraries. 1 with projects), Beyer Dynamics DT headphones, iRig midi keyboard with sustain.
A laptop. Ableton / Cubase. Headphones. Soft synths – Omnisphere, Zebra, Diva. NI Kontakt and some libraries.
If you’re into strings – Some of the Spitfire Audio sample libraries are pretty  good. Small midi-keyboard (with sustain). And oh, just a quick tip about that…
If you play piano sounds on a small crappy non-weighted midi-keyboard, remember to use the velocity midi effect (in Ableton) on the track for playing with smoother velocities. Without it, it maxes out the vel. CCs real quick. Or a least that’s what it sounds like to me. 

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

Actually none I think. Every piece of hard- or software I have, is in the studio for a reason. After working almost exclusively in the box with soft synths and samples and FX in Ableton and Logic, for almost 15 years, I began to buy more physical gear. Mostly synths with analog circuits and my Space Echo RE-201. But with every piece of gear (hardware or software) in mind to cover different requirements.
Not because of better sound quality, since a lot of the “soft stuff” sounds amazing. But because of the tactile and more experimental experience of turning knobs and pushing faders.
I fucking love to put on the lab coat and just dive in and forget everything around me and just see where it takes me. If I pull up a soft synth, I get often inspired to make something, but I almost never get surprised. If I work on my Arp Odyssey, Lyra-8 or run stuff through my Clouds from Mutable Instruments, I get stuff I would never have dreamed of. It’s all the dirt, irregularities and happy accidents that I find interesting. It’s kind of more relatable on a both a mental and physical level. Specially as colours opposite to the more “clean” and “regular” stuff.  

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

Eurorack and Arturia Beatstep

Can’t really justify how much I spend on my eurorack setup. It just doesn’t get used enough. Same goes for my Moog Sub37.
Sometimes I cheat and use a plug-in… Sorry. 

Moog Sub37 and Lyra

But every time I do use it, specially for more distinct bass, its amazing with the live recorded filter modulation. Then the sound comes alive. 

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

On the “soft” side – Omnisphere, some Kontakt synths, Spitfire string libraries. Hardware – My Juno 106, the Arp Odyssey.

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

A wealthy girlfriend, cause this GAS is a sure way to be broke forever 🙂 

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

My brain
Other than that… Can’t really think of one.

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

For those of you working to picture in Ableton. It’s actually possible to change the framerate. So the film and project are in sync.

Did my first feature film without knowing this and it fucked up the sync. After several YouTube deep dives, several years later (and after switching to Logic) I found a way. 

Crtl and (left mouse click) in the timeline with min/ sec. = Choose framerate 

Pro Tip: Ableton can change frame rate of timeline for sync to film

Artist or Band name?

Martin Pedersen


Electronic or hybrid film music – Meaning a blend of electronic and acoustic instruments, and organic  elements. 


Martin Pedersen

Where are you from? 

Copenhagen. But grew up in the south of Zealand. Moved back just before attending the Rhythmic Conservatory in CPH.

How did you get into music? 

My parents doesn’t play music, but the radio was always on. I started playing saxophone at the age of 12 after watching a badass norwegian jazz quartet by chance on tv in my room. 

Started making electronic music at 14 – SONY Acid Music Studio was the bomb back in the 90s. For me at least.  

What still drives you to make music?

If I focus on my work in film. What drives me is, I just love storytelling SO much. Co-storytelling as a composer or just watching a film or a good show. Or just listening to a piece of music that can be a story on it’s own. It’s all about the emotional responds. To be totally immersed, letting everything else fade away around you. It all inspires my creative work and drives me to be a better storyteller. Film music or, the score, is a vital part of most film. I love amplifying the spirit of the film and storytelling with my music.
Music can reveal a films inner life in a way that can’t be fully articulated in any other way. It can have a telling effect on how the characters in the story come across – on how we perceive what they are feeling or thinking. The more engaging the drama – The truer the story becomes. Ok… I totally stole those lines from somebody. Can’t remember who… But I agree.

How do you most often start a new track?

Maybe a cool place to start is – How and when in the production phase I start composing the music for a new film or show.

Because it also relates to how I start a new track – Or “cue” – as it’s called in film. 

When – It always starts with initial talks with the director. What is the heart of the story. 

Are there musical references to draw from or is that up to me. And how do I translate that into what the DNA of the music will be. The earliest in the productions phase was composing after reading the script.   

Working on the score for the first season of the tv-show “HOOLIGAN” I worked from the script and from dailies (unedited footage shot that day). That gives me an idea of the mood and tempo in the scene. How the camera is worked, the lighting and how the actors express themselves and interact with eachother.

Working on the score for the feature film “What Will People Say” I started working from scenes and a fully edited, but not picture locked film (Not locked meaning – most of the scenes are pretty much lined up, but not cut to the final length or order.) 

How – I typically start with talks with the director about the story and the initial overall vibe. 

Maybe also guided by musical references / tracks / cues. Parts of my score for the feature film “What We Become” was initially used as temp music in “What Will People Say”, before I was contacted to do the score. Temp (temporary) music is what the editor / director uses under scenes to “colour” the scene and drive it along. Temp can also help the composer to make a cue for a specific scene, that have a similar mood / function. Some composers love it. Others fucking hate it. I really don’t mind it. The hardest for me has been composing a new cue, from my own cues from other films used as temp. Making the cue kind of like it, but still sounding original for that specific project.    

Hands on – I work in template in Logic. With everything set up with instrument groups, subgroups and fx groups.  

Logic and Controller

If it’s the first piece of music made for the film or show, I almost always open Logic. Look at the blank template. And go “Oh fuck, how do I do this? Maybe I should just find a job cutting grass or something more tangible. Normally that goes away quite fast. 

I like to think about instrumentation and make sound palettes used in the specific project, before a single note is “written”. 

During the process of working on the score, instruments and elements get cut out or added, defined by what the cues is made for if an instrument just doesn’t fit the overall vibe.

I do write themes. Sometimes from the beginning of the project. Just on a piano. 

But often I’ll start with giving characters or elements in the film, specific individual soundpalettes. Or maybe a single instrument per character as a point of departure. 

On a lot of scenes with underscoring, I start with a pad, evolving atmosphere or bass sound. “droney stuff” used as a bed for others elements. 

Sometimes you need tempo driven elements to start it off. Arps or percussive elements. Sometimes a theme. I can start out with a massive sound in one scene. An almost do nothing in another. It’s all up to what serves the storytelling. And the film overall.

So the answer is… It depends. But I usually start every new track / cue with two questions – “What purpose does the music have in this scene? What is the feeling of the music in this scene?” And musically go from there.

I’m pretty heavy on the synth and electronic side. I use Omnisphere, Arturia Analog Lab and NI Kontakt libraries a lot. 

So often I’ll set up interesting sounds within that. Some sounds from libraries. Other sounds are based on samples I’ve found, put into Omnisphere’s sampler and processed in different ways.. 

If a cue calls for something weirder like pitch-modulating or microtonal stuff, I usually start with using my analog synth’s – The Arp Odyssey or Lyra-8. If a scene calls for a more melancholic mood, I love using my Juno 106, for softer pads with a bit of modulating drift.      

Fun fact – I often get inspired by working together with the sound designer on a film. Maybe they use some auditive elements – buzzing light fixtures or aircon sounds I dig. I then use that sound or something like it processed, as musical elements. When I did the score for the feature film “What We Become”, Peter Albrechtsen – the sound designer on the film, inspired me a lot. 

I incorporated some of his sounds used as musical components. It glues the music and sound design well together.

I especially dig the primary sound in the musical palette of the SWAT team. That sound was initially made out of a metal chair being dragged over a concrete floor in an very large room. So sometimes my cues starts with a “real” sound that’s been processed.

How do you know when a track is finished?

When nothing weird sticks out, the scene moves along and you are engaged all the way. On a more overall view. A film is never finished. It premieres. Meaning you have until your deadline… Then it’s finished no matter what. 

Show us your current studio

Martin Pedersen’s Studio
Martin Pedersen’s Entrance
Martin Pedersen’s Studio Lounge

Best creative advice that you’ve ever heard? 

Love what you do. And try out new stuff.  

A new approach to the material – Like working  with certain dogmas, new gear, a new instrument. Listen to genres you normally don’t do. Things that pushes you out of your typical musical comfort zone. The more I learn, the more I keep re-falling in love with music.    

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

One of the bigger recent things I’ve done is the tv-show “HOOLIGAN” season 1. 

These days I’m working on my second album titled “COCOON”. Release later this year. Spotify

[Editor: You can find more about Martin at his site]

[Editor: There are affiliate links to the relevant gear throughout the articles. It helps to support this blog. In fact, should you be needing some patch cables or guitar strings. Then clicking on one of the above links and buying any product that you prefer, will help the blog… doesn’t even have to be the ones in the link. Thx]

JayE – Diamonds From The Basement

[Editor: In case you didn’t know this… JayE is a Diamond record producer. That means over 10 million copies sold. And this was back when actual units got shipped and not streamed. He might not be making music in your preferred genre, but he is a heavyweight. And it is quite wonderful for me to share his answers with you all]

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

Memory Moog dual Frequency knob

The frequency knob on the Memory Moog. It’s a duel knob that has a center knob inside for fine tuning. Really unique and useful for a single knob.

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

My MPC3000, I wish it had CV and Gate out, like the current MPCs (MPCX and MPC One) The 3000 is a beast other than that.

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

OP1, iPad, and A Pocket Operator. 

OP1, iPad, and a Pocket Operator

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

That’s a tough question since so many pieces of hardware are now software. So I would have to say, I wish maybe a iZotope RX9 hardware piece of gear would be awesome. I use it a lot to remove elements from vinyl record samples, like removing the vocals to make instrumentals , or just have the drums or the bass stand alone of a sample.. it’s really powerful and would be pretty awesome to have right next to my turntable at all times and move knobs on the fly to remove elements.

iZotope RX9

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

I sold my OSCar and TR909 a few years back. I really wasn’t using them a lot cause they both had internal issues, that I wasn’t at the time knowledgeable of, but I probably could fix them now on my own, with a bit of help from friends and searching on the internet.

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

I would say my MPC 3000, it just has an awesome feel and its also the one piece of gear I can be blindfolded and still work with.

Akai MPC 3000

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

A Juno 60 or 106… I feel like its a perfect synth to learn synthesis and learn to design sounds.. I started off just using presets and a lot of my early boards were too complicated to sound design on the fly… like the Korg Trinity and K2600.

A chorus of Junos

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

That’s tough cause if it is annoying, I usually replace it for something non annoying… I guess I would say the ASR10.. I love the sound, but I still have yet to master it.
It has so many pages of options, and every ASR 10 I have had, has been unstable, where the more tweaking you do, it freezes up or crashes, which is annoying… but it is one of the warmest samplers I have ever heard… nothing sounds like an ASR 10 sampler.

Ensoniq ASR10

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

I recently discovered step sampling on my MPC 3000 I always seen it, but never dove into it.. back then I never found a need for it… and thought it wasn’t practical on how I record, but now I use it a lot.

Artist or Band name?

Jay E




Where are you from?

St. Louis.

How did you get into music?

I was a house party DJ that loved music and decided I wanted to make the same kind of records I was spinning.

What still drives you to make music?

New equipment and new music from different genres of music… I rarely listen to hiphop… even though that’s what I’m known for.

How do you most often start a new track?

Lately its been sound designing and wherever that takes me. I used to just start with drums or a melody.. but after 20+ years of making music.. I tend to try new techniques and less obvious ways of starting music making.

How do you know when a track is finished?

When I have a good idea on what the verse and hook sound like. After that I just structure and do breakdowns

Show us your current studio

Fisheye in the studio
Panorama of the JayE’s studio (Hint: this photo is clickable to view a big version)

Best creative advice that you’ve ever heard?

Limit yourself to one or two pieces of gear and it forces you to be creative in a new way.

New sounds are available at

Instagram/Facebook/YouTube – JayEBeats

Prior Use – Andreas Bak-Reimer

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

Gettin’ it on with the Roland SH-1

The power switch on the Roland SH-1. It’s an old synth, and the button has a distinct mechanical quality to it. The way it feels, the way it sounds, and the way the power LED lights up immediately – it just feels like getting it on! The SH-1 does that really swell PWM (pulse width modulation) that I enjoy immensely, and simple as it is, it invokes an atmosphere of a simpler time, with a lot of nostalgia to it.

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

My Roland Juno-106 is close to perfect for it’s purpose. Countless 80’s and 80’s emulating tracks have been born using it, and it’s built in a way that grants plenty of sweetspots, and not so many dead ends. Some people prefer non-DCOs, and have plenty to say about the 106 being a budget synth, but mine’s fresh back from service, and it makes me happy.

Roland 106

I sometimes wish it had another oscillator with an easy option for detuning, to get a wider sound from it, but there is a lot to be said about limitations to foster creativity.

… Also, I am not particularly fond of the way the resonance sounds when it’s cranked way up. It’s glassy instead of being juicy – and rarely that’s a good thing. On the other hand, I don’t have any other things that sounds like that, so it’s probably best to leave that unchanged.

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

Roland TB-03

Laptop, almost certainly. I am no where near anything dawless, and don’t have anything that I could arrange anything with, besides a computer. If I weren’t writing, but merely playing around, I would bring my Roland TB-03, or Yamaha Reface CS – built-in speakers and battery operated, they are 1. 2. go!

Yamaha Reface

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

Absynth, Brain, Modular.

Software -> Hardware: I think Native Instruments Absynth. I have had that since forever, and still use it heavily. Also, I would like to see the physical shape/color/layout of such a thing!


Hardware -> Software: My brain. Although it feels soft at times, I consider it hardware. It certainly interfaces like 40+ years old hardware (poorly that is), it is sometimes difficult to control when hot or cold, and it’s almost never in tune. Also – patch memory is severely limited. If I could instantly recall patches, production tricks, channel-settings and export/bounce the tunes and sounds directly, like with a lot of software, then… Well, it might take out the fun at times.


To be serious: My modular setup would be nice as software – mainly for patch recall.

Eurorack modular

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

I never sold anything ever, so that doesn’t apply. And therefore I never regret selling anything either!

I once bought a portable recorder, thinking I could get a lot of good sample material that way. I only did once, but it never made it into a track I finished. I have fond memories of getting up early to catch a few big trucks on big roads going by, though… So, no regrets I guess…

Tascam Recorder

I bought an Ensoniq SQ-R module, because it features Transwave synthesis. Never used that, but it had a nice belltree sound that I used once or twice. It’s probably the thing I’ve bought that comes the most close to being a regret.

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

My trusty iPod classic 80 GB. That’s a lot of late 90’s goatrance… Listening to that is what inspired me most over the years. It had a growing line of dead pixels over the course of a year, and when the line was fully dead, the pixels started working again from the beginning of the line! A year after, the whole display was good again. That is probably my strangest experience with any electronic gadget ever.

iPod classic

If I should channel this to some sort of an inspirational tale, it would something like how the small and weak Hobbits defeated the mighty Sauron – it might appear to be failing, and an unlikely source of victory, but give it some time, and it will surprise you.

That is also why I have never sold anything. You never know.

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

A decent room for working in. Go all crazy thinking about getting the ‘right’ monitors, nice preamps, the perfect cables (ugh!)… But if your room is horrible, none of that matters. I have sunk a fair bit of time into acoustic treatment, and it has made a world of difference.


Also: time. So that’s it. Time and space – that’s all I want. At first…. Then a Mac.

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


Mac laptop

Again, my computer. Ill timed software updates, one too few CPU cycles in stacked projects, failing disks… The woes are many, but I wouldn’t have written a bar of music without it.

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

Roland JV-2080

About 20 years after I got my Roland JV-2080, I realized it was capable of faux PWM. If I set a regular sawtooth wave on one osc, and an inverted sawtooth on the other, and modulate pitch slowly and independently, then it happens. I wish I had known that 20 years earlier, but that would probably mean I wouldn’t have bought my SH-1 (with the fab power button) – so it’s all good!

Artist or Band name?

I have mainly been producing under the moniker “Amygdala”. Goa and psychedelic trance in the old (old!) sense of the word.

Lately, I have been making some drops in the already over saturated ocean of synthwave music. I enjoy that very much, and as a child of the 80s, it takes me back to a simpler time – worries forgotten. The moniker for this activity is “Prior Use”.


Many kinds of trance music: Goa, psychedelic, melodic, uplifiting, minimal, tech-, progressive.
Besides that, a bit of synthwave, and the odd “psy-bient” piece.


Andreas Brain

Where are you from?

I am from Denmark – just a tad north of Copenhagen, but most of my music has been produced in Århus. You can really tell what a big difference those 170 km makes!

How did you get into music?

My parents and brother. Music was omnipresent at home when I grew up. My parents encouraged me to take up playing violin when I was 6, and I have had some great experiences with that. When music production became reasonably available to the regular consumer with computer interest, I was hooooked! At first, it was just another thing I could do with the computer, but rather quickly it was pretty much all I ever did with it.

What still drives you to make music?

The two biggest drivers are probably the “flows” and “highs”.

Flow when I can be completely engrossed in production, enjoying the situation, and getting something done which I like and feel as an accomplishment. Time flying as I ignore my body’s attempts to drag me to the loo, trough or bed.

Highs when I hit something that (in the moment) is spectacular – a catchy tune, a sweet timbre, or a really dope fill or transition. It can still make me laugh after all these years, and the surge of energy and motivation I get from that is unparalleled.

How do you most often start a new track?

Sometimes I start with a very simple idea like a tune, a chord progression or a synthesizer patch concept. Then Drums. Then bass. That’s the most usual case, although sometimes I skip directly to the drums. Lately, I have been thinking that it’s not the best way to go, as I am finishing fewer and fewer tracks. I often end up with a pretty decent groove, but lacking the centerpiece idea that makes the track stand out. I polish the rhythmic section and transitions, until there is not space left in the spectrum (frequency and/or mental) for anything else.

So, from now on, I am trying to start off a new track with an idea, and then build drums and bass around that. We’ll see how that goes.

How do you know when a track is finished?

When a track has all the arrangement elements (intro, good stuff, breakdown, great stuff, climax, outro – or some other configuration), I bounce it and listen away from the studio. I make a lot of notes I want to change, enhance, remove, whatever. When that list feels complete, I do those changes. Hopefully I am happy with the result, because at that point I am usually fed up with the piece. I am not one for endlessly tweaking everything, and I have a tendency to detail focus early – which means I “decide” that this bit is perfect, and then unconsciously prohibit myself from editing it (too much 🙈).

I know there is some degree of contradiction in the above, but I’ll just hide behind “you can’t argue art”.

Show us your current studio

Andreas Studio
Andreas synths

Best creative advice that you’ve ever heard?

I bought a CD from Eat Static sideproject Dendron (Merv Pepler). I think he burned the disc himself and mailed it. Included in the package was a makeshift invoice with the words “always experiment” on it. I think that’s pretty good advice. It’s hard, because as time grows scarce I tend to stick to the beaten path, but even though it feels like it’s safer and more productive that way, I get less enjoyment from it.

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

As mentioned above, I dabble in synthwave. Swing by and tell you friends.

[Editor: if you want to check out Andreas psy-trance stuff it’s here:]