1. Favourite knob, fader, or switch on a piece of gear—and why?
That’s the FREQ knob on the Serge VCFQ filter—pure magic for bass. I almost always run it in low-pass mode; it’s got this gritty, alive quality that roughs up even the simplest sounds in the best way. It’s a core part of my setup at this point. I’ve actually had to fix it twice from how much I push it… says a lot about how essential it’s become for me.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
Definitely the Octatrack. It’s complex, versatile, and can do almost anything. Whether I’m using it as a performance mixer, sampler, looper, or effects unit, it adapts to whatever I need. It feels very “modular,” if that makes sense for eurorack users. I use it as the main hub for most of my projects, mixing different sources together.
Even though it came out in 2011, it still feels ahead of its time. People are still sharing new tips on forums regularly. Honestly, I wouldn’t change a thing. It’s tricky to learn, but totally worth it. If you compare it to learning piano or guitar, getting comfortable with the Octatrack in a couple of years is a pretty good deal, haha.
3. What setup do you bring on holiday, tour, or commute?
It changes every year, but I always put a lot of care into it. There’s something I really enjoy about designing a compact setup that still brings inspiration. A few of my favorite “holiday rigs” have been: 1) iPad 2) Laptop with Strudel, the browser-based TidalCycles 3) Monome Norns Shield + field recorder
4. What software do you wish was hardware—and vice versa?
I’m a big fan of some of Hainbach’s iPad apps, especially Gauss Field Looper by Bram Bos. It’s a beautifully designed tape-style looper that’s super tactile and sounds incredible, especially with its built-in bit reducer, which adds a nice digital grit. I even recreated a similar patch on the Octatrack which does the job quite well.
On the other hand, I wish there was a desktop version of Monome Norns. It’s an amazing environment, but very tied to its hardware. I’d love to use some of those scripts on my laptop without needing the box.
5. Is there anything you regret selling… or regret buying?
Honestly, I don’t really have any regrets. When I first got into Eurorack, I bought a mix of modules from all sorts of brands. That phase helped me figure out what worked for me. Over time, I sold most of those and kept the ones that felt right.
Now I mostly stick to systems built around Make Noise and Serge. It helps me stay focused and more creative. If I’m not using something, I pass it on. Gear should be played, not just sit on a shelf.
6. What gear has inspired you to produce the most music?
Classical guitar. It’s not my most used instrument, but I really love its warm sound and how flexible it is. It was my first instrument, and even though I mostly stick to cowboy chords, it always feels good to play. No cables, no setup, just pick it up and go.
For my last album “Arquitectura”, I used a lot of flamenco-inspired phrases from maestro Pedro Javier González. They brought something really special to the music.
7. If you had to start over, what would you get first?
I’d keep it simple and affordable. You don’t need to spend a ton of money to make great music. If I were starting from scratch, these would be my essentials: 1) an iPad for sound design and recording, 2) a field recorder for capturing sounds, and 3) a sampler for building tracks and performing.
The iPad is super versatile. I use it with the AUM app as a mixer. To round it out, I’d add the Moog apps, especially Animoog Z and Minimoog, which sound great and are a good deal. I also use Koala, which is like a mini SP-404. For more experimental stuff, I love Hainbach’s apps like Gauss, Fluss, and Noises. For live setups, I’d add a basic audio interface (I use the Roland GO:Mixer) and a MIDI controller (like the Akai Midimix). You can get the whole iPad setup for under €500.
For a field recorder, any Zoom, Tascam, or Olympus will do. I use a Zoom H4n and an Olympus LS-11. Both work great, I even found the Olympus used for just €60.
As for a sampler, Koala app might be enough on its own, but if there’s room in the budget, I’d go for a newer Akai MPC (Live or One). They’re powerful for both sound design and live performance, packed with solid synths and strong sampling features. For non-experimental music, I’d even pick one over my beloved Octatrack.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
The Monome Norns Shield is a super powerful little box, with an amazing community behind it (shoutout to the Lines forum). I’m not a coder, so I know I’m not using it to its full potential, but even without coding, it can do so much.
Some scripts can be a bit tricky, with menu diving and button combos, but it’s totally worth it. A few of my favorites are:
- benjolis – a digital Benjolin
- dronecaster – great for thick drones
- icarus – Monotron Delay-style synth
- molly_the_poly – Juno-6-style synth with random patches
- oooooo – six-voice tape-style looper
- passersby – a West Coast-style synth voice
All of these have made it into my albums. That said… I fried mine. Tried to fix a broken encoder and ended up burning the PCB. Thinking about upgrading to the full Norns now instead of just the Shield.
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
Honestly, I’m a bit late to this, but I’m really into feedback and making sound without external inputs. Lately, I’ve been having fun patching my small Euro Serge without using oscillators. It’s not just about music, it’s about exploring sound and how different devices work together. It feels like finding the machine’s soul.😀
Artist or Band name?
Ivo V. My active projects are Les Eines (The Tools), a solo project influenced by ambient, west coast synthesis, and musique concrète, and Refugi de Fauna Salvatge (Wildlife Refuge), a collective project. We use live coding tools (Tydal Cycles, Supercollider), trumpet, modular synths, and samplers. Crazy stuff!
Genre?
abstract electronic, alien folk, kosmische.
Selfie?
Ivó Valdivielso aka. Ivo V
Where are you from?
I’m from Barcelona, though I currently live on the outskirts, in the Baix Llobregat area. It’s a nice place full of creativity and great cultural initiatives.
How did you get into music?
I started teaching myself guitar. Since I couldn’t find any bandmates, I began making backing tracks with a free software called “Dance Ejay” that came on a CD-ROM in a box of cereal. It was a cheap way to start!
What still drives you to make music?
Music makes me feel alive! I love learning new techniques, meeting new artists, and designing new projects. It helps to keep me balanced.
How do you most often start a new track?
I usually start with some samples, like a field recording, a guitar phrase, or a blip-blop from the modular system. I load them into the Octatrack and start jamming until it “clicks.”
How do you know when a track is finished?
I stay focused when creating tracks. Usually, the tracks are part of a bigger project, so they need to meet certain requirements. I do a lot of prep work: field research, interviews, sound decisions. By the time I start making a track, I know what I want. I’m not a big fan of post-production; I prefer doing most of the work in pre-production and creating with intention.
Show us your current studio
Best creative advice that you’ve ever heard?
There’s a time for buying gear and a time for making music. Keep the phases separated for maximum creativity.
Promote your latest thing… Go ahead, throw us a link
This is my last album from my solo project, Les Eines
And this is something very special. The Experimental Protest Song Device (DCPX) is the result of a collective creation process, drawing from poetry and computer code, science and activism. It is published by Discs noIA, an online record label for artists with a critical or confrontational attitude towards AI. Their website cannot be scraped by AI bots!
https://www.discs-noia.cat/dcpx-disc
