Navin Kala – Pastoral Electronics

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

Roland RS-09

Right now, the RS09 Tuning knob. I like the little struggle that happens inside our brain when a note is slowly approaching the “tuned” area.
Five months ago, was the Grandmother cutoff filter, it’s addictive, I guess they know it and that’s why they made it so big.

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

Gibson EH150 lap steel

My Gibson EH150 lap steel, from 1937. It’s 84 years old and sounds like it has always been here and always will. I feel inspired just by looking at her. And I’m not a guitar player myself, just an aficionado. It makes me wonder how my Digitakt is going to look in 84, by the year 2104.

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

If I have to leave home, I’ll take the iRig2, the reface CP, and the garage band on my phone. It’s a frustrating experience though, it reminds me how little is needed to make music technically acceptable nowadays.

iRig, Yamaha Reface and cat

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

Studio desk and racks

I don’t use software. Two months ago, I bought Reaper, but I’m using it strictly as a multitrack recorder. Paired with the Softube Fader, so I can have a more tactile experience.
Don’t get me wrong, plugins and VST are as good, and many times better than the real thing. But when I see my studio with all the gadgets, I feel inspired to play. If instead, I see a computer screen, I don’t feel the call at all.
It’s like masturbating versus having sex, you’ll reach the same level of satisfaction. But you’ll miss the joy of the process. Although it will be less tiring, that’s true.

[Editor: Literally I laughed out loud at this comparison…. it’s so true]

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

TC Electronic Finalizer

Due to logistics, I can’t sell anything. The post office is 100 km away and parcel companies are few, and they never find our house. If I was living in a city, I would definitely be selling stuff.
I do regret buying several things, one of them the TC finalizer, I still don’t know what it does. But there’s a small revelation in buying the wrong gear, you slowly find what is adequate for yourself, by elimination.

[Editor: I totally agree, this kinda process is also an essential part of learning and growing. The only thing, is that people get so bummed out by their regrets. Enjoy your regrets! You’ve learned something and it means you’re willing to take creative risk, so it’s all good (I actually just picked up a Finalizer too 🙂 haha)]

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

Piano and pussy

Just like others already answered on your blog, the piano. I sit in front of this massive primitive device, and there’s an instant communion. It’s like the whole mechanism is holding plenty of new songs, waiting for someone to take them out. It is an utter physical experience. And this is something I exclusively feel with the piano.

[Editor: Yup, I got that with the acoustic guitar]

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

I started years ago with Cakewalk and a Dx7, I don’t wish this on anybody. I suffered so much with the membrane buttons, and the menu written in extraterrestrial code. That was a huge technological wall between electronic music and me. And actually, that’s why I completely stopped making music in my first reincarnation. And also why choosing the right tools, for oneself, is pivotal in the engagement with music.
Today, I would buy the Korg Minilogue, functional, intuitive, and with a great sound. I don’t have one though.

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

Cables and patchbays

The Patchbay, but not the front side, the backside of course. It was a pain to set all the cables, but once it’s done, it makes everything much easier. Until you need to change some routing.

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

Korg Monologue

I like to use the Korg Monologue as an analog drum machine. I started diving into this thanks to Oscillator Sink’s rhythm collection on Korg’s site.


Artist or Band name?

Navin Kala

Genre?

I’m still experimenting and trying to find a comfortable place. Right now, this place must be somewhere between electronica with ambient and a bit of experimental.

Selfie?

Navin Kala

Where are you from?

Brazil, with mixed blood.

How did you get into music?

I began piano lessons as a child, it was either that or karate.
But it is extremely frustrating, learning with music you don’t like or feel. Stuff like “What Mozart composed when he was 5”. And I was 10, so it was like saying, you are retarded.

What still drives you to make music?

It makes me feel good, I know that without music I don’t feel fulfilled. Creativity, of any sort, sublimates our existence. This and the fact that I have a 70% of hearing loss, since a child, and at some point, I might lose it completely. I want to play as much music as I can before my only working ear falls under a functional threshold. Funny fact, Stereo does not exist in my universe.

[Editor: Damn good reason!]

How do you most often start a new track?

With Instagram, I force myself to make a post, like an exercise, a few every week. Each time with a different instrument. Something comes up. I see people’s reaction, and from there I decide if I keep working on the idea. Is like a focus group.
This first idea narrows down how the next instrument will interact, and so on. Limiting each time your options. I call it the Funnel Paradox. You begin with a universe of options, and as you add layers, these options decrease.

How do you know when a track is finished?

I don’t have a rational answer to this. I have a big folder with tracks I’ve started. Some go a few years back. And I certainly know that they are not finished. But I don’t know what it takes for them to be completed. Paradoxically, when they are finished, I know they are. I suppose is easier when you work with a client, let’s say making a soundtrack. The deadlines will tell you when something is finished.

Show us your current studio

Navins Studio with a couch, patio doors and a hammock!

Best creative advice that you’ve ever heard?

I was thirteen years old, my piano teacher was pissed with me, again, because I wasn’t able to prepare the lessons before the class. Instead, I was procrastinating playing popular music (the concept of procrastination didn’t exist back then). He asked me eventually; “When you wake up every day, do you feel a compelling need to play the piano?” I said “Nope”.
And he replied; “Then you must find, quickly, something that you feel like doing daily. You’ll be a realized person.”
I quit piano lessons the next day. He was relieved.

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

My second album, Horse. Few months old. I hope you like it.

Navin Kala – Horse album

[Editor: Also check out Navins IG… it’s lovely. C’mon join the funnel paradox]


Colleen – See Silly Shot’s Synth Sounds

[Editor: I remember listening to The Golden Morning Breaks back in the mid 00’s and being completely mesmerized. It was and is for me personally an album that influenced me greatly and expanded the landscape of my musical interests. Therefore it’s with great, great pleasure that I can present this nerdy and odd interview with the artist Colleen]

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

Moogerfooger MF104M – Photo: Cecile Schott


This is a really tough one. I love switching in rhythm the short/long switch of the Moogeerfooger MF-104M analog delay, as it produces a change in tone (darker on the long setting, brighter on the short one) which can really sound amazing (you can hear this effect very clearly on my song “Holding Horses” from my album Captain of None).

Moogerfooger Grandmother – Photo: Cecile Schott

But I am also madly in love with opening and closing the cutoff knob on the filter of both the Moogerfooger Lowpass Filter and the Moog Grandmother: I love that this can be the subtlest, slowest rise to build tension and suspense (“Hidden in the Current” on my last album The Tunnel and the Clearing) or totally wild and angry (middle section of “Implosion-Explosion”, also on my last album). The expressive capacity of the Moog filters really leaves me speechless.

Moogerfooger MF 101 – Cecile Schott

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

Roland Space Echo Re201 and furry buddy – Cecile Schott

The Roland RE-201 Space Echo transforms sound in a truly magical way (when I first started using mine in December 2019, two images came to my mind: sending the sound on a space rocket into outer space, or having stardust sprinkled on the sounds). If it could magically be made to be 100% reliable for years without the need for revision, that would be incredible – then again, it goes against the very nature of its mechanism, so I know that this is a bit like asking for the weather to be perfect all the time: not possible.

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

Concert in Chiquita Room 23 May 2021 – Photo LiLINTERNA

Since I have decided to stop playing live for the foreseeable future and have only one last show planned abroad (Kingsplace, London), I will not have to think too much – except for that one show – about the conundrum of travelling internationally with heavy, fragile, vintage – and even super rare in the case of the Elka Drummer One – gear. Fully-working Drummer Ones for sale are so rare that you need to be on a waiting list if you are hoping to buy one, so if your unit is damaged, delayed, lost or stolen during travel, it would be impossible to find a replacement (in fact, had I decided to go on tour for this album, my plan was to order a digital custom replica of the Drummer One – which would also have been its own challenge to make).

Studio and cat buddy – Still from forthcoming documentary – Photo: Luis Torroja

For the last two albums, I had found a sweet spot in terms of making albums that were voluntarily restricted in terms of gear, but didn’t feel restrictive at all in terms of musical and sound possibilities, which meant I could go on tour on my own with all the necessary gear and play the albums live (something that was much harder to do, or even impossible, for my earlier work).

For Captain of None: treble viola da gamba + an array of various looping, delay and octaver pedals.

For A Flame my Love, a Frequency: 2 Critter and Guitari synth + 2 Moogerfoogers + Soundcraft mixing desk. However, that was hard to do physically, with me carrying more than half of my body weight across the world, and you’re never safe from delayed luggage, failing gear, etc.

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

Assembly in the DAW – Acid. Still from forthcoming documentary – Photo: Luis Torroja

Not really a software person myself: I must be one of very few professional musicians who are still using the Acid software to record their music, and these days I am using it purely as a recording and mixing device. On the last album I don’t use a single plugin, everything is played and recorded live through either my Soundcraft mixing desk or my Scarlett 18i20 Focusrite soundcard or both, with only a couple of minor edits where takes needed to be joined. The only exception to this very pure recording process is vocals, where I still need to join takes.

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

Not really: I always think and research for a really long time before buying anything, so usually I don’t have any bad surprises, and the opposite even happens: I’m so happy with my purchase that I wonder why I thought about it for so long! And because of this I usually don’t have to sell anything.

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

Impossible for me to reply to that, as truly every album I’ve made has been so different in terms of instrumentation. My 3rd and 4th album couldn’t have existed without my bass viola da gamba, my 4th and 5th without my treble viola da gamba. The Moogerfooger pedals – which I started to add from Captain of None onwards – were a real game changer for me, and in terms of electronics were my introduction to analogue gear, and that was a game changer.

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

I started making music with a simple classical guitar, and honestly, if I were to start over, I probably wouldn’t change anything: there is something humble and honest about an acoustic guitar that still resonates with me, even if I haven’t played one in years. It’s also beautiful that it doesn’t need electricity: should the planet get even worse than it is right now, I think that acoustic instruments and the human voice would play a great role in maintaining music-making alive.

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

Can’t think of any annoying piece of gear of mine, I love them all.

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

Not sure if it’s “surprising” as such, but Soundgas – from whom I bought both my Elka Drummer One and my Space Echo – give this tip of inserting a blank plug in the “from PA” input on the Space Echo in order to get a 100% wet signal, and that is so much better than just getting the mixed mono output, since you can then play with panning between your original dry sound source and the 100% wet signal, giving you a beautiful stereo field.

Elka Drummer One and Roland Space Echo – Still from forthcoming documentary – Photo Luis Torroja

Artist or Band name?

Colleen

Genre?

Proudly genreless. I honestly have no clue what my music is supposed to be called. It’s too pop to be experimental, too experimental to be pop; when I used only acoustic instruments but processed them, it was labelled “electronica”, but now that I truly make electronic music, I still think what I do doesn’t sound especially like “electronic music”. One thing I do know is that I make songs. So sometimes I just say “I make weird songs”.

Selfie?

Thanks but no thanks.

Workshop in Chiquita Room 23 May 2021 – Photo: LiLINTERNA

Where are you from?

Montargis, small French town 100 km south of Paris.

How did you get into music?

The Beatles’ “A day in the life” changed my life forever. I was about 13.

What still drives you to make music?

Undying love for it. The desire to see if I can still surprise myself. The desire to learn. Feeling like I actually contribute something useful to people other than myself, even if music is not really recognized as socially useful (I think that’s a mistake, and that music globally contributes to our mental health).

How do you most often start a new track?

Putting my hands on the instruments or gear.

Moogerfoogers – Photo: Cecile Schott

How do you know when a track is finished?

A combination of 3 inputs: one that is purely musical, the other two are: intellectual and emotional.

Show us your current studio

Colleen Studio – Photo: Cecile Schott

Best creative advice that you’ve ever heard?

Not creative advice as such, but more an analysis of the difficulties faced by artists, this 1927 quote by Brancusi: “It is not the work itself, it is to keep oneself in condition to do it, that is difficult.” So true at every level: emotional, physical, mental.

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

My 7th album The Tunnel and the Clearing, out on Thrill Jockey Records.

colleenplays.org
instagram.com/colleenplays
facebook.com/colleenplays

bandcamp.com/colleen


[Editor: Which artist has been a huge influence or inspiration to you? Answers in the comments]

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