1. Favourite knob/fader/switch on a piece of gear and why?
After much deliberation, I’m gonna go with the volume knob on my 80’s Japanese Fender Precision Bass. Something about the textured metal just feels so solid and badass.
Honourable mention goes to the knobs on the Shadow Hills Mastering Compressor for their sheer monstrosity, which I get to use when I work at @SixBitDeep.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
Every piece of kit is perfect just the way it is =D
Ok, actually I’ll shout out my homies at @VervilleAudio for their MDC-1 which is a hand-made 2-channel Variable Mu tube compressor on steroids plus 2 preamp channels. I have a Beta version which sounds incredible, but I’ve been in close contact with them discussing some minor improvements (mostly just the interface) and I think the next version will be close to perfect! These guys are developing some amazing gear in Montreal.
3. What setup do you bring on holiday/tour/commute etc.?
The last tour I did was a solo one around Europe and the UK. I was taking planes, trains and busses everywhere, so I needed a really compact setup. Laptop, small RME FF400 interface and Novation Launch Control XL controller (+ some vinyl and extra clothes) in a backpack and my lap steel guitar and a few pedals in a soft gig bag (actually a rifle case!)
4. What software do you wish was hardware and vice versa?
I don’t find myself wishing this very often. A lot of the software I love is already great emulations of hardware, and generally when I’m using hardware it’s because I want to have my hands on something other than the mouse. Having rare and expensive hardware reverbs and compressors easily available in the form of plugins is a godsend! And conversely, there are so many software sequencers, but I always seem to get more interesting results when I use a hardware sequencer. So I guess the short answer is no 🙂
5. Is there anything you regret selling… or regret buying?
When I moved to Copenhagen from Montreal I had to sell a ton of stuff, and while sometimes it’s nice to do a purge and move on, I sure do miss the amps I had. There was a Traynor YBA-1 head with this awesome old Peavey cabinet that was painted white and that I put a vintage 15” Jensen speaker in. And the love of my life was a Music Man 210HD One Thirty. One of the guys from Arcade Fire once asked if they could buy it from me and I said no.
6. What gear has inspired you to produce the most music?
Probably getting a new microphone. Whenever I pick up a new mic, I immediately want to hear how it sounds on different sources, and putting myself into that engineer mindset always makes me feel super creative. A new instrument has a similar effect. When I got my Korg Mono/Poly I did a pretty deep dive and got really inspired with the sounds it can make. That thing is all over my new album.
7. If you had to start over, what would you get first?
That’s a tough one because I started with a guitar (a cheap copy of a Gibson Les Paul) then an amp, then a wah pedal, and I don’t think I’d change that course of events. But in the early 2000’s I had a friend who sold all his keyboards. He had a Rhodes MKI, a Roland JX-3P and a Korg MS-10. I bought the Rhodes and 2 of my friends each bought one of the synths… all for dirt cheap. I wish I had taken the MS-10 instead of the Rhodes (I can’t play piano for shit) but synths were such a mystery to me then. My homie still has it though so at least it’s in the family.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
CASES! Rack case, road cases, instrument cases etc…It’s such a juggling act to set up a studio that’s ergonomic and makes good use of available space. I feel like I’m on a never-ending quest to find the best compromises between a great setup that’s easy and inspiring to work in, and portability (if I need to take some gear on location or on tour, etc…). And all the seldom-used cases take up so much space, but, like what do I do when I need to take my synth somewhere once every 2 years?!?!
9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?
It’s not actually about the gear, it’s all about what you do with it.
Artist or Band name?
Ambient / Post-Rock / Neo-Classical / Experimental Techno
Where are you from?
How did you get into music?
My parents put me in guitar lessons for a year when I was 10, then I essentially taught myself the rest.
What still drives you to make music?
Some kind of burning inner demon, I mean a compulsion to create, to experiment, to push boundaries. Music has given me so many of the most visceral and emotional experiences of my life and I’m very interested in all the ways sound can affect us, both physically and emotionally. So there is a constant quest that I can’t imagine ever coming to completion.
How do you most often start a new track?
Generally with some kind of “play.” If I can lose myself and not worry about how productive I’m being or what I’m doing this “for” that is when I feel like I’m accessing real creativity. So being in the moments and just playing is often how my tracks begin.
How do you know when a track is finished?
Some kind of combination of utter mental exhaustion, and 1 or 2 re-scheduled self-imposed deadlines.
Show us your current studio
Best creative advice that you’ve ever heard?
If you’re getting stuck, grab an instrument that you don’t know how to play. It breaks you out of the confines of muscle memory and patterns you’ve developed and it opens up creative doors that you probably didn’t know were closed.
Promote your latest thing… Go ahead, throw us a link.
My new album APERTURE: