Hélène Vogelsinger – Bird Singer

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

Panharmonium by Rossum Electronic

There are so many! I’ll go with the first one that comes to mind;
The satisfaction of turning an arpeggio into a celestial pad in just a few seconds, it’s by turning the mix knob of the Panharmonium (Rossum Electronic) that you can achieve it.
Layering is truly integral to my musical identity. And this module is just incredible for that purpose. There isn’t a piece where it’s not present.

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

The piano is truly an indispensable instrument for me. I’ve been playing it since I was little.
My mother “learned” to play it while she was pregnant with me. I truly believe that fetal life has an impact on who we are and become. She gave it up shortly after my birth. But for me, I’ve always been obsessed with this instrument. Just a single note is enough to plunge me into a very deep and intense emotional state. A year ago, I received the Keybird X1 from Keybird Instruments, which I had been eagerly awaiting for several months. It’s the piano of my dreams, lightweight, and portable. If I were to change something, perhaps I would add handles on each side to make transport easier and minimize damage. Also, among all the ongoing projects, I’m currently working on a pickup system for a piano/ modular synth collaboration.

Keybird X1 from Keybird Instruments

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

It’s been years and years since I’ve properly been on vacation, but when I travel, it’s never without my session setup; my two modular cases, my small Mackie mixer, my portable recorders, and the battery that powers all this little world. It fills up the car trunk quite a bit, I must admit, but nothing is impossible with my old Volvo; the modularmobile 🙂 I always have at least one recorder on me, to capture as many sounds and atmospheres as possible. A reflex that stayed with me after my video game sound design training.

Two modular cases in the trunk of The ModularMobile

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

To be honest, nothing comes to mind. Constraint and limitation are integral parts of my creative process. And it must be said that with all the current offerings in these two worlds, boundaries only seem to widen. That being said, I find it truly extraordinary that anyone can access a virtual modular rack, for instance, at a lower cost, to get hands-on experience, test modules, etc ..

Hélène Vogelsinger spelunking for sound

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

I really have no regret concerning my gear journey. Each purchase has taught me a lot, and each resale has allowed me to make a new purchase. This cycle has been necessary for my learning process, the famous “trial & error” that propels us forward. It has also enabled me to make some very nice connections.

Twin modular

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

The piano and singing have always been at the core of my creativity, and I believe they will remain so until my last breath. Adding modular synthesis six years ago was truly a game-changer, allowing me to have a complete electronic orchestra at my fingertips. In my previous projects, this was always the direction I was heading towards.
My latest project, which concluded in 2018, “Planetoid,” was a solo endeavor where I
sang, played acoustic instruments, synths, used loopers, controllers.. and it was everywhere, becoming physically unmanageable, or at least severely limiting my ability to express what I deeply wanted. It also took up a lot of space and prevented me from engaging in current creative processes.

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

Eurorack modules and cables

I always think that if I had known about modular synthesis 20 years ago, it would have been something extraordinary. But not coming from an electronic background, it took all this time to get there. And nothing or no one along the way could have guided me. It happened purely by serendipity at a time when I reached a certain artistic and emotional maturity. But also at a time when I decided to go back to studying after a decade of experience on stage. A moment when I also felt stuck in my progress. And a moment when I completely changed my life. Also, I think I would have opted for quality soundproofing from my very first studio (a bedroom studio).

Ray of modules

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

I think it’s my tuners. Indeed, they have only one function in my current usage, and not the most creative one! But they are truly indispensable, especially for long one-hour live sets, where everything can drift very far in terms of dissonance. Big shoutout to the Endorphin team, with their autopilots that make the task as easy as child’s play!
That being said, they can also be a tool for creating creative patches such tuning-based modulation effects, tuning-based sequencing and control of granular synthesis or phase modulation.

Endorphins Auto Pilot Tuner Modules

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

It might seem a bit obsessive, but it’s about modular synthesis again. There are so many surprising and interesting techniques in this field. That’s what makes this instrument so fascinating – you never stop digging and discovering treasures. I remember not being able to sleep for months on end, my brain patching away at night, and waking up suddenly to jot everything down on paper.

A night full of modules

Among the hundreds of discoveries one makes when starting out with modular;

Resonant Harmonic Attunement :
It’s a technique that harnesses the innate resonance of a filter module to create ethereal harmonics and unlock hidden sonic dimensions. By carefully tuning the resonance knob to a specific frequency, then modulating it dynamically with an LFO or envelope generator, the filter begins to resonate in sympathy with the fundamental frequencies of the sound source. This resonance amplifies certain harmonics while attenuating others, resulting in rich, evolving timbres that seem to breathe and pulse with life.

Feedback loops:
By routing the output of a module back into itself or into another part of the signal chain, you can generate chaotic and unpredictable sounds that can add depth and character to your patches. Experimenting with feedback loops can lead to unexpected results and push the boundaries of traditional synthesis techniques.

Wavefolder and Waveshaper Exploration:
Wavefolders and waveshapers are modules that can drastically alter the shape and timbre of waveforms. Delving into the creative possibilities of these modules can lead to unique and characterful sounds.

Random and Stochastic Sequencing:
Introducing randomness and probability into your sequences can yield unpredictable and evolving musical patterns. Utilizing modules such as random voltage generators, sample-and-hold units, and probabilistic sequencers can result in dynamic and constantly changing compositions

Cross-Modulation and FM Synthesis:
Experimenting with cross-modulation and frequency modulation (FM) synthesis techniques can produce rich and harmonically complex sounds. By modulating the frequency of one oscillator with another, you can achieve a wide range of timbral variations and textures.

Complex Envelope and Function Generators: Utilizing modules capable of generating complex envelopes and functions, such as AD (Attack-Decay) and ADSR (Attack- Decay- Sustain-Release) generators, can add depth and movement to your patches. These modules can be used to shape the amplitude, timbre, and modulation of your sounds in intricate ways.

Exploration of Nonlinear Signal Processing:
Modules that perform nonlinear signal processing, such as wavefolders, ring modulators, and distortion units, offer unique opportunities for sonic exploration. By pushing signals through these modules, you can create harmonically rich textures and unearth new sonic territories.
Don’t be afraid to experiment with unconventional patching techniques and signal routings.
Thinking outside the box and exploring unexpected connections between modules can lead to surprising and innovative results.

I could go on like this for hours, as the possibilities for discovery are endless. But what surprised me the most when I discovered its existence is its ability to substitute for an orchestra. To reach the orchestral patch as I practice it today, it took years of research and experimentation. This process has been incredible, a real journey, whether it’s the search for modules or their practice. In the first two years, I systematically unpatched my system after each use to discover new things every time. This technique really allowed me to know my instrument almost inside out, because despite the thousands of hours spent, there is still so much to learn and discover.


Artist or Band name?

Hélène Vogelsinger

Genre?

Immersive & orchestral ambient electronic music

Selfie?

Hélène Vogelsinger
Hélène Vogelsinger

Where are you from?

I am French by nationality, and have been based in France for a little over 10 years now.
Due to my parents’ profession, we moved around quite a bit when I was growing up, my parents, my three brothers, and I. I spent a significant portion of my life in Beirut, Lebanon.
I returned to Europe at the age of 19, with the sole aim of pursuing a career in music. At that time, the music scene in Lebanon was not as developed as it is today. I actually went back for a short tour in 2017, where I witnessed the great evolution that had taken place. It was truly a beautiful and moving experience.
I was deeply affected by this intense period in Lebanon, which had a significant impact on my way of being, living, and composing. For musical projects, I then lived in England, and eventually returned to France, first in Paris, and then in the southwest of France, where some of my family resides. Perhaps the only place where I have some roots. It was one of the best choices of my life. Sort of an unconscious decision, following a burnout in Paris, where I struggled quite a bit, juggling odd jobs that allowed me flexibility in my schedule, thus giving me time for my musical projects and performing on stage in the evenings. The cramped spaces, the lack of nature, the economic constraints caused by the high cost of living, and the hustle and bustle of big cities (which I really appreciate in small doses) eventually took a toll on my morale. It was a very instructive journey nonetheless, and I wouldn’t change a thing if I could.

How did you get into music?

The voice was my very first instrument. I have been singing and composing on the piano since a very young age. So, as you can imagine, my very first compositions at the age of 5 were not very complex. At the same age, I began learning solfeggio, piano, and flute for 5 years. This training was put on hold when we moved to Beirut, but I continued on my own. Indeed, I never stopped singing, playing, or composing. However, this period was more of an accumulation of what I call « inputs »; all these new sounds that are only found there, the wonderful oriental music and its approach. But it was also a time of intense new experiences, such as repeated bombings, the war in 2006, but also, and especially, constant human warmth, that magnetic ground, that desire to embrace life to the fullest, that confidence in the future despite the difficult times and uncertainties. These were great lessons in humanity, humility, and resilience. It took me many years to readjust to the West, the expatriate syndrome and return one. It’s thanks to music and art in general that I was able to find a balance, allowing me to express all these experiences, but also encounters, people who held my hand and showed me the way when I was disoriented by all these changes.

What still drives you to make music?

Hélène Vogelsinger in the wild

The search for something deeper than this material existence. Through this guiding source, this force that has inhabited me since forever. I’m sure many artists and enthusiasts of all kinds understand when I say that I can’t do anything else, that it’s my life’s path, my ‘mission.’ Some may find this word a bit strong, but that’s how I feel. My family, who comes from a non-artistic background, took some time to understand it, but when we reunited 7 years ago, in the southwest of France, and they witnessed my dedication, things really changed. Having the unconditional support of loved ones, people we love, and who love us in return, is priceless. It’s an enormous strength. Especially on this path strewn with obstacles that is professionalizing in any art in general.

How do you most often start a new track?

In recent years, it’s after visiting abandoned, depopulated places, far from civilization.Their memory, the passing of time, and the energy they emit have been at the heart of my inspiration. Indeed, since 2019, I’ve embarked on creating a very specific process that unfolds in several stages (location scouting, first exploration, transcription, layers of perception). In terms of composition, and thus the transcription of the experience, it often starts with the piano and voice. This is how the pattern or melody is composed, which becomes the foundation, the essence of the composition. And everything else is built around it in a very organic way. I find myself in a state of ‘Flow,’ where space and time cease to exist. There are no difficult calculations behind all this. It’s like being the instrument of an invisible force, a downward movement, an energy that permeates my entire being, only to rise again. It has always worked this way.

How do you know when a track is finished?

In the context of my creative process, and thus when we record a session, it’s when it
reaches its conclusion that the piece is truly finished. But in terms of composition and “orchestration,” the stage preceding the session, it’s an intuition. I know it. I feel it. It’s a feeling of fulfillment.

Show us your current studio

Hélène Vogelsingers Studio

Best creative advice that you’ve ever heard?

Embrace the process, not just the outcome. While it may seem peculiar, I’ve found profound wisdom in a self-imposed directive that I’ve diligently adhered to, particularly in the realm of crafting and refining my creative process. However, I must attribute this insight to a confluence of factors, including personal experiences, trial and error, and the invaluable guidance from my mentors and peers.
One particular catalyst was a course on ‘unusual recording’ that I undertook at Berklee College of Music, which significantly propelled me out of my comfort zone roughly five years ago. It’s a profound reminder that creativity is not merely about achieving a specific goal or producing a masterpiece; it’s about immersing oneself fully in the act of creation, embracing the journey of exploration, experimentation, and growth. By focusing on the process rather than fixating solely on the end result, we free ourselves from the constraints of perfectionism and self-doubt. We become more open to taking risks, making mistakes, and learning from our experiences. This mindset shift not only fosters a deeper sense of fulfillment and joy in our creative endeavors, but also enables us to tap into our true potential and express ourselves authentically.
Ultimately, it’s the journey of creation—the moments of inspiration, the challenges overcome, the lessons learned—that shapes us as artists and allows our creativity to flourish in ways we may never have imagined.

Hélène Vogelsinger at the modules

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

I’m just going to share with you my YouTube channel where I’ve been documenting my creative process for several years. It’s a place purely focused on artistic and spiritual exploration. I hope it can bring you some inspiration for your own journey, as others have done for me.

www.youtube.com/HeleneVogelsinger


Stegonaute – Lofi Thought

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

Redson EC25 Repetition knob

I’m in love with the “repetition” knob (in French on the device) of my Redson EC25. It turns most chord progressions into space travel. The result can be extremely soft, with ethereal echoes, or very violent with destructive feedback. I use this (very lofi and cheap by the way) echo chamber as an instrument in its own right.

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

I don’t have ONE perfect kit, I like to navigate between my different devices. I will consider a perfect kit for one week before using another exclusive for the next. That’s what I like and that makes me never get bored.

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

Travel setup

I like to travel with the Arturia Microfreak because it is small, light and runs on usb battery. And when my children give me permission, I use their Nintendo 3DS with the Korg DSN12 program, which is a surprising emulation of the Korg MS10. I also bring a Sony TCM200 tape recorder to play with the different playback speeds. And of course on my Zoom H5 to record.

Nintendo 3DS with the Korg DSN12 program and a Sony TCM200 tape recorder

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

I would love to have the equivalent of Arturia’s “Fragments” plugin in pedal format. It’s a very inspiring granular processor, which can totally change a drum beat or a synth pad. I don’t use it as much as I would like because the computer is almost completely absent from my creative process now.

Arturia’s Fragments vst plugin

On the other hand, I haven’t found an echo plugin as dirty as my Redson EC25, all the space echo emulations that I have tested sound much too clean, even with an old tape simulation. So I would say a cheap tape echo plugin.

Redson EC25 Tape Echo

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

I have a love-hate relationship with the Arturia Minibrute (MKI), which I’ve bought, sold and repurchased several times. So I would say it is perfect to answer the 2 questions haha.

Arturia Minibrute

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

It’s hard to choose between my Fostex X14, which introduced me to the world of tape looping, and between the Arturia microfreak which allows me to compose outdoors, whether in the forest or on the top of a mountain.

Fostex X14

I have the Fostex for 18 years, and the Microfreak for 2 months. This makes me happy because I think there are always new things to discover and explore.

Microfreak

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

I think I would take a Mac and a UAD interface directly. I lost too much time with the computer, with my current system I almost forget it.

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

Except my computer, nothing bothers me yet !

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

I recently discovered that with a tape multitrack recorder like my Fostex I could play tapes recorded on normal devices in reverse mode. Combined with the different tape speeds, it’s pure happiness !


Artist or Band name?

Stegonaute

Genre?

Euuuh… Lofi, Trip Hop, Ambient ?

Selfie?

Stegonaute

Where are you from?

I live in a small village in the south east of France

How did you get into music?

I started at the age of 12 with the bass, then with the guitar.

What still drives you to make music?

I like exploring new sounds, traveling and letting myself be carried away. It’s my main way of expressing myself.

How do you most often start a new track?

Stegonaute’s piano covered in FX

I start most of the time on my acoustic piano, even if I don’t know how to play it. I like the fact that there’s no need to turn it on, it’s even faster than plug and play!

How do you know when a track is finished?

NEVER ! I stop working on it at some point in order to move on. Releasing EPs on the platforms allows me to say to myself “it’s over, I’m not touching it anymore!”. Otherwise I’ll still be working on it…

Show us your current studio

Stegonaute’s studio

Best creative advice that you’ve ever heard?

Put your phone in airplane mode.

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

Instagram @Stegonaute

Here is my latest EP : https://stegonaute.bandcamp.com/album/freefall

and my YouTube Channel


[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]


Søren Vestergaard – Go Vest

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

Roland Space Echo 201

I really like the feel of twisting the gain knob on my 1073 vintage
design preamp! It has fixed gain so the little “clicks” when twisting is
so satisfying. It could also be my Roland Space Echo 201. Nice big
buttons.

Neve 1073 Mic Preamp

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

It could be many things… but i really truely love the Boss RV5
reverb unit. (I own 5 units right now…) The mod setting sounds just
perfect for anything… but it would be even better with a preset
button… The newer Boss reverbs doesn’t sound quite as good. In
general i think the opportunity to store presets in stompboxes would
be great.

Boss RV5

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

My jazzmaster and my pedalboard are always with me. Maybe my
laptop and a midi keyboard for sketches.
Sometimes I bring something like the microkorg just for fooling
around.

Pedalboard and Jazzmaster

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

I wish that Sugarbytes Effectrix would find its way into a stompbox.
That would be awesome. And the Boss RV5 should be a available
as a plugin as well. It would be great if Soundtoys did a multieffect
unit as hardware! The Zvex lofi junky looper would be great as a
plugin as well.

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

I only keep gear that really makes me happy, I’m not into collecting
stuff any more, so a lot of things have been in and out of the studio. I
recently sold my Juno 6. I might end up regretting this… But it is about
chasing sounds, and sometimes selling something, leads to buying
something else.

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

My Gebr. Neumeyer piano or my Fender jazzmaster are my go to
inspiration stations. Combined with a lot of stompboxes, they keep
amazing me with fresh inspiration and sounds.

Gebr. Neumeyer piano

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

A jazzmaster, 10-12 stompboxes, a good microphone, laptop and
interface and a midi keyboard and some speakers too.

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

My pedalboard. Everything runs through it, but its a never ending
story, It changes from week to week and sometimes its a mess and
keeps me up at night in pure frustration. But on the other hand it
just keeps on giving me inspiration and the feel of twisting
stompbox knobs never gets old!

Guitar Pedalboard

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

The Roland MX1 is a brilliant mixer for adding fun stuff to any sound
source. It has some really unique master FXs, that can do things i
haven’t found anywhere else. I use it as an effects unit just before
the DAW. Its a bit noisy with hiss, but to my ears it means even
more grit for the source. Seriously, try it!!!


Artist or Band name?

S.Vestergaard

Genre?

Crossover / Electronic / Indie / Score music

Selfie?

Søren Vestergaard

Where are you from?

Denmark / Vordingborg

How did you get into music?

My dad and brother are musicians as well, so I grew up in a house
filled with music. But I found my true call back in the 90’s listening to
stuff like Portishead, Massive Attack and the entire grunge
movement. Actually I discovered quite early that music production
was more interesting than just playing the guitar, so I have always
been a huge fan of great producers, which may be my overall
lifelong inspiration.

What still drives you to make music?

Finding new sounds is what my life is all about. I love producing
all kinds of music and everyday is a gift being blessed with the
opportunity to work with music as a living. And of course new
gear…

How do you most often start a new track?

It mostly starts as an iphone recording of me singing or trying to
explain an idea. Maybe with a small piano/guitar part that supports
the overall idea. Then it comes to life in the studio.

How do you know when a track is finished?

I’ve trained this thing a lot. Let it go when you are tuely proud of it.
If not, keep going untill it feels right!

Show us your current studio

Sørens Studio

Best creative advice that you’ve ever heard?

Stop overthinking! Its the number one creative killer. Never go down
that road. Stay open, positive and focused and leave all the stupid
concerns away from the studio. I have never once experienced bad
energy leading to good music. Always positive!

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

svestergaard.com or
instagram.com/vestergaardtheproducer

Spotify