[Editor: Oh, yes. It’s really Teitur! Equal parts singer/songwriter and multi-instrumentalist composer. Bridging nordic pop-folk and artful soundtrack music. It’s quite exiting to be able to bring you this interview … Enjoy!]
1. Favourite knob or fader or switch on a piece of gear and why?
The Q-link knobs on MPC X are super satifying to use, especially when zooming in on samples points.

2. Do you have an ‘almost’ perfect bit of kit? What would you change?
I wish computers weren’t so… computery and so… fingers and mind only and that I didn’t have to work with constant digital issues and being a programmer. Like this morning spending 20 minutes trying to find a digital output inside a program, going on forums, just to lower a volume and then the next 20 minutes you are back working and the computer is like a wizard, doing actual magic.

3. What setup do you bring on holiday or tour or commute etc.?
When travelling it’s just my iPad Pro or laptop if I am in the middle of writing something in Sibelius. I find it nice to get away from all the gear. If I am in the middle of a recording project I might bring an Apollo Arrow. Always bring a pair of SONY MDR 7506 headphones too.
4. What software do you wish was hardware and vice versa?
I have seldom befriended software synths in my DAW, somehow drum machines and synths are best hardware for me, even though I love what you can see and do with them in the software programs. I guess it’s just a tactililty and digital vs analog audio thing. When I tour I wish pianos didn’t weigh a ton and cost a fortune. I have tried owning a digital piano and I just can’t play them. It’s like cooking with thin plastic utensils for me. I will rather break my back with a Rhodes or play in venues with pianos.

5. Is there anything you regret selling… or regret buying?
When I was seventeen I helped my friend sell his TR-808 for 2000,- kroner (270 euro), I regret not buying it. Today I try to get rid of what I don’t use after two years, so I only have what is useful. For me creating is a lot about learning to use what you already have and when you get something, make sure it’s a great version of it and not an almost-good instrument and then really learn it until wizardry.
6. What gear has inspired you to produce the most music?
I think it’s my two acoustic guitars Arlo & Betty – a 1968 Gibson Hummingbird and 1964 Gibson J-50 and my Yamaha U-3 upright piano.

7. If you had to start over, what would you get first?
I (now) think the right creative mindset is way more important than gear. Knowing what, why and how you want to create. The gear is for your motor skills and to practice with and it’s good to start there early too. To start over, I would first study music, culture and people, practise a lot, learn my DAW, learn to play piano and an additional instrument.

8. What’s the most annoying piece of gear you have, that you just can’t live without?
Apple lightning (or USB-C) to 3.5 mm headphone adapter. I mean, the people who decided that headphones should have several connections should be sat on a chair in front of a screen and watch all the footage of the world’s population one by one needing them, looking for them under beds, not having the right one, wedding receptions delayed, children crying etc.
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
Silence in music. The voice and shutting up.
Artist or Band name?
Teitur
Genre?
There is no bad music, only bad musicians.
Selfie?

Where are you from?
Tórshavn, Faroe Islands.
How did you get into music?
It started with goosebumps.
What still drives you to make music?
The path to learn and discover is neverending, the reward is meaningful and in my priviliged part of the world we live in a musical golden age.
How do you most often start a new track?
I try to know what I want to do and achieve first and then I allow anything to happen. Often it’s best to start with a pause or walking my dog instead of pulling up a preset or hammering on a piano (that’s called practising). Write a form on a piece of paper, what, why, how, when and then have fun.
How do you know when a track is finished?
When it’s satisfying to listen to or when there are too many tracks and it’s finished in the sense that you know it’s time to start over.
Show us your current studio


Best creative advice that you’ve ever heard?
Simpler is always an improvement!