1. Favourite knob or fader or switch on a piece of gear and why?
Moog Delay
The time knob on any analogue delay stomp box, follow closely by the feedback knob.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
The Elektron Digitone (I). I would change nothing, because it’s the limitations, that make it such a great creative tool.
Elektron Digitone
3. What setup do you bring on holiday or tour or commute etc.?
My Akai MPC Live II. Or my laptop running Logic.
4. What software do you wish was hardware and vice versa?
I’m a big fan of granular synths, so it would be nice to have something like the Tasty Chips GR-1 as a plug in on the AKAI (Force/MPC).
5. Is there anything you regret selling… or regret buying?
Akai Force
It would have been nice to have kept the Roland W30, it has a very gritty 12-bit sound. Maybe I’ll very soon regret not buying a second spare Akai Force, because they are not produced anymore, and I’m not sure they’ll make a Force II.
6. What gear has inspired you to produce the most music?
Well, the list is very long, starting with my first samplers, the one in the Amiga 500 and the Roland W30 way back in the nineties. But the last few years it has been the Elektron Digitone. My latest album (“Wait”) has some tracks that are made entirely on the Digitone. Generally, there is nothing like a good sine wave to get me inspired, so I love digital synhts with nice sine waves, like the Blofeld or the Digitone. I also get a lot of inspiration from stomp boxes, like the Cosmos Drift Station or the Strymon Nightsky.
Strymon Nightsky
And of course delay boxes, of which I have a few (my favorites being the Moog MF 104 and the Jahtari rebuild of the Korg Monotron delay).
Jahtari
Oh and I almost forgot the Tasty Chips Granular GR1. I love all things granular…
Tasty Chips Granular GR-1
7. If you had to start over, what would you get first?
An MPC. The sampling workflow is second to none, and the plug in synths are usefull (I use the Juno 106 replica and the electric piano, which can be turned into a sine wave plus noise synth).
8. What’s the most annoying piece of gear you have, that you just can’t live without?
The Digitone. It happens so often that I get completely lost because I accidently change the wrong notes on the sequencer and loose some of the programming (every note on the sequencer can have a different sound set up).
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
The digitone surprises me all the time, I find some clever way of doing something and then the next time I use it, I have forgotten what I did. So I’m sorry: No tips and tricks.
Artist or Band name?
Dub Tractor
Genre?
Sine wave
Selfie?
Where are you from?
Nivå, north of Copenhagen.
How did you get into music?
Spending long summer days inside listening to cassettes.
What still drives you to make music?
Curiosity.
How do you most often start a new track?
Either with a sequence (an ostinato) or with a beat. If I start with a beat, the track never turns into anything.
How do you know when a track is finished?
I never know.
Show us your current studio
Akai MPC Live II
The core of the studio: The Force and the Digitone.
Force and Digitone
Best creative advice that you’ve ever heard?
Listen to your music at very low volume (or from another room).
Promote your latest thing… Go ahead, throw us a link
1. Favourite knob or fader or switch on a piece of gear and why?
Peavey PA-600 mixer
The “reverb” knob on my old Peavey PA-600 mixer. It’s big and it’s beautiful. As the name suggests it’s an old PA mixer but It sounds amazing in it’s own way, and I run a lot of stuff through it. It’s brilliant on electric/acoustic guitar, vocals and drums. The preamps in itself are great, but that spring reverb on electric guitar or a snare drum – WOW! Only problem is that weird enough it’s mono so wouldn’t work as a real mixer in the studio. I need to find someone who can make it work as a stereo mixer! 🙂
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
As I’m a guitarist I have a lot of guitar pedals and my favourite one has to be the Strymon Deco. I recently traded my old version 1 to the v2. The v1 didn’t have a tone knob on it and no midi – it does now! To me it’s now perfect and I wouldn’t change anything as it now has the tone knob. Nice and smooth, crunchy and fat tape saturation on one channel and great wobbly tape modulation on the other. Great on guitar, but definitely also on synths, bass and even drums! It’s a Desert Island piece of gear to me! Guitar pedals in music production in general can be mind blowing!
Strymon Deco
3. What setup do you bring on holiday or tour or commute etc.?
I’m originally a guitarist and songwriter so I tend to always have a guitar near me, whenever I’m away. But holiday sometimes is a weird state of mind for me as I try to relax but often end up feeling restless and guilty about not working and sometimes feeling more creative when I’m away and not able to work. Having a guitar around sometimes only makes it worse, as I’m supposed to be on holiday with my family – not working!
4. What software do you wish was hardware and vice versa?
Almost all the software that I use are some kind of emulation of old outboard gear. Hmm.. Fabfilter plugins wouldn’t be that sexy as hardware would they? Maybe the good old ValhallaVintageverb would be fun to have as an outboard gear! I would love to have more reverb outboard effects in general! Although I don’t own one myself, It would be great fun if Chase Bliss Audio made their pedals as plugins as well. On second thought… that would maybe just make you craving their guitar pedals even more…
Chase Bliss Audio Mood
5. Is there anything you regret selling… or regret buying?
I’ve had a lot of guitars in the past – and present. Two comes to mind. I sold a Gibson Melody Maker from 1965 which used to belong to Kashmir’s Kasper Eistrup. That guitar was used a lot during the recordings of their last album E.A.R. I actually didn’t buy it because of him, it just really spoke to me and I just had to get it. I used it a lot in the studio and live, but sold it in a weak moment to buy something else.. Can’t remember what really… The other guitar that comes to mind was an all original white Fender Mustang from 1966. A really great guitar, but I sold it to buy the most precious guitar that I own, my all original 1965 Fender Jazzmaster. I do miss that Mustang quite often, but I know it’s in good hands.
Pedalboard of goodies
Regret buying.. Hmm.. I tend to buy nice things! Haha! Well.. I remember when I was a kid I had a Strat and an okay transistor amp and then I bought a Korg multi effects pedalboard. I never really learned how to use it and I kinda hated it, but I used way too much time with it. Should have stuck to pedals from the beginning. I did have some nice ones that I skipped for a long time. Had i just stuck to them I think I would have dug into the pedal world much earlier and developed my playing, musical style and songwriting much more and at a younger age.
6. What gear has inspired you to produce the most music?
Gibson J-45 acoustic
About 10 years ago I bought a 1967 Gibson J-45 acoustic guitar. That guitar made me write stuff so easily. Songs in me were waiting to be written on that guitar. It was quite amazing really, and somehow I always knew that I needed to get that guitar model at some point. These days I find my Jazzmaster through my newly acquired 70’s Vibro Champ pretty inspiring as well! Amazing studio amp.
7. If you had to start over, what would you get first?
As a producer you can’t live without your computer. Sad to say.. But what I’ve learned over the years is that it’s not the expensive preamp or the vintage microphone you record with that’s the most important thing. Of course it helps indeed! But in the end it comes down to the instrument and the performance. So if I was to start all over and had the money, I would skip the bad decisions of buying cheap and bad quality instruments and get some nice ones from the beginning – and then find an inspiring teacher and start a band 🙂 Also I would have loved to learn how to play the drums! I love playing drums but I never really took the time to learn it.
Synths and keys
8. What’s the most annoying piece of gear you have, that you just can’t live without
The most annoying is when something doesn’t work. I am NOT a great technician or a computer tech guy – AT ALL. I wish I had the skills to repair my own gear but I don’t, and I don’t think I’ll ever have the time or mindset to learn it. Computer problems must be the most annoying part of music production.
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
I have definitely underrated the power of hardware gear. When I first started recording music with my own band I didn’t really think too much about outboard gear.
Outboard and studio gear
And when I started off producing and recording music myself, I didn’t have much more than a laptop, a cheap interface and one microphone. And that’s all I used for a long time, but at some point I found out that just because the technology is so good now that you can hardly tell the difference between vintage outboard gear and plugins, doesn’t mean that I don’t need the hardware gear. I do. Hardware is so much more inspiring. Turning knobs on a synth while playing, running guitar through my PA mixer or Space Echo with worn out tape that keeps jumping around. There’s the magic. It’s inspiring. That’s the trick. That’s the technique. Don’t underestimate the power of the outboard gear!
Peavey PA-600 mixer
Artist or Band name?
Linus Valdemar
Genre?
Alternative pop, Indie, Folk, Britpop, Shoe-gaze and organic, nordic music.
Selfie?
Linus Valdemar
Where are you from?
I grew up in Lynæs (Hundested), a small town in the north of Sjælland, Denmark, but have lived in Nørrebro, Copenhagen for about 18 years now.
How did you get into music?
My dad was always a singer/songwriter and played his own songs in a local band, so I picked up the guitar at a young age because of him, learning from him and the local music school.
Also I was fortunate to have a few good mates and we made our first band before we could even play really.. We were 11-12 years old.
My mom has definitely influenced me as well, while my dad was the executive musician, my mom had a nice vinyl/CD collection and the knowledge about music in general. This combination made me fall in love with music.
What still drives you to make music?
Over the years I’ve only been more and more curious about new music. Discovering new great artists and producers and how they do it really inspires me. Doesn’t have to be new upcoming artists, as long as it’s new to me it’s inspiring. When I was younger and frontman/songwriter in a rock and roll band, I was definitely more narrow-minded and thought I knew exactly what I liked and disliked – what a fault that was! You can find inspiration and drive in any genre really.
Also new gear or new ways to use gear definitely drives me. And as my studio is based in a complex with other studios and great colleagues, we’re constantly talking and exchanging experiences which helps you and drives you on to the next project with new approach and ideas.
How do you most often start a new track?
It changes from time to time. Sometimes I have an idea on the guitar or piano, and sometimes I try to make a drum beat and play some bass on it. I like messing around with the Logic Drummer – haha! Today I entered my studio and instantly sat at my upright piano and just started writing – before having my morning coffee! So yeah I don’t have a go to way to kick things off really.
A selection of instruments
How do you know when a track is finished?
I don’t. It’s really tough. I will always find things in my mixes that I want to change and edit, but working with deadlines can be a nice way to get things done. Also working fast is a nice way to get it done. I’ve composed some scores lately that I almost started and finished the same day. I’ve learned over the years that being in a flow and working fast is nice. Get it done and move on! Don’t dwell too much. In the end you are your own biggest critic and the audience can’t tell if you think it’s done or not.
Show us your current studio
Linus Valdemar’s studioLinus Valdemar’s studio
Best creative advice that you’ve ever heard?
Here’s one phrase that just came to mind: “Stay curious”. That’s what I intend to do! I keep searching the internet, talking to fellow producers, trying to find new methods to record stuff, write stuff and so on. Music is universal and can still feel different to each of us and hopefully I will never get tired of finding new ways to produce it.
Promote your latest thing… Go ahead, throw us a link
It’s been a while since I’ve released my own music but here’s a track I produced last year by Marie Fjeldsted.
Also please visit my website to see/hear my portfolio, thanks!
1. Favourite knob or fader or switch on a piece of gear and why?
UAD 1176 Rev E
The input knob on the 1176 compressor is my go-to. There’s this little trick I love—turning the attack off to turn compression completely off . It makes the compressor act more like a tonal distortion, adding this raw, saturated tone, especially on drums or guitar. Then you use the Input and Output knob to taste. Of course it has to be an emulation in software that replicates the whole circuit, and not just the compression part.
2. Do you have an ‘almost’ perfect bit of kit? What would you change?
Sontronics Helios Microphone
Yes! I’ve got this Helios microphone that sounds great, but it has this high-pitched noise that I can’t control. I bought it used, and it has some weird charm, but that noise can ruin a take if it decides to act up.
3. What setup do you bring on holiday or tour or commute, etc.?
I keep it simple with a nylon string Spanish guitar. It’s not a fancy one; just something that feels like home. Perfect for when I’m on the go and want to mess around with ideas.
Acoustic Guitar
4. What software do you wish was hardware and vice versa?
Decapitator by Soundtoys, hands down. I wish it were hardware. It adds this perfect, warm saturation, like analog gear. I use it on pretty much everything!
5. Is there anything you regret selling… or regret buying?
Oh, definitely. I bought this beautiful 1962 German-made 335 style electric guitar that looked incredible but played horribly. I couldn’t get a decent chord out of it. I ended up trading it for a Strymon Timeline pedal, which was a much better decision.
Strymon Timeline
6. What gear has inspired you to produce the most music?
Guitars, absolutely. I’ll start with guitar ideas and build the rest around them. I think it’s my main voice as a musician; it’s where my best ideas come from.
Fender Jazzmaster
7. If you had to start over, what would you get first?
I’d go for a guitar again, for sure. It just feels right, and it’s where I get the best start on my ideas.
8. What’s the most annoying piece of gear you have, that you just can’t live without?
My tape machine, a Revox A77. It’s a hassle to maintain, and it breaks down more than I’d like, but I can’t imagine not using it.
Revox A77 Tape Recorder
9. Most surprising tip or trick or technique that you’ve discovered about a bit of kit?
There’s another trick I like besides the 1176 one. It’s the classic with the Pultec EQ—the ‘boost and cut’ technique. Basically, you pick a frequency, boost it, and then cut it at the same time. Sounds strange, but it actually saturates the tone in a way that just works. I use it a lot because it brings this really smooth, controlled sound, especially on drums or if I’m running it on a bus. It’s one of those little moves that changes the character of the mix without being too obvious.
Pultec EQ from UAD
Artist or Band name?
Just my name — Lucas Delacroix.
Genre?
Alternative… though it’s a mix. Could be rock, could be something else entirely. It depends on the track.
Selfie?
No selfies here, but maybe a picture of my hand?
Monty Burns as Howard Hughes tattoo
Where are you from?
Buenos Aires, Argentina. Currently living and working in Copenhagen, Denmark.
How did you get into music?
Guitar was always around when I was growing up. I think it was just natural—I’d mess around on it as a kid, and it felt like the most obvious thing in the world.
What still drives you to make music?
Sometimes I hear a specific guitar tone or melody, and it just fires me up. I could spend years chasing that feeling, trying to capture it in a track. It’s like a love affair that never gets old.
How do you most often start a new track?
Always with guitar. I’ll get an idea down and then build out the rest from there.
How do you know when a track is finished?
It’s a gut feeling. It’s like there’s this small voice that just says, “Alright, you’re done.” It’s rarely 100% satisfying, but at some point, you just know it’s time to move on.
Show us your current studio.
I like keeping it low-key. Let’s just say it’s an underground space, literally.
Caveman Records Studio
Best creative advice that you’ve ever heard?
It seems like it’s obvious, but mix at a low volume. I realize it feels nice to listen to a song loudly, so it feels like the earth is moving and something dramatic is happening. But it really does you no favors, if you’re totally deaf after mixing for an hour.
Promote your latest thing… Go ahead, throw us a link.
I’ve got a playlist with my latest productions which I have recorded and produced for other artist. Check it out. Also, if you’re curious about my own music? Here’s an album called Somos.
