Nathan – Accelerator Jengold

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

In terms of aesthetics and tactility, it has to be the main rotary knob on the ZOIA by Empress Effects. The way it subtly clicks is super satisfying, and the chunky chrome design stands out compared to other pedal knobs. In terms of functionality I’ll go with the D-C-V (Dry-Chorus-Vibrato) knob on the Walrus Audio Julianna.

Dry-Chorus-Vibrato knob on the Walrus Audio Julianna

It controls the stereo spread of the effect and the mix of chorus and vibrato. The Julianna is an ‘always on’ pedal for me – the modulation sounds great and D-C-V knob helps to always find that sweet spot. I typically use the Julianna to make lofi guitar tones using the random LFO setting and a slow vibrato.

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

I’ll have to go with the ZOIA again for this question! It’s one of my favourite pieces of gear and I use it in pretty much all of my music. It’s both dauntingly complex and surprisingly intuitive. It’s mind-blowing how much Empress Effects managed to cram into this small box! I’ve been using it for a couple of years now, but I still feel like I’ve only scratched the surface of what it can do. I use it in all sorts of ways, such as a semi-generative synthesizer, looper, midi controller and of course as a multi-FX unit.

ZOIA by Empress Effects

My only complaint is that because it does so much it’s difficult to know where best to put it in the signal chain. One possible solution would be a set of additional inputs/outputs for an FX loop, and the ability to assign modules either before or after the FX loop. A couple of additional assignable knobs would also make parameter control more immediate.

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

I’m a fan of the Elektron Model:Samples for making music on the go. It’s super portable and I like the directness of the ‘function per knob’ design. It’s perfect for quickly sketching out ideas whilst travelling.

Elektron Model:Samples

Other devices offer more features, like the OP-Z, but I have a soft spot for the Elektron workflow. I don’t use it in my main setup due to the lack of direct sampling, but it’s a fun device to kill some time with.

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

I predominantly use a ‘DAWless’ setup, so I don’t have much experience with software. I only really use my DAW (Studio One 5 to be exact) to record/master and try to do everything else using hardware. Tactility is an integral part of making music for me, I like the physical connection to whatever I’m writing. I don’t have the same drive to write music when I’m working on a laptop. I also find a limited palette of sounds to be quite inspiring, so the inherent limitations of hardware gear can paradoxically be liberating.

Nathan’s pedalboard of tactility

That said, I would love a virtual version of my pedalboard so I could try out different setups without having to tear the whole thing apart!

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

I recently sold my Walrus Audio Slö reverb pedal and replaced it with a Meris Mercury7. Although I really like the expansive stereo sound of the Mercury7, I definitely prefer the modulation on the Slö. It has a unique dreamy quality which is perfect for lo-fi reverbs and woozy textures. I would rebuy it in a heartbeat if they ever made a stereo version with a random LFO mode

Sovtek Big Muff

My biggest gear regret is not looking after my Sovtek Big Muff. Unfortunately it’s been battered from years of gigging and no longer has the original knobs or switch. It’s just too temperamental to use regularly in my setup now.

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

Roland JU-06A

I’ve been really inspired by the Roland JU-06A synth over the past year, it’s the synth I come back to most often. I love the range of sounds, the simplicity of patch design and its compact size. Roland did a great job replicating that classic Juno sound in a small and affordable package. I also get a lot of inspiration from my humble Boss RC202 loop station. I love working with loops and layers, and the RC202 offers a good balance of features and usability. All of my tracks begin as loops, and I wouldn’t know where to start without my RC202.

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

This is a bit of a cop out, but if I had to start over I would probably start with some guitar and piano lessons! I’m completely self-taught, so I sometimes feel a little limited by my technical skills. To answer the question more directly, if I was starting over with electronic music production I would probably begin with an Arturia Microfreak.

Arturia Microfreak

Due to the wide range of features and relatively low price, it’s a great introduction to hardware synthesis. The keybed isn’t for everyone, but the range of synth engines, the intuitive modulation matrix and the analogue filter make it incredibly good value. If it had built-in FX it would be the total package. Although I don’t use mine much anymore, I still consider it to be a modern classic.

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

As much as I love my Elektron Digitakt, it can be a real pain to use sometimes! There are a lot of functions which are not immediately apparent, and it takes time to learn how to use it properly.

Elektron Digitakt

I actually prefer the usability of its little brother, the Model:Samples, but the additional features of the Digitakt make it substantially more powerful. It’s basically the brain of my setup, even though I probably don’t use it to its full potential. Elektron have done a great job with software updates over the years and have added a number of clever features, like the secondary LFO.

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

The Expression Ramper by Old Blood Noise Endeavours is a deceptively versatile pedal, which offers a unique approach to expression control. There are so many ways to use this tiny pedal to drastically change how other pedals work.

Expression Ramper by Old Blood Noise Endeavours

My favourite trick is to use the Expression Ramper to control the pitch parameter on the Red Panda Particle v2. Whilst in reverse mode it creates a fantastic reverse pitch-shift effect which cascades with the delay repeats.

Artist or Band name?

Accelerator Jengold.


A mix of lofi, synthwave, dreampop and shoegaze.



Where are you from?

North Wales, UK.

How did you get into music?

Music has always been an important part of my life; I’m thankful that my parents and brother introduced me to artists like The Cure, Radiohead, Tom Waits, Massive Attack, Godspeed You! Black Emperor and Brian Eno. I took up bass when I was a teenager and played in a few post-rock and post-metal bands whilst in University. I later moved into electronic music production using software like Reason, and then got into hardware gear with an Arturia Microbrute (which I sadly no longer own).

What still drives you to make music?

I’ve always enjoyed being creative and having a musical outlet helps me to cope with stress and anxiety. I like having a way to express how I feel, even if I don’t always understand my own thoughts and feelings – which probably explains why most of my music has a downbeat or melancholy vibe. Producing something tangible from my creativity, like a finished song or EP, is a big driver for me.
I think this is linked to my preference for tactile music production; using software feels too ephemeral to me. I love conceptual music and take inspiration from a wide range of books, films and other media when writing. Short-form jams on Instagram are my primary output, so I’m super inspired by other artists with a similar approach like Andrew Black, Joshua Dowell and Simon Von Walbrook. I’m really proud to have had my music featured on microbiology posts by Chloe Savard and Penny Fenton, and I would love to produce more music for other media.

How do you most often start a new track?

I typically start with sound design, either creating a unique guitar sound using various FX or developing a new synth patch. I’ll then loop a simple melody and experiment with different layers until it feels right. Sometimes I focus on the melody, other times I focus more on the overall vibe, it just depends on the individual track. Percussion usually comes last so I can choose samples and rhythms to fit the music. 

How do you know when a track is finished?

Most of my music is based around looping and building layers of melody, so an important skill is knowing when to stop. When I can remove a layer and the track sounds better, it’s probably finished! If I get stuck on a track I’ll take a break for a few days and then come back to it with a fresh perspective. My least favourite part of making music is mastering, so I’ve developed a couple of mastering templates in my DAW to help speed up the process and remove some layers of indecision. For official releases on Spotify (etc.) I rely on my good friend Chris Walker, who always does a great job fixing up my masters.

Show us your current studio

Synths, samplers and loopers

My setup is in a tiny office/walk-in wardrobe in my house, but it has pretty much everything I need. I’m planning to add an analogue synth at some point (like a Pro-1 or Minilogue) and a Colour Palette electronic kalimba by Lottie Canto.

Studio desk

Best creative advice that you’ve ever heard?

I’m going to echo what Dev Bhat (Shipwreck Detective) said in his interview for this blog: “keep it simple, stupid!” This really resonates with my own approach to writing music. There’s a skill to communicating an emotion, theme or concept in an honest and direct manner without resorting to cliché. I like to embrace simplicity and try to express myself with a limited number of components.
An important part of being creative is trusting your instincts and not focusing too much on what does or doesn’t work in theory – theory should be used to help us translate and communicate our ideas rather than to provide a rigid framework for them.

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

I regularly post jams on Instagram (@accelerator.jengold), so that’s the best place to keep up to date with what I’m doing. My music is also available on most streaming platforms, just search for Accelerator Jengold. My latest EP, Pyre, came out last year and is full of weirdo synthwave tunes, go check it out! I’m currently working on a new EP and some upcoming collaborations. Thanks!




Prior Use – Andreas Bak-Reimer

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

Gettin’ it on with the Roland SH-1

The power switch on the Roland SH-1. It’s an old synth, and the button has a distinct mechanical quality to it. The way it feels, the way it sounds, and the way the power LED lights up immediately – it just feels like getting it on! The SH-1 does that really swell PWM (pulse width modulation) that I enjoy immensely, and simple as it is, it invokes an atmosphere of a simpler time, with a lot of nostalgia to it.

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

My Roland Juno-106 is close to perfect for it’s purpose. Countless 80’s and 80’s emulating tracks have been born using it, and it’s built in a way that grants plenty of sweetspots, and not so many dead ends. Some people prefer non-DCOs, and have plenty to say about the 106 being a budget synth, but mine’s fresh back from service, and it makes me happy.

Roland 106

I sometimes wish it had another oscillator with an easy option for detuning, to get a wider sound from it, but there is a lot to be said about limitations to foster creativity.

… Also, I am not particularly fond of the way the resonance sounds when it’s cranked way up. It’s glassy instead of being juicy – and rarely that’s a good thing. On the other hand, I don’t have any other things that sounds like that, so it’s probably best to leave that unchanged.

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

Roland TB-03

Laptop, almost certainly. I am no where near anything dawless, and don’t have anything that I could arrange anything with, besides a computer. If I weren’t writing, but merely playing around, I would bring my Roland TB-03, or Yamaha Reface CS – built-in speakers and battery operated, they are 1. 2. go!

Yamaha Reface

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

Absynth, Brain, Modular.

Software -> Hardware: I think Native Instruments Absynth. I have had that since forever, and still use it heavily. Also, I would like to see the physical shape/color/layout of such a thing!


Hardware -> Software: My brain. Although it feels soft at times, I consider it hardware. It certainly interfaces like 40+ years old hardware (poorly that is), it is sometimes difficult to control when hot or cold, and it’s almost never in tune. Also – patch memory is severely limited. If I could instantly recall patches, production tricks, channel-settings and export/bounce the tunes and sounds directly, like with a lot of software, then… Well, it might take out the fun at times.


To be serious: My modular setup would be nice as software – mainly for patch recall.

Eurorack modular

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

I never sold anything ever, so that doesn’t apply. And therefore I never regret selling anything either!

I once bought a portable recorder, thinking I could get a lot of good sample material that way. I only did once, but it never made it into a track I finished. I have fond memories of getting up early to catch a few big trucks on big roads going by, though… So, no regrets I guess…

Tascam Recorder

I bought an Ensoniq SQ-R module, because it features Transwave synthesis. Never used that, but it had a nice belltree sound that I used once or twice. It’s probably the thing I’ve bought that comes the most close to being a regret.

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

My trusty iPod classic 80 GB. That’s a lot of late 90’s goatrance… Listening to that is what inspired me most over the years. It had a growing line of dead pixels over the course of a year, and when the line was fully dead, the pixels started working again from the beginning of the line! A year after, the whole display was good again. That is probably my strangest experience with any electronic gadget ever.

iPod classic

If I should channel this to some sort of an inspirational tale, it would something like how the small and weak Hobbits defeated the mighty Sauron – it might appear to be failing, and an unlikely source of victory, but give it some time, and it will surprise you.

That is also why I have never sold anything. You never know.

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

A decent room for working in. Go all crazy thinking about getting the ‘right’ monitors, nice preamps, the perfect cables (ugh!)… But if your room is horrible, none of that matters. I have sunk a fair bit of time into acoustic treatment, and it has made a world of difference.


Also: time. So that’s it. Time and space – that’s all I want. At first…. Then a Mac.

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


Mac laptop

Again, my computer. Ill timed software updates, one too few CPU cycles in stacked projects, failing disks… The woes are many, but I wouldn’t have written a bar of music without it.

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

Roland JV-2080

About 20 years after I got my Roland JV-2080, I realized it was capable of faux PWM. If I set a regular sawtooth wave on one osc, and an inverted sawtooth on the other, and modulate pitch slowly and independently, then it happens. I wish I had known that 20 years earlier, but that would probably mean I wouldn’t have bought my SH-1 (with the fab power button) – so it’s all good!

Artist or Band name?

I have mainly been producing under the moniker “Amygdala”. Goa and psychedelic trance in the old (old!) sense of the word.

Lately, I have been making some drops in the already over saturated ocean of synthwave music. I enjoy that very much, and as a child of the 80s, it takes me back to a simpler time – worries forgotten. The moniker for this activity is “Prior Use”.


Many kinds of trance music: Goa, psychedelic, melodic, uplifiting, minimal, tech-, progressive.
Besides that, a bit of synthwave, and the odd “psy-bient” piece.


Andreas Brain

Where are you from?

I am from Denmark – just a tad north of Copenhagen, but most of my music has been produced in Århus. You can really tell what a big difference those 170 km makes!

How did you get into music?

My parents and brother. Music was omnipresent at home when I grew up. My parents encouraged me to take up playing violin when I was 6, and I have had some great experiences with that. When music production became reasonably available to the regular consumer with computer interest, I was hooooked! At first, it was just another thing I could do with the computer, but rather quickly it was pretty much all I ever did with it.

What still drives you to make music?

The two biggest drivers are probably the “flows” and “highs”.

Flow when I can be completely engrossed in production, enjoying the situation, and getting something done which I like and feel as an accomplishment. Time flying as I ignore my body’s attempts to drag me to the loo, trough or bed.

Highs when I hit something that (in the moment) is spectacular – a catchy tune, a sweet timbre, or a really dope fill or transition. It can still make me laugh after all these years, and the surge of energy and motivation I get from that is unparalleled.

How do you most often start a new track?

Sometimes I start with a very simple idea like a tune, a chord progression or a synthesizer patch concept. Then Drums. Then bass. That’s the most usual case, although sometimes I skip directly to the drums. Lately, I have been thinking that it’s not the best way to go, as I am finishing fewer and fewer tracks. I often end up with a pretty decent groove, but lacking the centerpiece idea that makes the track stand out. I polish the rhythmic section and transitions, until there is not space left in the spectrum (frequency and/or mental) for anything else.

So, from now on, I am trying to start off a new track with an idea, and then build drums and bass around that. We’ll see how that goes.

How do you know when a track is finished?

When a track has all the arrangement elements (intro, good stuff, breakdown, great stuff, climax, outro – or some other configuration), I bounce it and listen away from the studio. I make a lot of notes I want to change, enhance, remove, whatever. When that list feels complete, I do those changes. Hopefully I am happy with the result, because at that point I am usually fed up with the piece. I am not one for endlessly tweaking everything, and I have a tendency to detail focus early – which means I “decide” that this bit is perfect, and then unconsciously prohibit myself from editing it (too much 🙈).

I know there is some degree of contradiction in the above, but I’ll just hide behind “you can’t argue art”.

Show us your current studio

Andreas Studio
Andreas synths

Best creative advice that you’ve ever heard?

I bought a CD from Eat Static sideproject Dendron (Merv Pepler). I think he burned the disc himself and mailed it. Included in the package was a makeshift invoice with the words “always experiment” on it. I think that’s pretty good advice. It’s hard, because as time grows scarce I tend to stick to the beaten path, but even though it feels like it’s safer and more productive that way, I get less enjoyment from it.

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

As mentioned above, I dabble in synthwave. Swing by and tell you friends.

[Editor: if you want to check out Andreas psy-trance stuff it’s here:]