Gabriel Vinuela – Viñu-Vinu


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

White MoogerFooger RingMod

The knobs on my MoogerFooger RingMod are the best, I think. They have the good resistance, size and shape. They just feel right!

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

Elektron Digitakt

The Elektron Digitakt is almost perfect for me. I love the workflow, its limitations, the sequencer, the size and the sound. That box sounds so good and has such unbelievable headroom! I guess I would like to have a slot for an SD card for more storage and easier sample transfers.

Digitakt and friends

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

I always bring my Zoom H4N everywhere to record field recordings which I really enjoy doing. For a minimal holiday setup, I would add to that my OP-1. Not super original here, but you can do so much on the OP-1 alone, it wins for a minimal setup!

OP1 and Zoom H4N

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

I think having PaulXStretch in an effect pedal format would be pretty cool! Freeze, stretch the signal to immense drone with frequency shift, filters etc…
For a while, I was wishing for the Digitakt sequencer to be available as a software, but with overbridge it’s almost the case now. Also, Ableton 11 implementing randomisation in the sequencer totally fills that gap now for me.

Paul Stretch

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

I don’t really sell gear, cause I’m always afraid I’ll regret it later and that I might need it for a project. To be fair I’m also really cautious of the gear I buy and I don’t have a lot. I sold my first electric piano which was a Yamaha S90 a while back. I kind of regret selling now, because it had a pretty good keybed and I think I could use it now as master midi keyboard. Therefore, reinforcing that I should not sell gear! haha

Yamaha S90

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

I know it’s not a hardware piece, but I need to say Ableton Live. It’s definitely “the piece of kit” that got me started and I can still find endless inspiration within. I like that there’s so much different workflows possible, different ways of doing things and it’s such a modular environment to make music. No two person use it exactly in the same way!

Ableton

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

Something like the Minilogue I think. A synth with almost all the functions on the front panel is way better to start learning about synthesis.

Korg Minilogue

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

Cables!!! We absolutely need them, but there are too much cables around everywhere in the studio: xlr, 1/4, usb, dongles. It never ends OMG.

Cables

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

A surprising trick I learned watching a Dave Meck tutorial was that you can create FM tones by setting a really fast bpm multiply on the LFO and modulating the sample tune. Better to check it out here: https://www.youtube.com/watch?v=3Wsu7CB1SSI

Digitakt FM tones

Artist or Band name?

Viñu-Vinu

Genre?

Electronic music, ambient, downtempo, experimental, melodic, beats (I guess??)

Selfie?

I’m cheating here… That’s a photo taken by my friend Mathieu Lalonde (Couleurves)

Gabriel Vinuela aka. Viñu-Vinu

Where are you from?

Montréal, Canada.

How did you get into music?

I started taking piano lessons when I was 10 years old and continued studying music and classical piano performance all through college and University. I completed a Bachelor degree in both classical and jazz piano performance at University of Montreal. Around 2013-14 a friend showed me Ableton and I started experimenting more with sounds and textures and started doing electronic music and music production more seriously around 2016. And here we are!

What still drives you to make music?

I think what still drives me is the infinite quest, exploration and learning experience that music is for me. I’m always looking for something new to make or to learn.

How do you most often start a new track?

Most of the time I fire Ableton Live and then it so much depends on the day! I generally like to establish and think about a process first. For example: explore this new plugin, today granular stuff, starting with a hardware synth, work with that new sequencer. The process gets me going at first and then I can go where ever from there and a new track or idea start emerging from that.

How do you know when a track is finished?

When it’s released and I’m listening to it on the Bandcamp or another platform stream. It’s really the only way you’re sure the track is fully finished… haha. Joke aside, that’s such a hard question to answer. For me it’s really a gut feeling, a sense that all the pieces of the puzzle are together, like I almost see the whole thing visually. Sometimes it happens really quickly and sometimes it takes for ever to get there.

Show us your current studio

Studio
Studio
Studio

Best creative advice that you’ve ever heard?

See your art as a practice and practice it everyday. Even for a really short amount of time. Blankfr.ms posted something in those lines a few days ago in an Instagram caption. It’s something that I always tell my piano student, but it kind of reaffirmed it for myself reading it. You’re better practicing 10 min a day, than an hour once in a while. Getting that sense of daily creation is such a good and rewarding feeling too.

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

I just released my new album Exilio Transitorio:
Vinyl + download:

Exilio Transitorio

https://vinu-vinu-music.bandcamp.com/album/exilio-transitorio

Streaming: https://album.link/i/1557425920


Red Means Recording – Jeremy Blake

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

The Hydrasynth main encoder knob. It’s huge.

Hydrasynth main encoder knob – it’s lit from beneath

Second place goes to anything that turns up the volume. 

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

I wish the Synthstrom Deluge had an OLED screen and I wish the Mashine+ could make actual synth patches from scratch. 

Native Instruments Mashine+

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

OP-1 or Deluge or iPad for granular apps like Borderlands.

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

I used to think a bunch about this, but after getting the Hydrasynth I don’t really care about software in hardware. If I could get Pigments as hardware that would be dope. I would love more wacky probabilistic and self-patchable software stuff.

Slow spagettification of a studio

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

Zero regrets in selling. Selling is freedom. 

A corona lockdown audience

Buying, I dunno. Everything I’ve bought I’ve bought because it had a reason to exist in my setup at that time. When I sell it, it’s because it’s redundant or I’ve outgrown it.

Vivid colors of eurorack

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

Neatified cables

Up until this year, the Teenage Engineering OP-1. This year it’s been eurorack.

A rainbow in eurorack

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

I still think a good DAW with a decent sample library, one good synth VST, and a hunger to learn is the best thing you could possibly start with. So I would do that.

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

Anything involving my computers, haha. I know that’s a cop-out answer, but like, man. They can do everything, but fuck up harder than anything else.

Can’t get around computers. But you can mount them up high!

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

I think audio-rate modulation, in general, is something that never occurred to me until recently. Everytime I see DivKid do something with it I’m like “oh right, I can do that”. It’s wild.

Audio rate mod everthing… in eurorack

Artist or Band name?

Jeremy Blake for music, Red Means Recording for YouTube

Genre?

Electronica, Downtempo, Alternative Electronic

Selfie?

Jeremy Blake aka. Red Means Recording

Where are you from?

Seattle, WA

How did you get into music?

I started playing the flute in Elementary School. Was lucky enough to be exposed to orchestral playing and jazz ensemble. Flunked out of music performance school because I was spending too much time sneaking into the studio to use the equipment and I didn’t wanna play the flute anymore. Was playing with trackers and anything I could get my hands on. Went to audio engineering school, kept experimenting. Eventually fell into YouTube music production videos. Most recently I’ve fallen hard for modular and I’m having a blast.

Desktop inspiration

What still drives you to make music?

When life gives you cables, make yellow shelving organisers

All the little pieces of things I know can be rearranged to augment some new idea. Everything can be recontextualized and spun into a new idea. There’s no end to the inspiration.

Gratuitios knobalation of the Sequential Pro 3
Knobalicious

How do you most often start a new track?

Lately, a lot. Modular has been a really refreshing platform for experimentation. I’m writing at least one new thing a week.

How do you know when a track is finished?

With modular and hardware it’s easy: when the performance is done and I’ve mixed and mastered it. With DAW-based stuff, it’s when I’ve gone through all my iteration passes, like idea, arrangement, mixing, re-arrangement, ear candy, and mastering. I go by a rule of three approach: if I can listen to a track 3 times and not mess with it, it’s done. If something bothers me 3 times, I change it.

[Editor: That answer is one of the most systematic and quantified approach to that question. That I’ve read. Excellent!]

Show us your current studio

Jeremy Blake’s very red Red Means Recording studio
Blackmagic ATEM Mini and a tuner

Best creative advice that you’ve ever heard?

Limitation breeds innovation, tied with “put a donk on it”.

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

I make music performance and education videos here: https://www.youtube.com/redmeansrecording

You can find my music on all platforms here: https://rmr.media/findme


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw a comment below…
]


Oriol Domingo – El Garatge

[Editor: This is interview nr. 100! Yay!!! And to celebrate, we’re doing a GIVEAWAY! Oriol has kindly donated an El Garatge expression knob to one lucky price winner. Check out how to enter on my Instagram]

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

Moog Sub 37 chicken head knob

My Moog Sub 37 has a very good over all build quality. I like that despite being quite big, the filter knob moves really smooth, but what I like even more, is the pattern type and octave selectors, even the click sound is very pleasing!.

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

Access Virus Indigo 2

I really like my old Access Virus Indigo 2. Sounds really powerful and offers a lot of sonic possibilities, but due to the metal sides it’s insanely heavy and the keybed feels really cheap for me. I already have a bigger midi controller connected to it, but I like to use the built-in keyboards, especially when I’m just creating new sounds.

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

Teenage Engineering OP-1

Most of the time, just the Teenage Engineering OP-1. It’s perfect to practice with limitations. It allows me to create full songs without using any other device and I remember discovering some cool melodies that, with another piece of gear, wouldn’t have happened, because of the way it makes me work. Also, I can use the built-in mic, line in or FM radio too, when I want to use a little more elaborated portable setups.

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

VST Synthogy Ivory Piano

As a piano player, I really like the VST Synthogy Ivory Piano. Most of the time I do my music without a computer, where the OP-1 is current main device to record with.
It would be really cool to just have that piano sound out of the computer, as most of the time I just want to play and it doesn’t make sense starting up a DAW or even a computer simply to play a sound, when I don’t want to do anything else. In fact, they did release a hardware version, but in addition to being really expensive I think they discontinued it.

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

Yamaha RM1X

Since I first discovered grooveboxes and synths, over time I ended up with a fair amount of devices, but sometimes I was more attracted to the aesthetics or possibilities, than what I really lacked in my studio.
Other times maybe I needed what I purchased, but in the end, the device didn’t fit my preferred way to work. I remember buying (and selling again very soon after) a Yamaha RM1X. It had a really powerful sequencer, but it wasn’t satisfying for me to play with. I also had fun with the Roland MC-303 Groovebox and even though I wouldn’t give it much use nowadays I still miss it sometimes.

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

Again, the OP-1 alone has given me a good amount of ideas. The workflow and immediacy to record and loop is something really well designed and that works very well in my case, because it really helps me to have visual feedback on what I’m doing.

TE OP-1

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

Probably a Korg Minilogue XD. It offers a lot of immediacy and very little menu diving, which is great to design sounds fast. In addition, the sonic possibilities and extra oscillators make it a really good synth to start with. It can easily do everything from drum sounds to bass, leads and pads. I miss a little more of polyphony, but adding a little of the internal reverb or delay effects can help with that.

Korg Minilogue XD

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

Despite having some decent synths and quality pedals, I still own, not one, but two Behringer mixers and a Tube Ultra-Q which I have only connected to my Yamaha Reface CP to add some EQ. I have one rack mixer with 8 stereo inputs where I connect all the synths. From that, I connect the main out to the other small mixer. where I add aux effects and additional synths or mics. Both mixers add a considerable amount of noise, especially the small one, depending on levels, but I’m just used to it and I keep using them for now.

Behringer mixers and Tube Ultra-Q

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

Maybe this can’t even be considered a technique, but sometimes I have fun placing piezo microphones between my midi keyboard keys and then amplify and add EQ to the noise while I play. Then I can record piano music with some real noises. I even tried placing the mic on old wood furniture to add some cracking noises while I record, which adds a little more atmosphere in my opinion.

[Editor: That is fantastic lateral thinking technique! I dig it!]

Piezo mic for mechanical noise

Artist or Band name?

I make music as Efímer on YouTube/Spotify. You can find me at youtube.com/efimer where I upload soundpacks and demos of my own devices too.

Genre?

I’d say Ambient/Downtempo, but sometimes I make piano and orchestral music too.

Selfie? 

Oriol Domingo in his studio

Where are you from?

Barcelona, Spain.

How did you get into music?

My grandparent used to take care of another family’s orchard. One day he returned home with one of these little mechanical toy pianos, that the kid of the other family didn’t want. I was 4 years old, but I still can remember what I felt when I played the first notes, I was immediately hooked and I’ve been playing by ear from that age.

The first song I played with that toy piano was MacGyver by the way, haha. When I was 8 my father understood I wasn’t going to stop playing the piano and he bought me a more decent one. From there, I discovered what I really liked was to play by ear and also create my own songs. All the synth stuff and GAS came when I was about 16 when I discovered the Roland MC-303 and Korg Electribes.

What still drives you to make music?

The act of creating something out of nothing, the possibility to create some unique music that could convey feelings to other people makes me happy. Of course it’s complicated to do anything really “new” but even the process of trying to create it can lead to understanding ourselves a little better, by trying to find our own voice. Creating music makes us wonder what do we want.

How do you most often start a new track?

I use two different methods. Sometimes when I’m learning to use a new piece of gear I just want to create some sounds. If during the process a new melody comes to my mind, I try to follow that and see where it goes, and if not, I’ll still have some patches to use another day. The other method I use is just starting with a piano or rhodes sound, which are my favorite, and start improvising while I think about other things.

How do you know when a track is finished?

When even the “worst” part of a track is still acceptable in my opinion. I usually listen to each fragment many times and try to correct the things I still don’t like. Sometimes works well too just listening to it in another moment or another day to realize there are still things to fix. I think it’s good to listen to your own old music too, in order to see if you would make the same decisions again.

Show us your current studio

I don’t have much space so it’s quite fragmented and messy.

Oriol Domingo’s home studio

I love synths with keyboards, so it can be quite uncomfortable sometimes.

The El Garatge home studio keys

Best creative advice that you’ve ever heard?

Embrace limitations. It may seem very common to hear and I think it may not work for everybody. Not just your own creative limitations, but also adding and forcing other kinds of limitations like gear or even time.
Especially when starting new songs, the less options the better for me. It’s easy to get lost in the possibilities when you have a lot of gear, you could be constantly wondering if you chose the right synth or sound to start and which effects add, etc.
If you force yourself to use one synth, sound or even sample, changing is not an option, it’s all you have, so no need to think about that again and you can now start creating.

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

In the last weeks I’ve been developing this piggyback LFO knob with extra features for pedals with expression inputs, which will be finished soon I hope!:

https://elgaratge.com/echo-knob/


[Editor: It’s been a wild ride doing this music gear blog this past year and the blog isn’t even over 1 year old. Over 30,000 unique visitors have stopped by and had a monthly readership of between 1500 to 4000 readers.

… And I’d just like to thank YOU, my fellow music gear junkie…. But also, of course, the 100 artists who contributed and made this past year a little more tolerable.

Do you have any suggestions for the future of this blog? Then leave a comment below.]