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.]


Kir Åge Jæger – Persian Electro Orchestra

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

The ROLI Seaboard (midi-controller) has an X/Y-Pad which is very powerful because it connects with the software “Strobe2” that has a so-called “Euclid” processor. It’s way easier to show on a screen, but imagine that when you drag the “target” symbol with your finger on the ROLI, the small dot (orange arrow on picture) follows the target. You can program HOW the small dot should follow the target with different parameters like slew, damp and rate in order to create some pretty original soundscapes. So far I have only used it for film scoring.

Roli Seaboard with Strobe2

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

This is probably not very original, but just like clichés exist because they are usually true, the PUSH 2 (from Ableton LIVE) works very well for both music production and live performance. What would I change? The fact that Ableton LIVE does not include quartertones as a standard.

Ableton Push 2

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

My setup is quite simple, actually. Even when I play with my orchestra, I can carry everything myself. My laptop, soundcard (Behringer UMC404HD), microphone (sE2200A||C), and headphones (Sennheiser HD 280 Pro) usually do the trick. A small midi-controller is useful too (AKAI MPK Mini). I once brought this with me to Beijing to visit my friend and we ended up inviting a vocalist from Tinder to jam with us.

Travel setup

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

I would love to have the VsT-plugin “Manipulator” by Infected Mushroom as hardware. Manipulator is always in my effect rack when I perform live on my santoor.

Uuh.. Speaking of… A midi-signal santoor would give my music production wings!

Infected Mushroom Manipulator VST

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

Hmm… I really regret buying any “Waves”-VsT plugins. They tried so hard to prevent people from cracking their software that it ended up being a headache to use legally. I decided to boycut them some years ago. 

Waves

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

Well… If software is gear I think “Nexus” from “REFX” inspired me the most. It is a so-called ROM synthesizer. The sounds are so delicate (yet expensive) and the software is very intuitive. I even heard that they programmed the sounds in order for you to combine them.

REFX Nexus

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

I started in “Music Maker” for Playstation (1998), then I changed to FL Studio (2003) and eventually Ableton LIVE in 2013. I definitely would’ve skipped FL Studio and gone directly to Ableton LIVE.

FL Studio

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

Hehe… That would be my cheap-ass in-ear monitor system that I bought for my orchestra musicians so that I can talk to them during a live show and they can listen to their own performance on a backing track. The sound is absolutely awful, but they’ve accepted it so far. 

Wireless In Ear Monitoring

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

That would definitely be the world of Persian tonal systems through my santoor. They have 7 tonal systems in Iran. We only have one in the western hemisphere. Working with electronic music (and thereby frequencies) has made it easier for me to understand these systems.

Santoor

Artist or Band name?

Persian Electro Orchestra

Genre?

Hmm… Well… Downtempo/Techno/World/Organic/Persian

Selfie?

Kir

Where are you from?

Copenhagen, Denmark

How did you get into music?

No one in my family plays an instrument. The interest was kind of there from the beginning. I started borrowing cd’s at the library at the age of 10.

Free CD’s from the library

What still drives you to make music?

Music – and everything that surrounds music – is the reason I am alive.

How do you most often start a new track?

With a fat polyrhythmic beat!

How do you know when a track is finished?

None of my tracks are ever finished. I always make new mixes and arrangements for live performance, hehe.

Show us your current studio

Kir’s home studio

Best creative advice that you’ve ever heard?

Finish your shit and get it out there – even though it is not “perfect”. It will only make you thirsty for more when you get your first “real” feedback.

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

There is a bunch of songs being released soon, but meanwhile check out “Losing My Impatience”:
https://song.link/dk/i/1488153140


[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…
]


Hainbach – Good 2 Have U HerrBach

[Editor: Hey! Look everybody… it’s Hainbach! Wuhu! – But seriously. It gives me great pleasure to present to you this interview with the wonderful artist and inspiration to so many a music gear junkie… Mr. Hainbach101 himself]

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

Genrad 1516. turn one knob and the other knob moves too. Magic!

Genrad 1516

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

Rohde und Schwarz UBM, best Bassdrum in the world. I only wish it was not 18KG.

Rohde und Schwarz UBM [Editor: Note the bend in the metal shelf!]

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

OP-1 for the longest time.

Teenage Engineering OP-1

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

Sonic Charge Permut8

Sonic Charge Permut8 should be a hardware box.
I am also working together with SonicLAB to turn an important piece of test equipment music into software. Fundamental it will be called, release is a few weeks away.

[Editor: This is a bit of an exclusive look at the upcoming VSTi. It has a lovely design and I really look forward to trying it out. Will stick a link here when it is released]

Hainbach & SonicLAB’s Fundamental VSTi

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

I wish I had kept my Roland SH2000, but I did not have the money to have it repaired then. Worst purchase was the Roland MC-303.

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

Ciat-Lonbarde Cocoquantus, the endless machine.

Ciat-Lonbarde Cocoquantus

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

Koma Elektronik Field Kit and Field Kit FX. These have everything to make a whole lot of music at a decent price.

Koma Elektronik Field Kit FX

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

Probably any computer I ever had.

Apple MacBook

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

Phasers are awesome drum machines.


Artist or Band name?

Hi, I am Hainbach, electro-acoustic composer from Berlin and I talk experimental music and gear on YouTube.

Genre

Experimental and ambient music.

Selfie?

Stefan aka. Hainbach

Where are you from?

Berlin, Germany.

How did you get into music?

I started with piano at age six and got hooked at 15 playing keys in a psychedelic rock band.

What still drives you to make music?

If I don’t make music I get withdrawal symptoms and get sad and grumpy.

How do you most often start a new track?

I write every day I can, starting with either a concrete idea or an experiment I set for myself.

How do you know when a track is finished?

A track is finished when I feel it does not want anything from me anymore, and vice versa.

Show us your current studio

Hainbach’s studio desk

Best creative advice that you’ve ever heard?

Best technical advice was three level technique for mixing, which I was introduced to by Tobias Levin. Basically by watching a peak/rms meter and grouping instruments into three level sets you can get a good mix going easily. Here is a video I made on that: https://youtu.be/FZ4XwbCI0Lw

Best Creative advice was a Little Plaque in my parents kitchen that read: the mind grows by what it feeds on. That had an impact on me as a kid, as corny as that phrase might be. It’s in this video: https://youtu.be/fCJdXA0wNTI

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

Check out my new album „Assertion“, wild oscillations and piano loops combining in a colourful world of hope against the the darkness of current events

www.bandcamp.com/album/assertion

[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]