Name: Bradley Hutchings aka Guava
Nationality: British
Occupation: Producer, DJ, multi-instrumentalist
Recent release: Guava's debut album Out of Nowhere is out via his own Gauava Noise imprint.

Tool of Creation: Machinedrum
Type of Tool: Drum Machine
Designed by: Elektron
Country of origin: Sweden

If you enjoyed this interview with Guava and would like to stay up to date with his music, visit his official homepage. He is also on Instagram, Soundcloud, and Facebook. For more insights, read our earlier Guava interview.



What was your first encounter with the Machinedrum?

When I bought it. I’d read about it in an interview with Andy Stott and they we’re still quite affordable then so I just dived in and went for it.

I had no idea that I happened to be buying the MKII SPS-I UW (which is the best version), so luck was on my side.

Just like any other piece of equipment, the Machinedrum has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

Well, it didn’t cross my mind at the time of buying it. I suppose, again, I try to avoid digging too deep, especially with something like the MD because it has a certain sound. But I’ve heard through the grapevine that besides Andy Stott, it’s used by Laurel Halo, Radiohead, Actress, Chemical Brothers, and Autechre … so that’s a cool bunch of people.

But I suspect there are more Machinedrum’s in the world than there are decent producers, so I guess that says it all.

What, to you, are some of the most interesting recordings made with the Machinedrum?

Well, that would have to be The Eraser by Thom Yorke.



I’m sure it’s everywhere though - I’d love to know if there are any pop songs with it in.

What interests you about the Machinedrum in terms of it contributing to your creative ideals?

The Machinedrum is ultimately a toy. And once you know your way around it you can have hours of fun - and I mean hours. It also has a gorgeous sound, in terms of oscillators and the quality of the audio that you get out of it.

Also, it is to me, the ultimate drum machine. It can do a damn good Roland TR-808/909 impersonation, nails the SP-1200 sound and then can do everything in-between. It even has a sampler.

What are some of the stand-out features from your point of view?

The standout feature for me is the Function button - it changes the DNA and fabric of the whole drum machine. This sound can be heard in all my tracks, such as on the new record with M Presence and the title track 'Out of Nowhere.'



But there are other features, like parameter locks and LFO mapping, that give the sounds loads of 'feel,' a bit like a live drummer.

Prior to using it for the first time, how did you acquaint yourself with the Machinedrum? Will you usually consult a manual before starting to work with a new device – and what was that like for the Machinedrum?

Well, I started with the manual ... big mistake. Despite my love for Elektron, the manuals are lengthy and dry, especially if you're as impatient as me. I remember reading it and thinking, 'okkkk, I’m lost.'

However, once I started jamming away, I began to learn things about it that I hadn’t picked up in the manual. Elektron did make some wonderful instructional videos that are available on YouTube.

But if I were to give anyone advice on it, I'd suggest trying to learn from someone who owns one themselves—it goes way quicker that way.

Tell me a bit about the interface of the Machinedrum – what does playing it feel like, what do you enjoy about it, compared to some of your other instruments?

Like all good instruments, it feels instinctive and like an extension of who I am. If it hadn't, I would have sold it and focused more on something else. I know that I can just switch it on and create a track in 10 minutes; that’s a huge advantage.

I’m a guitarist by trade, and having a (literal) hands-on approach is how I like to make music.

How would you describe the sonic potential of the Machinedrum?

Within my compositions, there's endless fun. However, everything needs balance, so it's also good not to fixate too much on one thing.

I rarely use it to create melodies, but having said that, the 303 acid sound is in my track 'Supercub,' is a good example!

In which way does the Machinedrum influence musical results and what kind of compositions does it encourage / foster?

Polyrhythmic rhythms and crunchy synthesis.

Could you describe working with the Machinedrum on the basis of a piece, live performance or album that's particularly dear to you, please?

My album Out of Nowhere is in many ways an ode to the Machinedrum

How does the Machinedrum interact with some of the other tools in your studio?

I have just bought an Octatrack, and it sounds great, so I will be syncing the two with MIDI.

Other than that, I think tonally it has a very clear and direct sound, so I think it’s nice to juxtapose and balance with more messy sounding instruments. I like to layer synths and resample them using the microphone on my phone.

Are there other artists working with the Machinedrum whose work you find inspiring? What do you appreciate about their take on it?

Yeah, of course, I mean, I think I have to be careful about answering this question because I don’t want anyone to get the impression that it’s some kind of silver bullet—get a Machinedrum, and that’s it, all your music production challenges will be solved.

I love Andy Stott; he’s got a particular way of making beats that just does something special. He mentioned in an interview that he uses an MD, but I have no idea which parts of his music are Machinedrum and which part is just him working his magic. I know he uses an Ibanez Tube King as a distortion pedal, so perhaps one of the elements I like about his productions is a cheap distortion pedal, or it could just be him and the way his mind works.



Then, if you listen to something like The Eraser by Thom Yorke, I would say the thing I like the most about that album is actually the songwriting. I think he could have produced the same record but using a live band or a different setup.

Ultimately, tools are just tools, and we as producers have to channel ideas themselves. The beauty of using something like the MD is that it’s been conceived by a bunch of very clever designers who are building on an already rich design philosophy.

So I reckon, yeah, get whatever you need to make the sounds that you want to create, but put in the hours to learn how to make it work (for you).