VLMV

VLMV (pronounced ALMA) is a self-proclaimed ambient-ish post-something singer-songwriter, composer and producer from London. Formed in early 2015 and fronted by songwriter/producer Pete Lambrou, VLMV released their debut mini album via Fierce Panda Records in August 2015, receiving critical acclaim and described by Lauren Laverne (BBC6 Music) as “a beam of light through a dark, coldnight”, followed shortly after by ReWorkings & Remixes; a digital overhaul of the esteemed debut. In February 2018 VLMV released the follow up Stranded, Not Lost, again on Fierce Panda Records, and subsequently signed to the illustrious Erased Tapes Music Publishing. Live, Pete deploys multiple loop stations, delay pedals, piano and guitar to create a slow-moving, high-flying soundscape of luscious gravitas, typically built from scratch loop byloop, layered with various instruments with his intimately delicate voice hovering above. As a composer for Erased Tapes Music, Pete’s work has been heard in household’s all over the world across commercials, film and television, with clients including Ikea, Vice, Hyundai, Rolex, BT Sport, Amazon, The BBC, S-Power and The National Trust. VLMV’s music has also been as far reaching, with high profile spots on MTV’s Teen Mom, The Republic of Sarah, Amazon’s The Grand Tour, Santander and even on The Champions League Final via BTSport...

What made you want to add the SubSix to your current setup? 

I have the Submarine Pickup, with the idea of separating the bass note out and sending to an octave pedal, and the separation is astounding. But in the last few years we've been working in Dolby Atmos for all new music (composing with this in mind rather than as an afterthought) and the idea of being able to separate every string and place them carefully and precisely was something very inspiring!

How do you currently use it? 

For now in the studio. Guitar tracks have since grown.. We're recording each (applicable) guitar part through a Fender Vibrolux, a Roland Space Echo RE150, and then each string via matching preamps / DI to later be reamped.

Has it changed your creative process and if so how? 

Definitely. Infact there is one track on the new album written with the SubSix in mind, well before I got my hands on it. It's an arpeggio picking sort of dual/duet between a Baritone and a Tele, and the separation is something you really can't recreate with stereo reverbs or EQ.

Have there been any surprising discoveries in the time that you've been using it? 

As of yet no, but when it comes to playing these songs live I expect there will be!

Have you used it as part of a group/larger ensemble rather than just solo?

No, and unlikely but I do love the idea of a full band immersive experience...

Have you used it in a live setting? 

That's the next stage. My set is based upon looping, so it becomes tricky to work out the best application - I hope to be doing some immersive shows in the very near future and the idea of using the SubSix for this and really immersing the audience in the guitar is very exciting. The difficult thing is to have 6 loopers (+ for the sub octave), all sync'd, with 6 amps and the usual reverb/delay chains... I'm still working it out!

What is your favourite guitar gear? Software? Hardware? 

Haven't really had any software guitar experiences. The pedalboard is probably the most treasured, it's a small obsession. I think key for me is the Strymon Reverbs and Boss Loopstations (RC600 + RC5) and ES8 Switcher. Without these it'd be much harder...

How has having multiple channel outputs changed how you use these?

In terms of writing it's at the forefront - not just a mixing perspective but thinking about which strings/which note (instead of the easiest or the most likeable tone). It is a lot like being able to add another creative element into the process. The thought of being able to perform as VLMV immersively, and making it more visceral really, is the exciting challenge.

Have you got any tips for other SubSix users?

Yes actually. We all get a little red light syndrome when recording starts - but using the SubSix takes even more care. Zero duff notes allowed, and I guess you never really realise how uneven your picking is until you have individual string outputs! (Practise more than you normally would before recording...)

What are you currently working on?

The new album is being mixed and we're about to start planning the release, but before that I have new work Study of The English Countryside coming out this February. It's a mostly serene and ambient hour long continuous immersive album mapping a journey through the English countryside, from dawn til dusk. Field recordings, resynthesized sound, and various electronic and organic instruments and noises all mixed in Dolby Atmos to give the experience of movement.