What gear and production techniques did you use on the Delta Machine sessions?

Oh my, what didn't we use! Martin has a studio and a storage house full of keyboards and instruments. We must have had about 50 keyboard synthesizers and I don't know how many odd boxes of sound making devices.

To mention a few favourites: Moog 55 modular, Synthesizers.com modular, Macbeth M5N and M3X, 3 ARP 2600s in a rack with custom Kenton MIDI... the Gleeman Clear became a favourite of mine for glassy type hi rez poly sounds and dull sine-not-sine sounds. The Elka Synthex got some use, Memorymoog of course too. We played and sampled the Old Voyetra II, but it was near impossible to program! Oberheim Matrix 12 and SEM-pro were used. We also got to borrow Alicia Keys' CS80 in New York, that was amazing to play.

I would say though that I spent most time on the Eurorack system and synthesizers.com system. The two combined was endless in what you could do with them. The only two things I needed to bring was the Machinedrum and an OP-1! Production techniques, that's more a question for the producer Ben Hillier really. He was amazing and I learned a million tricks from him.

Which aspects of Elektron instruments do you find the most rewarding?

I would say it's the interface and workflow combined with smart and open functionality. You can do anything while you are playing the pattern or song, if the power goes out you're back where you were as soon as it's on again. Locked parameters are super deep. I used the trig outs a lot to sequence stuff in the modular world for example.

Do you have a different approach when producing your own music compared to producing for other artists? If so, in what way?

Yes very much so. I try to see other artists as people trying to communicate things; ideas, messages, feelings, etc. Once you get to know each other and see the difference in what they have done in their demos and what they were trying to achieve, I try to make up a fantasy vision without worldly or practical limits of what we could do together. Then it's all about getting the artist to understand my vision (or trick them into playing along anyway haha) of what they are and/or could be, pushing the artist forward and boiling things down to represent the core ideas of that particular artist. That's the theoretical method. It never works that easy though, haha!

Do you find your preferences of what constitutes a great beat, hook or song change the more experienced you get as a producer?

Good question... No not really. Maybe it does evolve but I always try hard to go back to what would create unexperienced childlike excitement in me personally. It's a good compass to use when you sometimes feel like you have heard it all - try to forget everything you know and then listen again.

Check out some of Christoffer's work on SoundCloud.