#soundrs

Kiss Your Ears is a Berlin based and Europe wide company focusing on offering better quality and far more affordable acoustic treatment for any kind of music studio. If there’s a problem with acoustics in your room, KYE can fix it - or guide you how to do so yourself DIY. Their website is a remarkable resource for learning about room acoustics, made simple for the average music producer. Go have a look at their Instagram full of glorious music studios!

➜ https://www.kissyourears.com/

➜ https://www.instagram.com/kissyourears/

Jon is the founder of Kiss your Ears

As an introduction please tell us a bit about yourself and the work that you are doing.

I am an entrepreneur working with concepts that create positive change in the music industry.

I have created Kiss Your Ears, an acoustic treatment manufacturing company that has been designed to offer much better quality acoustic treatment than what is otherwise available, and at a very competitive price point. We are also the only acoustic treatment company specialised in the requirements of electronic music production, aka. hitting those low frequencies that are left resonant by other available units. 

I have also built 73 high quality music production studios in Berlin, which I rent out with different companies across three buildings in different locations in the city, offering creative communities for producers to benefit from. 

Next, I will finish the book I'm currently writing, Kiss Your Ears: A Practical Guide to Acoustics for the Modern Music Maker. I will simplify some often confused topics, and give away build plans for all kinds of acoustic treatment modules as well as plans for affordable isolative constructions aka. Room-in-Room-in-Budget solutions. I aim to give away the answer to every single problem I have ever encountered in building and treating studios.

I am also in the process of starting a new company focused solely on office acoustics worldwide, and plan to hit that with the same innovative and value oriented mindset that KYE has benefited from. 

What is music to you? (Or sound rather.)

Music is sharing. Sound is energy (vibrations).

How did you learn about studio acoustics?

It has been a long process. 

I am thorough. I did some serious research and took some risks (large investments for research).

I decided to equip myself with the most thorough and relevant/ applicable skill set by studying in some small apprenticeships, I studied formally and in my own time, and served my 10.000 hours by helping hundreds of clients save a lot of money on their studio set ups. 

I've actually served my ten thousand hours more than once if we count that my achievements as a musician, music producer and construction professional have been racking up for many years…

I am now writing the book that will teach the average producer how to do what I do and treat rooms the right way! 

Studio Acoustics: The Basics | ADAM Audio & Kiss Your Ears

Why does it matter?

Why does Room Acoustics matter? Because in an untreated room, you are listening more to the room itself than what is actually coming out of your speakers!

Acoustic treatment is a tool like any other, and an important one at that. You can save a lot of time with a well treated room! 

People don't even realize how much of an effect proper acoustics treatment can have because it was not commercially available before.

How common is it nowadays for electronic music producers to mix and master their own work?

I would say around 90% of electronic music producers mix their own music. This is less in the area of "modern singer songwriter" and more in the area of "producer/ DJ".

In the professional arena, even those that do their own mixdowns do not master their own tracks. That is a folly.

aesthetically pleasing acoustic room treatment

What is the most common problem that you encounter in untreated rooms/home studios?

The most common problems we encounter in untreated rooms/ home studios are that the client has already wasted some of their budget on far lesser performing acoustic elements. For example, I quite often see clients with thin (10-15cm) absorbers in a music production environment. 

Also quite often, I see people fetishizing the "cloud placement" absorbers for no real reason, as well as buying diffusers before they have taken care of the low frequency resonances. 

This is all because of the misinformation spread around freely about room acoustics even on reputable forums. 

Tell us a bit about the measuring process, is it exciting and adventurous? What sounds are you using?

To be honest, the measuring itself is not so exciting, and in fact highly predictable. However, getting to help clients with their sacred spaces is highly rewarding. 

We would normally use full frequency spectrum sine wave sweeps.

Do you trust your ears or your visualizer?

Well, you don't really hear sub bass as much as feel it so… 

That said, I have relative pitch from playing instruments and I've looked at a lot of data so when I go into a room and hear a kick drum that is activating a 60Hz resonance in the room, I hear the B note…

But I would say I use both, and always trust the data because the data cannot lie. Our psychoacoustic perception can and does!

behold their legendary bass traps!

Why are the KYE absorbers called King Kong?

Because they are the most effective on the market! They are also the most affordable solution to achieving the 80/20 rule of high end results, so they required a legendary name!

The build quality is also far superior to the rest of the market. These monkeys are big boned.

We do have other ranges, but the King Kong Range is our best seller.

Is it all about the bass traps, i. e. fix the bass, fix the room?

Due to space and budget limitations, absorption is almost ALWAYS the most important factor in the control of room acoustics.

The theory behind the system we follow is to always use the input budget to prioritise fixing the low end (thereby fixing most of the rooms’ other issues along the way). Low frequency control is a widely misunderstood and somewhat mysterious practice.

How to do it properly? Start with a low reaching velocity absorber and hit the bass broadband/wideband as much as possible until exhausted. Again, that’s how the pro’s do it and it’s just logical. If our budget stops there, then that is the best use of it. 

In order to achieve a more even reverb time across the frequency spectrum, you should use the same traps for both functions (“bass trapping” diagonally over corners and “early reflections” covering certain wall areas).

Do you think it’s possible to trust digitally adjusted monitor speakers in an untreated room, with software like Sonarworks for example?

Sonarworks in particular is a very contemporary software package that works beautifully as this piece of the puzzle. It is almost a matter of taste. Sonarworks and other digital solutions do not compensate for the dimension of TIME - therefore resonances must be solved first- but it is recommended as a final step after the bass traps handle the room’s resonances. Without adding the bass traps first, you may end up in a messy and confusing situation!

What is the ideal listening level for mixing, producing, mastering?

Around 85 dB SPL.

Should audiophiles who only enjoy listening to music care about room treatment, too?

Only if they want to hear the music without the room. Again, in an untreated room, you are listening to the room more than the music because of the way the room "colours" the sound.

Can a music producer not just use headphones and ditch room acoustics altogether?

Acoustic treatment will save a producer A LOT of time. Most processes can be done maybe 50% faster if endless referencing is not needed and they can fully trust that what they hear is what is coming out of the speakers. It's of course optional. Some producers still seem to prefer to struggle on without it! Ignorance is bliss…

Headphones will not create the soundstage achievable with a properly acoustically treated room, which is not even that hard to achieve thanks to the innovative processes suggested by Kiss Your Ears. I would always suggest to someone that works primarily in headphones to go check their mixes in a properly treated room.

As an ideal fantasy, what would be the best room form for linear sound reproduction? Would it be an anechoic chamber?

I guess technically speaking, an anechoic chamber would lead to the most "linear" sound but looking for a linear SPL is not always the most important aspect of a room's sound.

Absorbers that tie the room together. No need for a carpet!

Want to drop some famous names of musicians, producers, engineers who Kiss Your Ears did room treatment for?

DVS1, Peggy Gou, Fjaak, Clouds, Hainbach, Mogwai, Palms Trax, Headless Horseman, D.Dan, Kamikaze Space Programme, Blush Response, ItaloJohnson, Ben Rau, Objekt… and companies like Elektron, Pioneer, Moog… and 500+ others! 

What is one of the worst tips about studio acoustics that‘s floating around the internet, on YouTube, etc?

Wow, where do I start? Most of the "tips" online are problematic in some way or other. 

I'll give you some blunt statements!

Tri-traps are an ineffective design.

Cylinder traps don't work properly. 

Foam based products are inferior. 

Putting diffusers at the back of the room (lowest axial mode) is a bad choice. 

Those are four things that almost all acoustic treatment companies are getting wrong on a daily basis! 

How much does it matter what kind or brand of monitor speakers producers use? Is more expensive more better? Can you recommend good monitor speakers (for different budgets)?

Putting expensive monitors in an untreated room is a false economy. You would be better off treating the room to a good level and getting old 80s Hi Fi speakers from ebay! 

An old industry rule of thumb is that you should spend as much on your acoustic treatment as your monitors. 

If you are prepared to spend some cash, I think HEDD offer incredible value in their lower range. The HEDD type 07s are amazing for the price when you want to spend around € 2.000. 

001 ➜ Ben Eyes / Quip

002 ➜ JFrank

003 ➜ Laxcity

004 ➜ Dub Chieftain

005 ➜ Ignatius ⭐️

006 ➜ Knut Kaulke

007 ➜ Noisecastle III ⭐️

008 ➜ 404

009 ➜ TAETRO

010 ➜ Handsalmon

011 ➜ Mike McKew

012 ➜ Oxynucid / Yorkshire Modular Society

013 ➜ Jaeden Camstra

014 ➜ techNO1234567890987654321 🎃

015 ➜ Wichniowski

016 ➜ Docathan

017 ➜ Damon Stewart aka NONsense

018 ➜ Morgainz

019 ➜ Iasos ⭐️

020 ➜  DJ CYBERDAD

021 ➜ Sowfi

022 ➜ Volicle

023 ➜ Tommy Vamoz

024 ➜ Adrien Cardenas

025 ➜ OORA ⭐️

026 ➜ Cyprus Fuel

027 ➜ souLyft

028 ➜ Daft Punk 🤖

029 ➜ William Fields

030 ➜ Tom Ridley

031 ➜ Kawatin

032 ➜ Dasero

I’m a sonic artist based in London. I like to play with electronic devices and experiment through different genres of music and forms of art, always trying to go a little bit further and finding new fields and techniques which are innovative. I compose electronica and ambient pieces at the moment and I also like to make sound design and film score.

➜ Instagram

➜ Youtube

What is that gamepad controlling?

Haha, that’s the most frequently asked question in my Instagram profile. Nerdseq's midi expansion includes a slot for a Sega Megadrive controller, so you can control many things with it; the basic controls from the sequencer, mute/un-mute tracks, dropping solo sounds... everything really, depends how you configure it, it’s really useful and ergonomic. I also use the Nintendo DS or Switch to make music with them. I think electronic music and video games are strongly connected and I like to merge these two worlds whenever I can.

Why do you make music?

I guess it’s because it is the best way I express my creativity. I think that the kind of emotions music brings to our brains is unique, compared to any other sensations; it’s not only music itself but everything around it: fashion, ideologies, culture… I also love the “scientific” side of the sound, how waves are transferred in the air from vibrating objects and everything related to sound synthesis and acoustics. Since I was a kid I attended to music theory and piano lessons at a music academy. At the moment I’m finishing my digital media studies and next year I’ll be studying a sound degree at university.

What are your inspiration sources?

I usually get inspired by landscapes, feelings, travels, myths, flavours… Always mystical things that I experiment myself or either I read or see in documentaries. That will lead to create a concept in my head from which I’ll compose a track. Watching other people’s work in any field also inspires me, and I admire producers and bands that have been innovators in electronic music. We could start with Pierre Schaeffer or Stockhausen, and so on… What I really love is the live setups and studios full of electronic devices and that’s what has mainly influenced me to do what I do at the moment. But as I mentioned before in terms of music I get inspired by emotions or any other discipline of art. I like all the music really, I can find ideas in rock, jazz or world music, doesn’t need to be specifically electronic.

Tell us something about your workflow. 

Well, when I get hands-on on the equipment I come with a preconceived idea in my mind of how it’s gonna sound like. Sometimes it is hard to reach that idea as I might find dozens of things that I like during the process, the point is to be focused enough to continue manipulating the sound until I achieve it, (If I do) But when you do, it is really rewarding. The single one instrument I would take on an island I think it would be the OP1. It’s because goes away from the typical 16 step sequencing basics. It’s a synth but it also has options for rhythms, recording, randomness… is quite complete and it has a special touch that makes it unique.

How would creative rituals benefit your workflow? 

They really do, having a cup of tea or infusion is one of my favourites. Creating an atmosphere through lighting and decoration, tidying up the studio or simply a rainy day or a summer evening… 

How do you get in the zone? 

I think it comes after a couple of days of good work, you can’t go in the studio after one month of inactivity and get fully inspired in five minutes. It comes when I find a good area to explore and I’m involved in that research. It’s about ups and downs during the workflow, you need to find your momentum. 

How do you start a track? 

First I decide which will be the setup, which will be the best instruments for the kind of idea or the kind of sound I’m looking for, then I will start to play notes, beats or atmospheres that I like and then create sequences. 

Do you have a special template? 

Yes, I have an Ableton project where all the midi arrangement is done beforehand, I can sequence up to eight tracks in both the modular synth and the Digitakt as well as any instrument which is able to be sequenced via USB. I also have some recording tracks ready to record the sounds, this really helps as I don’t need to map the whole project every time. Sometimes I also use the built-in sequencers from the synths as well, the idea is to press play and put the whole machinery to work haha… 

What do you put on the master channel? 

EQ, compressor and limiter. 

How do you arrange and finish a track? 

This is a really complicated question as I don’t think there is a perfect equation that will work for every song. Every track is different, it will feature different tones, timbres and structures so here is where the job of the artist comes into stage and finds the best ways to make the track glow in all aspects. I normally start creating a nice loop that I like, then I think of the best structure which will work with this kind of sounds. Finally finding the best mastering options, balancing all levels and polishing the EQ to get the best dynamic ranges. 

How do you deal with unfinished projects? 

I normally finish all projects which I start, that doesn’t mean all these tracks are released or published. But I don’t like to start a new project without having finished the last one, this is something that I’ve trained during the years, before I used to leave more unfinished tracks. 

How do you store and organize your projects? 

I have loads of different folders divided by styles, date and kind of project. I like to keep records of cover artworks, contracts, masters or other documents. I also save all the videos and performances and everything is stored into a couple of USB drives. 

How do you take care of studio ergonomics? 

That’s important, you can’t work at an uncomfortable place. I like to keep attention to chairs, stands and gadgets. I also like to work with a main setup which is well organised so I can start producing things quickly. I have a top shelf where the modular synth and monitors are located so I can run the cables and the rest of the devices in the main desk, that helps a lot. 

Tell us something about your daily routine, how is your day structured, how do you make room for creativity? 

The perfect productive day would start in the morning, creating something, I think that’s the best time, before having done any other activity. That's when I feel more motivated to start something which would take time. After I’d go out to walk or quick shopping in order to take some fresh air and then in the afternoon I would do some post-production, promotion or some kind of technical tasks. In the evening I would definitely experiment with new techniques or perform something live. 

Share a quick producing tip. 

Use random LFO’s on your chords and pads, this will lead to surprising effects and will give more dynamism to your melodies. 

Share a link to an interesting website (doesn’t have to be music related).

www.arte.tv

List ten sounds you are hearing right this moment : )

Kawatinの多彩なサウンドには、エレクトロニック·ミュージックの様々な側面があり、レイドバックしたアンビエント·バイブからドライブするテクノ·グルーヴまで、彼はシンセサイザー、プラグイン、モジュレーターを駆使し音を奏でます。

彼の音楽の旅は「DJ Kawatin Okawari Show」から始まり、5年以上にわたってディープでアンダーグラウンドなサウンドを披露してきました。

2006年にはPlay Recordingsから「Steal The Funk EP」をリリースし、Si Beggの「My Style」のリミックスで世界的な注目を集めました。2011年にはRicochet Recordingsから「Tokyo Salvage EP」をリリースし、瞬く間にアンダーグラウンド·シーンの注目を集め、BBCラジオのPMS Showでは「Tracks of the Year」にも選ばれました。その後、ドイツの VORDERGRUNDMUSIK とのコラボレーションを開始し、Weightless World EPで注目のデビューを果たしました。このEPには、キラーな「Reboot」RemixとMartin Merzによるバンギングなテクノバージョンが収録されており、DJシーンのビッグネームがサポートしています。

Kawatin’s versatile sound contains numerous facets of the electronic music spectrum. From laid-back ambient vibes to driving techno grooves, he tickles everything out of his synthesizers, plug-ins, and modulators.

His musical journey began with the “DJ Kawatin Okawari Show,” where he presented his deep and underground sound for over five years. He started producing his own material in 2006 with the “Steal The Funk EP” on Play Recordings, followed closely by his remix of Si Begg’s “My Style,” gaining worldwide attention for his sound. In 2011 he released his “Tokyo Salvage EP” on Ricochet Recordings, which quickly became a hot record in the underground scene and was selected for Tracks of the Year on the PMS Show on BBC Radio. A few exciting releases later, he started collaborating with Germany’s VORDERGRUNDMUSIK and made a remarkable debut with his “Weightless World” EP. It included a killer “Reboot” Remix as well as a banging techno version by Martin Merz and was supported by big names of the DJ scene.

➜ https://www.instagram.com/kawatin/

➜ https://kawatin.bandcamp.com/

➜ https://www.youtube.com/channel/UC1BLo_NuJNrYW6sv2bTR16w

➜ https://soundcloud.com/kawatin

なぜ音楽を作るのですか？

とても良い質問です。音楽を作る過程で得られるフローやゾーンが、私が音楽を作る動機だと思います。それは人が本来身に着けている素晴らしい能力で、私は音楽制作でそれを得ることができると考えています。ただその能力はとても気まぐれで、いつ現れるか分かりません。私はインプロヴィゼーションがフローやゾーンを得る鍵だと考えています。

若い頃はとにかく音楽を作りたかったんです。最初はどんな音楽でも良かったんだと思う。

私が最初に手に入れた機材はYAMAHAのQY70です。

QY70を使って燃えよドラゴンのテーマ曲をドラムンベースにリミックスしたことを覚えています。非常にチープな曲だったけど、夢中で作ったね。

結果それが私のエレクトロニックミュージック始まりだったわけです。

Why do you make music?

Good question.

The flow and zone I get from the process of making music is what motivates me to make music. They are special experiences and I believe we all have these wonderful abilities. But they are very fickle. I don’t know when they will appear. I think improvisation is the key to getting there.

When I was young, I just wanted to make music. I think it could have been any music.

My first equipment was YAMAHA QY70.

I remember that I remixed the theme for “Enter the Dragon” with it.

It was a very cheap drum and bass sound hahaha.

That’s how I began my electronic music journey.

あなたのインスピレーションソースは何ですか? 

Ableton LiveとTouchOSCはあらゆるアイディアを形にすることができます。

これらを使って新しいmoduleを制作する過程は、新しいインスピレーションをもたらします。

What are your inspiration sources?

Ableton Live and TouchOSC. They can materialize any sound design ideas. The process of creating new modules with them brings me new inspirations.

あなたのワークフローについて教えてください。

基本的にAbleton LiveとTouchOSC、そしていくつかのmidiコントローラー、シンセサイザーを使ったインプロヴィゼーションによって音楽を制作しています。

サウンドは常に録音されており、その録音から優れたテイクを選び、ミックスダウン、マスタリングを行い完成させます。

今は新しい制作フローのアイディアがあるので早く形作りたいです。

私は以前ラップトップだけで音楽を作っていました。マウスを使って音を入力してね。

その制作方法で十分なクオリティのサウンドが作れていたし、沢山のリリースもしました。

しかしブロックを積み上げていくようなその制作法は機械的で、音楽的ではないと感じ、その制作方法を楽しめなくなったんだ。

例えば”次の16小節でベースを鳴らそう、次の32小節でシンセの音を重ねよう。”ってね。画面と睨めっこしながら、なんだかシーケンサーに支配されているような気分だったね。

ある時キックとベースとハイハットだけの、シンプルなインプロビゼーションを録音したんだ。その音は流れるようなグルーブがあり、音楽的で人間的だったんだ。

その時にインプロビゼーションの可能性を感じたんだ。

Tell us something about your workflow.

Basically, I make music by improvising with Ableton Live, TouchOSC, some MIDI controllers and synthesizers. I always record what I make with them. I then select the best takes from the recordings. Finally I mixdown and do mastering on them.

Now I have a great idea for new production flow. I can’t wait to try it out.

I used to make music only with a laptop and mouse.

I was able to make good quality sounds and released a lot of music with that way.

However gradually I couldn’t enjoy it because I felt that its production method, like stacking blocks, was mechanical and not musical.

Then once I recorded a simple improvisation. It had flowing vibes, which were musically and humanly. It was then that I realized the potential of improvisation.

クリエイティブな儀式は、あなたのワークフローにどのようなメリットをもたらしますか？

インプロヴィゼーションには特別な力があると信じています。思考ではなく、感覚のみで音楽に集中すると、音を生き物のように捉えることができ、音と一体になる感覚を得られます。これはマインドフルネスになるための優れた方法だと思います。

How would creative rituals benefit your workflow?

I feel that improvisation has a special power. 

When I’m improvising, I don’t think about sounds, I just feel them. I feel like the sounds are alive. I think this is an excellent way to become mindful.

どのようにしてゾーンに入るのですか？

インプロヴィゼーションは音との対話です。音に身をゆだね、音の意思を感じ取り、コントローラーを使って私の意思を音に伝えます。伝えた意思によって音は変化し、そして絶え間なく対話が続きます。この対話を繰り返すことでゾーンに近づくことができます。

本質的には、内なる自分自身と音を通じて対話しているのでしょう。

How do you get in the zone?

Improvisation is an interactive communication with sounds. I capture the intent from sounds and I use the controllers to communicate with my intent to the sounds. So, the sounds are changed, and the reactions come back to me accordingly. This process brings me closer to the zone.

In essence, I am interacting with my inner self through sounds.

どうやってトラックをスタートさせるのですか？

自分で制作したセミジェネレーターを使ってピアノを演奏するか、シンセサイザーで短いフレーズを作ることが多いです。もしくは新しいmoduleを作るかです。

Abletonのデバイスや、max for liveを組み合わせて制作しているもので、

TouchOSCで制御できるようにデザインしています。

例えば、16stepのシーケンサーは、いくつかのパラメーターを操作すると、そのシーケンスから新しいフレーズを生成したり、規則性を保ったまま変化、ある程度の統制を保ったままランダマイズできます。

このようなモジュールが私のテンプレートには沢山含まれています。

How do you start a track?

I often play the piano with my semi-generator, which I created myself, and make short phrases on synthesizers, or I create new modules.

My modules are the combination of Ableton devices and M4L devices.

It is designed to be controlled by TouchOSC.

For example, a 16 step sequencer. 

Manipulating some parameters will generate new phrases from a 16 step sequencer.  This also makes some changes and controlled randomization while maintaining regularity. My template contains many such modules.

これも私が制作したモジュールの一つです。

機械的な正確性と、人間的なユーモアを持ち合わせたジェネレーターで、複数のアルペジオ、LFO、いくつかのデバイスによって構成され、私の考えたアルゴリズムで制御されています。

例えば、私がC major コードを押さえれば、ジェネレーターがフレーズを生成します。

簡単な演奏で豊かなフレーズを奏でられるのです。

下記ＵＲＬのピアノの曲はこのセミ·ジェネレーターで作りました。こ

れを聞けばどのようなものか理解できると思います。

Semi-generator is one of my modules.

It has mechanical precision and human humour.

It consists with arpeggios, LFOs and few devices, which are controlled by an algorithm of my own design.

For example, if I hold down a C major cord, the generator will generate and play the good phrase. I can play great phrases with a simple performance.

The piano piece at the URL below was created with  Semi-generator. If you listen to it, you will understand what it is like.

➜ https://soundcloud.com/kawatin/captures-210225-piano-mix

特別なテンプレートはありますか？

インプロヴィゼーションを行うために、Ableton Liveでテンプレートを構築しています。そのテンプレートには600トラックあり、独自のシーケンサーや、エフェクター、セミジェネレーター、モジュレーター等があります。かなり複雑に構成されていて時折私を悩ませます。

Do you have a special template?

I have a special template on Ableton Live for improvisation. This template has 600 tracks. There are my unique sequencers, effectors, semi-generators, modulators, etc. This template is quite complicated and can sometimes get me into troubles.

マスターチャンネルには何を入れますか？

インプロヴィゼーションの時はlimiterのみです。

マスタリングするときはOzone9を使っていますが、マキシマイズはあまり好きではないので少ししか使いません。

What do you put on the master channel?

When improvising, I only use a limiter. When mastering, I use Ozone 9, but I don't like to maximize, so I only use it a little.

曲のアレンジや仕上げはどのように行いますか？ インプロヴィゼーションの音はすべて録音しています。素晴らしいテイクはできる限り手を加えません。手を加えることで、そのテイクに含まれていたエネルギーが失われる場合があるからです。

How do you arrange and finish a track?

I always record all the sounds improvised. When I get great takes from recordings, I make as little editing as possible because the energy contained in these great takes may be lost.

未完成のプロジェクトにはどのように対処していますか？

未完成の曲は沢山あり、未完成レベルをエクセルで管理しています。しかし管理が間に合っていません。

How do you deal with unfinished projects?

I have so many unfinished tracks and use Excel to manage them. But I’m not keeping up with managing my works.

プロジェクトをどのように保管·整理していますか？プロジェクトが多すぎて正直管理できていません。管理の仕方を教えてほしいよ。

How do you store and organize your projects?

I have too many projects and honestly am not sure where to start. I wish someone could tell me how. Hahaha.

スタジオのエルゴノミクス（人間工学）にはどのように配慮していますか？

JBL Model 4318とiLoud MTMの2台のスピーカーを使っています。それらのスピーカーは完璧にキャリブレートされていて、更にステレオ空間内にマシンを配置し、常に音に集中できるようにしています。

How do you take care of studio ergonomics?

I’m using two different kinds of speaker, JBL Model 4318 and iLoud MTM. Those speakers are perfectly calibrated. All the machines are placed in the stereo space.

あなたの日常生活、一日の構成、創造性を発揮するためのスペースをどのように確保しているかを教えてください。

仕事の前、早朝に作業をすることで多くのクリエイティビティを得ることができます。しかし最近は寝坊気味です。

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

Before I start working, I make music early in the morning. This is a great way to get some creativity. But I oversleep a lot lately :(

プロデュースの秘訣を教えてください。

あまりマスタリングや、マキシマイズに時間を費やさないでください。

音楽を生み出すこと、表現することに集中してください。

Share a quick producing tip.

Don’t spend too much time on mastering and maximizing. Focus on creating and expressing your music!

興味深いウェブサイトのリンクを共有する。 Share a link to an interesting website (doesn’t have to be music related).

➜ https://maxforlive.com/

今、あなたが聞いている音を10個挙げてください。 List ten sounds you are hearing right this moment : )

Nils Frahm - Then Patterns

Jon Hopkins - Music for psychedelic therapy

Max Cooper - Live at the Acropolis

Stars Of The Lid - and Their Refinement of the Decline

Loscil - Endless Falls

Oscar Peterson - Jazz Manifesto

Chet Faker - Hotel Surrender

Console-Solo Swim - EP

Claudio PRC - Rites of Passage

Nightmares On Wax - In a Space Outta Sound

Photo credit: Connor Laws

Today we present Tom Ridley of Loose Forms & Poisonous Birds!

Photo credit: Connor Laws

➜ Twitter

➜ Instagram

Photo credit: Connor Laws

Why do you make music?

Firstly, it’s a fun feedback loop of input to output and round again that I suppose lights up my brain like nothing else. (I’ve stolen that description from my friend Finn who said that to me once).

I’ve also come to realise only recently that music has a more vital role for my wellbeing, allowing me to explore and express ideas that perhaps I don’t have the tools to digest or express any other way.

The community around music is also really important to me—most of my important friendships stem from music.

What are your inspiration sources?

Mostly not music. Art, books, people, environments. But live music performances are really powerful and I’m glad they’re back. I watched Crack Cloud earlier this week and it was awesome.

Artwork by Daniel Turtlei ➜ https://instagram.com/death.is.no.end

Tell us something about your workflow.

Explorative work, when I don’t know what I want, happens in hardware. As soon as I know what I want, I can usually do it fastest in the computer. I am trying to learn to be more explorative and playful within Ableton though—my friend Patrick (Delay Grounds) showed me some wild tricks.

How would creative rituals benefit your workflow?

I don’t really have many. I do tend to punctuate creative sessions with a cup of herbal tea, or coffee if it’s a morning session. There’s something about marking a new chapter of the day with a small ritual that resets my brain. (I used to do this with wine but a few glasses deep I write bad music).

How do you get in the zone?

Tidy my space.

How do you start a track?

Play, in the childish sense. Sometimes I grab an instrument and sit on the floor and follow my ears and interest.

Do you have a special template?

Nope!

What do you put on the master channel?

A Utility (Ableton) to mono the low end. Sometimes some saturation—Fabfilter Saturn 2. Sometimes a really aggressive compressor that I turn on just to see how stuff responds when it’s super squished, but that’s turned off when I export. That’s usually it. If I’m “mastering” (important inverted commas) myself I’ll do that in a fresh project.

How do you arrange and finish a track?

During writing / arranging I’ll usually dump out audio stems and start a fresh project a few times to commit to my choices and have a cleaner desk. I’ll usually do that again when I’m going for a final mixdown. Sometimes a piece of music has been through a three or four fresh projects.

Also, set a deadline.

How do you deal with unfinished projects?

Let them rot on my hard drive. I seldom go back to them. I have hundreds, maybe thousands.

Artwork by Tiph Fedor

How do you store and organize your projects?

I store them on my hard drive, and it’s all sync’d to iCloud drive. My current projects are organised-ish—like if I’m working on an EP or a film, but there is no organised archive—once the project is done I put that whole folder somewhere and move on. I don’t want to be burdened by digital information—it’s just not important.

How do you take care of studio ergonomics?

I don’t have too many things, and keep them within reach. Also a comfortable & supportive chair.

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

Since realising that music plays a role in me digesting and navigating life, I’m much more strict about carving out time for it, and defending that time.

Artwork to We Can Never Not Be All Of Us by Poisonous Birds

Share a quick producing tip.

Don’t sync delays.

Share a link to an interesting website (doesn’t have to be music related).

➜ https://llllllll.co

List ten sounds you are hearing right this moment : )

An espresso machine, a few conversations, a handdryer, a siren (I’m near the hospital), my keyboard, some background music, the guy next to me just coughed, the person in the bathroom opened the door, a car door slammed, my phone vibrated.

My name is William Fields. I live in Arden, Delaware, just south of Philadelphia on the East Coast of the USA. I make non-functional, future-oriented electronic music.

My newest album is ➜ Bokuseki  My 24-hour algorithmic music project is ➜ FieldsOS  My website is ➜ https://williamfields.com/  On social media:

    ➜ Twitter

    ➜ Instagram  Why do you make music?  I played the drums for a bit as a kid, but otherwise I am self-taught. I grew up listening to a lot of different music, but hiphop was a big part of it. I discovered electronic music in high school and was hooked for life. For some reason it resonates with my brain. On a fundamental level, I suppose I make music because I enjoy the process and because the results are rewarding. Music provides me with an endless source of learning and exploration and problems to solve. It gives me a sense of accomplishment and pride. And maybe in some small way, it’s given me an opportunity to inspire others and leave the world a little better than I found it. On a practical level, music has given me the opportunity to connect with really great people around the world and to travel occasionally for shows, which adds some adventure and excitement to my life.  What are your inspiration sources?  Rhythm: Photek, Squarepusher, Untold, Rian Treanor, Mark Fell, Kindohm Sonics: Autechre, Drum and bass (Noisia & friends) Groove: J Dilla, Flying Lotus, Aoki Takamasa Improvisation: Jazz, Indian Classical Ideas: Brian Eno, John Cage, Thich Nhat Hanh, Yuval Noah Harari, Austin Kleon, George Saunders, Haruki Murakami, various podcasts, my good friend Qebo.  Tell us something about your workflow.  I am always working on my music system (my “instrument”): adding features, removing features, adjusting algorithms, refining, tweaking, etc. You could think of my system as a huge, complex modular patch with hundreds of modules, that has a nice UI, full generative capabilities, and easy state management, but at a tiny fraction of the cost and it fits in my backpack. I ♥ Computers In the process of working on my system, I will occasionally feel inspired by something, so I will hit record and improvise. Most of these improvisations are crap and get thrown away. But, occasionally something magical happens, and those recordings end up getting released. If I know I have a release coming up, I will sometimes have dedicated recording sessions. Some of my favorite releases (like Shackamaxon) have been recorded in the course of a single day.  How would creative rituals benefit your workflow?  Good question. I don’t practice any creative rituals. But, I’m pretty sure going for a vigorous walk beforehand is a good idea. Gets the blood flowing to the brain.

How do you get in the zone?  It usually takes me around fifteen minutes before things really start flowing. So the first few tracks of a session tend to be stiff and self-conscious. In a stressful live performance situation, I’ve found that a little bit of tequila helps!  How do you start a track?  These days, my tracks tend to start with a snapshot that is algorithmically generated by my music system. It is much better at finding interesting musical spaces than I am. So, I will sit there and hit the randomize button until something inspiring comes out. Then I will hit record and improvise with it. I also keep a collection of interesting snapshots that I can load at random. So sometimes I will flip through those until I find something good and improvise based on that.  Do you have a special template?  Yes! I never start from a blank slate. The template is everything. It is my instrument. It has been burned into my muscle memory. I can control the music without thinking about it. I have been working on it since 2012. The fundamental structure is: LEMUR (controller) ➜ Javascript (for state generation/capture/recall) ➜ REAPER (sequencing, synthesis, fx) REAPER is the core of my music system. It is where the sequences are generated, the synthesis is done, and the FX are applied. 

The visuals are generated in real time, triggered by the music via MIDI. So there is very tight correlation between audio and visual events. I am not using audio analysis. The visuals are done in Javascript, running in Chromium. I use Visual Studio Code for development. 

For the visuals I am mainly using three.js. Thank you Mr. Doob! On the music side, I am hugely indebted to Justin Frankel (REAPER) and the Surge Synth Team. What I do would not be possible without their amazing work. What do you put on the master channel?  I try to put as little as possible on the master channel. I have some metering stuff like a spectrum analyzer, an oscilloscope, a goniometer, and a loudness meter. Other than that, the only thing is a waveshaper. It adds saturation, glues everything together nicely, and tames the peaks without reducing the impact of the transients. I’m not sure of the technical term, but it’s a special kind of waveshaper that folds over the waveform when it hits 0 dbFS instead of flat-topping it.  How do you arrange and finish a track?  I perform and record the music in real time to a single stereo pair. I don’t do any arrangement, layering, or multi-track editing after the fact.  How do you store and organize your projects?  When I record something, it goes onto the desktop and on to my phone. When I listen back to it later, if it has potential for release, I put it in a “Release Candidates” folder. Otherwise I throw it in the archive, probably never to be heard again. When it’s time to compile a release, I go through the “Release Candidates” folder and pick out my favorite stuff.

How do you take care of studio ergonomics?  I work in software, so my physical studio setup is very minimal. I have a motorized standing desk, so I can easily switch between sitting and standing.  Tell us something about your daily routine, how is your day structured, how do you make room for creativity?  I work at a day job four days a week to make a living. I have Fridays off and focus on music. I’ve found that mornings are best for detail-oriented tasks like programming and critical listening related to the mix/mastering of my system. Afternoons seem to be best for improvising and recording. Sometimes I wonder if all this music stuff is just an elaborate excuse for me to play with computers. Having said that, I am always thinking about music, listening back to recordings, taking notes on my phone, and making small adjustments throughout the week. I don’t need a big chunk of time. I am able to work in small bits here and there. Also, sometimes while working my day job I set my system to auto-generate new music every thirty seconds. Occasionally something really good will happen and I’ll run over to my computer and hit “Save” so I can perform with it later.  Share a quick producing tip.  (1) Don’t start from scratch every time! Build your instrument. Practice with it. Develop your muscle memory so it becomes fast and intuitive. This approach helps you to develop your own voice, and it’s much more fun than laboring over a DAW for endless hours until you hate your own music! (2) Always level match when doing A/B comparisons. If a plugin is increasing gain by as little as 0.1 db, it will sound better to your ear, even if it is actually damaging the sound. (3) Process as close to the source as possible. Instead of putting it on the master, put it on a bus. Instead of putting it on a bus, put it directly on the track. Instead of processing the track, fix it directly in the synthesis.  Share a link to an interesting website (doesn’t have to be music related).  I just discovered the Solarpunk movement and I think it’s really inspiring. Here’s the ➜ Solarpunk manifesto.  List ten sounds you are hearing right this moment : )  Cicadas Airplanes Cars in the distance Computer keyboard clacking as I type My own breathing That’s all I got. The cicadas are too loud!

Bonjour we are Daft Punk, a french electronic music duo from France. Also we are robots. Bleep Blop Bloop. We sample entire disco tracks from the seventies and make bass lines with Moog.

Here’s our main social site:

➜ https://www.instagram.com/daftpunkmemes_

Why do you make music?

Because we’ve been programmed to do so by our creator, Giorgio Moroder. 

Guy: Given the choice I would rather have been a film director. 

Thomas: Garden sprinkler.

What are your inspiration sources?

Thomas: Kid’s TV cartoons on Saturday mornings.

Guy: Talking walks through public parks.

Tell us something about your workflow.

}

const express = require('disco');

const hbs     = require('sequencing');

const path    = require('moog');

const groove     = require('./909');

const middleware = require('./lib/daftpunk');

// -- Configure Express --------------------------------------------------------

const robot = express(flow);

work.disable('xy');

if (robot.get('env') === 'dancedancedance') {

  music.use(require('thomas')('guy'));

}

How would creative rituals benefit your workflow?

Guy: We listen to top forty playlists on Tidal.

Thomas: Top forty of 1977 that is. I prefer Deezer.

How do you get in the zone?

By randomly accessing memories. And time travel.

How do you start a track?

Guy: We don’t start a track, the track starts us. 

Thomas: It’s called reverse engineering.

Do you have a special template?

Croissant and café au lait.

What effects do you put on the master channel?

Thomas: Sausage fattener and Ohm Force Frohmage filter fondue.

Guy: Croissant and café au lait.

How do you arrange and finish a track?

Thomas: From left to right in Garage Band. 

Guy: I use it on an iPad.

How do you deal with unfinished projects?

We sell them to David (Guetta).

How do you store and organize your projects?

By color in a warehouse east of Paris.

How do you take care of studio ergonomics?

Guy: We only use one cable.

Thomas: The master cable.

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

Share a quick producing tip.

When you move the cutoff also move the resonance.

Share a link to an interesting website (doesn’t have to be music related).

Guy: This was the main synth on all our albums:

➜ https://stuartmemo.com/synth/