Part 2

Have there been technologies which have profoundly influenced, changed or questioned the way you make music?

In the beginning when I started to produce In ableton, my tracks always came out unbalanced and muddy in the mix. I have tinnitus so high frequencies have been hard to nail for me.

But I quickly learned to use a lot of return channels, compromising and smashing the sound from under night with different weird effects my ears got a different tolerance, as the highs smoothen out, and this really helped me keep the highs through the producing process without feeling the need to filter or lower the hats and percs. The other thing that took me a while to realize is the importance of not producing a track with the kick to load in the mix.

These are probably quite basic things. But for me, when I finally got a hold of these, it saved me a lot of time in the finishing process, and made me use fewer channels and rethink my approach to mixing.

Already as a little kid, I was drawn to all aspects of electronic/electric music but I’ve never quite been able to put a finger on why this is. What Is your own relationship to electronic sounds, rhythms, productions like – what, if any, are fundamental differences with “acoustic“ music and tools?

I think my answer here Is that I fell in love with the room and the people where electronic music is presented. I love the repetitive and hypnotic feeling, that you don't get out of a live acoustic band playing. I love dancing alone in a dark room, feeling the base in the chest.

For me this has been the main reason why I always chose to take part in electronic music events over more traditional acoustic live music shows.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that and the relevance of limitations in your set-up and process?

This might sound strange, but I really appreciate my own limited music skills and knowledge around producing. I believe that not having all the information on how to produce the 'right groove' or the classic leads, gives me the chance to produce something that sounds unique and personal.

I've been careful not to rush my own process, listening to only a few crucial producing tutorials and avoiding investing a lot of money into gear I can't handle the right way. I mean, you can smack your hand onto a table and record it, and from that sound, tweak a kick, a clap, a hat, or a pad ... =).

I believe that the limit lies in your imagination and playfulness, not in the amount of gear or sample packs you purchase.

From the earliest sketches to the finished piece, what does your current production workflow/process look like?  

I work quite quickly when producing a track. From the initial kick, hat, lead loop, I can usually finish the basic structure in 2- 4 hours. If I'm satisfied with the direction, I often have a full-length track ready within a day.

However, the process of mixing, refining details, and so on can take some time. Typically, there's a window of about 3 to 4 weeks where I'm really invested in a new track I've created. If I don't take any further action, such as deciding to release it on my own label or sending it to someone else, it tends to get lost among the other 99% almost-finished projects.

Running my own label, albeit with a small following, allows me to release tracks that I truly love for my own well-being, even though I understand that they won't achieve commercial success. Nonetheless, receiving positive feedback from people who enjoy just these ones is the real happiness with producing, and it feels like I found new friends all over the bloop because of this.

Rhythm, sound design, melody/harmony, something else – when do the different elements of a piece come into play for you?

I often find inspiration in a sample I record or a groove I create. Melodies usually come later.

Sometimes, after recording the synths, if I'm more satisfied with the lead than the beat, I change the groove into something different afterwards

In relation to sound, one often reads words like “material”, “sculpting”, and “design”. How does your own way of working with sound look like? Do you find using presets lazy?

In terms of sound, my approach is quite flexible. I don't have a strong opinion about how others choose to create music or their creative process, and I believe it's easy to forget that financial limitations can play a role in the gear available in one's studio.

Initially, when I began producing, I relied on presets because I lacked the knowledge to tweak them effectively. However, as I've gained experience, I've moved away from using presets. I find Simpler in Ableton Live particularly enjoyable, as it allows me to quickly and easily transform any sound into something new and unrecognizable from its original form.

While I'm gradually developing a clearer vision of how I want my tracks to sound, it's been mostly trial and error along with happy accidents that have led me to discover sounds I ultimately enjoy.

What, to you, are the respective benefits of solo work and collaborations and do you often feel lonely in the studio? Can machines act as collaborators to you?

When I'm in the studio, I never feel lonely. Instead, time and space seem to vanish completely. I'm fortunate to have a home studio, where I live with my two daughters and my partner, who shares my passion for producing. Additionally, our two bunnies hopping around add to the atmosphere with their cuteness overload.

As for machines acting as collaborators, while they certainly play a role in the creative process, they don't replace the human connection and dynamic exchange that comes with collaborating with other musicians.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations and possible concrete plans in this regard?

I don't feel particularly interested or inspired by AI as a tool for my own artistic expression. For me, the essence of music lies in the human touch behind it – the emotions, experiences, and creativity that artists bring to their work.

However, I do understand that AI, as a composing tool in the music industry, may offer efficiency, convenience and fast money for big companies. That will lead to an ocean of music bots and artificial artists solely focused on commercial success. Despite these concerns, I believe there will always be a counterculture resisting this extreme commercialization.

I hope to see a revival of the punk spirit within the electronic underground scene, where authenticity and human connection take precedence over profit-driven motives. Personally, I'm drawn to electronic dance music that retains its raw, unpolished quality, characterized by unique elements, and combines electronic innovation with the authenticity of live instruments and vocals.

If you could make a wish for the future directly to a product developer at a Hard- or Software company – what are developments in tools/instruments you would like to see and hear?

As I mentioned earlier, being closely connected to a software company through my partner's work allows me to provide some feedback on their products during their development stages. And I had the joy of creating factory presets for a plugin I frequently use, Dirty Tape, which adds a warm analog sound through lo-fi modulation and distortion.

In terms of ideas for future products I'm sure my ideas probably  already exist somewhere. But I would focus on workflow and aesthetics, like one idea is for a tool similar to a website builder, but for creating custom plugin chains, allowing users to combine their favorite plugins, effects or samples. Additionally, incorporating your own color settings for an inspiring look. =)