Suki Sou: "Making A Living From Music Is Like Trying To Compose A Symphony On A Calculator"
Suki Suki was born in Macau to a Burmese father and a half-Japanese, half-Chinese mother. Their philosophy was to leave Suki while they raised her.
"My parents sent me to a Catholic boarding school in Berkshire when I was eight," he told us. "I traveled to England alone and with only a dictionary; my mother's theory was that I should learn the language on my own without anyone helping me."
This do-it-yourself attitude stuck, and under the influence of his father, an electrical engineer, Sow developed an affinity for synthesizers and software. Now he combines the best of both in one amazing studio, where he creates dynamic mixes.
It's music he describes as "new-morning, cosmic, proto-techno electronica." He has a refreshing "no rules" philosophy, doesn't aspire to perfection ("it can blind the big picture"), and offers some of the best advice for budding producers we've ever seen. Read tips about "explosives" - raw data and soft-beat recordings, ie.
How do you start the music?
“It all started when my mother encouraged me to learn to play the piano (laughs) . But once I got into music, I fell in love with the sound and how music could take me anywhere. I set out to create a sonic palette that puts the listener in the center of the action with field records, phonographs, and electronic instruments.
“In my music, I try to capture the often elusive sounds of the world, like the whisper of sweet jelly on the floor or the echoes of space in an empty container. I want to create a world that encourages people to enter the universe. They offer sensory experiences you may have overlooked before and auditory experiences you've never had before.
When and how did you find success or at least make a living in music?
“Making a living in music is like trying to write a symphony on a calculator: it's a delicate balance that requires patience, persistence and a willingness to take risks. I am grateful for the opportunities that have come my way in my sound design career. The key to sustainable business is to adapt, take on new challenges and stay true to your vision. The journey has been challenging, but the freedom to try and the reward of finally being able to share what you're doing is priceless.
What is your general philosophy or approach to music?
“I do my best to balance accuracy driven by curiosity and common sense. I know that chasing perfection can blind me to the bigger picture, so I trusted my instincts and let the music do the talking. Attention to detail is important, but less could be."
When and how did you find the way to create computer music and how has it changed your career?
“I was determined to free myself from being dependent on other people to create the music I wanted. It all started in the early 2000s with a group of Japanese friends who introduced me to the creative sounds of Aphex Twin, Broadcast, Press 73, Four Tet and all the artists on Warp Records. Inspired by their creative process, I started learning and experimenting with the Korg EM-1 on my own and the rest is history.
Tell us about some of the equipment in your studio…
"I have synthesizers, sequencers, and drum machines that I use frequently, including a Korg M-1, Buchla Esel, Kenas Ekdal Humidifier, Mug Mother 32, Korg Minilog and SQ1 drum machines, Casio 403 and Bastl Soft2. I have everything with a Soundcraft 16-channel mixer to take care of things. , Focusrite interface and connected through my MacBook.I also have a collection of MIDI plug-ins, pedals and controllers.
Can you tell us more about this plugin?
"When it comes to my favorite plugins, there are so many great options that it's hard to pick just a few. But here are five that I come across frequently, each with their own unique features and capabilities.
Arturia V collection. This bundle is an absolute powerhouse full of amazing synths, effects and more. I love the versatility of this tool, from the classic sounds of Synth V and Modular V to the modern features of Pigment and Analog Lab. I have so many great options at my fingertips that I can easily create the perfect sound for any track.
"Cherry Audio ARP 2500. It's a virtual emulation of a vintage analog synthesizer and it sounds absolutely incredible. The attention to detail is incredible, every knob and switch carefully crafted to recreate the sound and feel of the original instrument. Perfect for boom pads, harsh basslines or other world-class sound effects. , the ARP 2500 is an essential tool in my arsenal.
"Raw data. I still have a lot to learn, but I'm happy to say it's on my tool list. It's an open-source visual programming language for audio and video processing that allows me to create my own custom patches and algorithms. It gives me the complexity and control over audio and signal flow. Gives Me On - It's a great resource for designing new sounds and experimenting with different synth techniques.
"Spitfire Audio Lab. This series is a true gem. A collection of high-quality virtual instruments, from strings and pianos to experimental audio demos and more, each sample is carefully recorded and designed to create a truly immersive and expressive playing experience. And did I mention it's free?" has been?
"Puremagnetic plugin. This plugin is one of my favorites. Their offerings range from classic analog emulation to advanced volume synths, each with unique features and capabilities. I love its versatility and am always exploring new and innovative plugins. It speaks volumes for the team of musicians and producers."
Have you collaborated with other manufacturers?
“I didn't collaborate with anyone on this project, but I've worked with a lot of musicians over the years. Collaboration can be a challenging but rewarding experience. This requires a lot of communication and commitment, but it can produce unexpected and exciting results."
How do you usually start a track?
"I usually start by creating different sounds and textures using my own collection of synths and effects pedals. Once I find a mix that works for me, I use MIDI with various custom arpeggios and patches created in software like Logic Pro X or Max/MSP and Clean Data for complex control. I will build.
"I then add more sound using hardware like a Puppy Essel or Mog Mother 32 for more warmth and depth, including field or foley recordings for speed and of course lots of VSTs! Using EQ and compression, I carefully shape and refine each element to create a smooth and cohesive final product."
How do you know when a track is finished?
“My goodness… completing a track can be hard work, but it's about learning to trust your instincts and embrace the process. Taking the time to immerse myself in the music and allowing it to speak to me on a deeper level inspired Pauline Oliveros' deep listening practice. It seems very difficult! Sometimes that means taking a step back and listening to new music again, or taking a break from music altogether.
"I firmly believe that simplicity is the key to perfection. Less is more than overproduction, and knowing when to stop tweaking and refining is key. Follow your instincts to experiment, but know when it's time to let go and move on to the next project. And most importantly, Realize that music is a journey. We all die anyway, enjoy the process and let the sound take you where it wants to go.
Can you describe at least one of your production techniques or processes?
"One of my favorite techniques is to use repetition and variation to create a sense of movement and progression. I often start with a simple pattern or motif and then gradually introduce new elements or variations on the theme. I think this approach allows me to create stunning and immersive environments."
What's on your wish list?
"I'm currently on a mission to build my own Puppy 200e system. I'm also looking for an ARP 2600 FS and would like to add an EMS VC3S to my collection if possible. In the meantime, I've been looking on Reverb and eBay for vintage Tascam M-208s and tape recorders or Soundcraft's 32-channel mixer. "
What do you want to develop in terms of product technology?
“What I'm most excited about is using artificial intelligence in music production. With the help of new machine learning algorithms, we can create models that can analyze and learn from large amounts of music data, generate completely unique and original ideas, and play with human musicians in real time.
“Take Google's NSynth, for example. This allows you to create entirely new sounds by incorporating existing elements in creative ways. Then there's Amper Music, an AI-powered platform that can create custom music tracks in seconds. I believe that as AI technology advances, we will find more creative opportunities for music production, including automated arrangement, real-time performance, and new forms of audio synthesis.
There is still much progress to be made in terms of software and hardware integration.
"Another area I'm really interested in is haptic feedback technology. This type of technology provides physical feedback that responds to digital input, making sound manipulation easier and more intuitive. It's already used in game controllers and iPhones, but I think it has great potential in music production as well." .Haptic feedback provides a more responsive way to control things like filter cutoff, LFO speed and envelope output, making performances more expressive and enhancing the creative process.
"There's still a lot of progress to be made in terms of software and hardware integration. We've made a lot of progress, such as the ability to switch between DAWs or control multiple synths and effects pedals from one interface. But I think there's still a long way to go to make the workflow more seamless and increase creativity."
What song would you like to do and why?
"Lori Spiegel's Patchwork is a song that truly exemplifies how creativity can move emotional and expressive music. The composition's four-part structure is made up of a complex interplay of melodic patterns, rhythmic patterns, and compositional techniques. It's amazing! !"
What is the best advice someone has ever given you?
"I've learned a lot about the technical side of playing live and working in the studio - invest in quality equipment and software you're comfortable with! A reliable laptop or MIDI controller, along with a solid DAW and plug-ins, can make a huge difference in your ability to deliver smooth and engaging live performances."
The more tools you have, the more creative and versatile you can be in the studio.
"When I'm working in the studio, my advice is to be organized and efficient. Please, please, please, don't worry, don't worry. Don't worry, don't worry. It's okay, I know, I know, I know, I know. This is what you know. This is what you know."
Don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry don't worry
Need help?
" HAHAHAHAHAHAHAHAHAHAHAHAHAH Masha Allah - Please don't worry, don't worry, don't worry, don't worry.
2018-05-20
