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gasnewsletter · 1 year

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Two Round Robins - Interview & Studio Tour

Gear List

Synths & Grooveboxes

Teenage Engineering - OP-1

Teenage Engineering - PO-33 KO

Teenage Engineering - PO-35 Speak

Teenage Engineering - PO-20 Arcade

Monome - Norns Shield

Monome - Grid

Bastl Instruments - Kastle Drum

Korg - NTS-1

Korg - Monotron Delay

Nintendo - Gameboy Color + Arduinoboy

Recovery Effects - Instrument 01

Alesis - Micron

Yamaha - VSS200

Tape Stuff

Tascam - Porta Studio MK II

Sanyo - Dictaphone

Sanyo - Pocket Corder

DIY Cassettone

Loads of tape-loops

Pedals & FX

Electro Harmonix - Memory Man 2

Boss - DD-7

Boss - Looper

Boss - RE20 Space Echo

Boss - Tremolo

M-One - Effect Unit

Controllers

Akai - MPK mini

Native Instruments Maschine Mikro MK2

Interface & DAW

Audient - iD4

Logic - Pro X

Instruments

Acoustic Guitars

Deering - Banjo

Mandolin

Violin

Lapsteel (modified)

Electric Guitar

Kalimba

++ small musical toys, instruments

----

Who are you and what is your relationship with music?

I live in Ljubljana, a capital of a very small central-Europe country called Slovenia.

I started making music in my early teens. Coming from a non-musical family, it was your usual "Dad bought me a guitar" story that through trial and error and some basic lessons transcended into a music-making love affair, that seems to roll on.

I never really bothered with playing other peoples stuff, like most of my peers did, but I'd rather strum away and try to find my own thing from the very beginning.

From your usual early-teen metal phase I moved on to alt-rock and then it kinda jumped into all sorts of genres. In my early 20s I started doing film scores for smaller movies and various other media. This helped me to become quick in the various technicalities of music composition and production.

After my job at SAE Institute sadly ended, I moved on and did a lot of freelance work within the music field, before getting another regular 9-5 job in another media educational institute, which still provides my main income.

It's hard to survive only with musical output in Ljubljana, Slovenia especially if you come from a rather non-privileged background. So having a regular salary definitely helps that when you focus your creative energy on making music, the output is strictly what you decided to be.

What's the one thing in your studio you can't live without?

It's a hard question since every synth or music making gadget, at some point, is like a little baby that you can't live without. But thinking of it logically...

It's probably my laptop.

Thinking with heart however, I'd probably go with TE - OP-1 or Monome - Norns Shield.

What's your process?

Since I consider myself a newcomer into the intriguing world of DAWless jamming and ambient music, I tend to find my process to be constantly shifting.

However, what I seem to revolve around is texture. I start with texture - may it be a sample, synth or a field recording. The initial sound and colour has to draw me close enough that I can just sit and listen for a few minutes, enjoying the soundscape.

I learned slowly (and I still do) that I need to take time with each new sound element, processing it and still keep enough space within the atmosphere to let the piece breathe naturally. I was guilty (and still am at points) of doing the newbie mistake of adding and adding different harmonic layers, melodic ideas until all that is left is an asynchronous mess.

I still have a long way to go until I'll be comfortable enough to call myself anything close to a sound artist.

How would you explain your style?

I'm drawn towards a sound that sounds nostalgic, innocent and broken so I guess my style would be considered in the brighter spectrum of ambient music.

Taking a lot of ideas from nature and childhood, I try to create something that I would consider warm, beautiful, calm but at times chaotic. A lot has to do with gear that I own (or at least aspire to own) that I just enjoy the sound of and believe that such sound will push this initial style into a firmer ground as well as new territories.

Norns was something that changed my style as exploring. It's scripts forced me out of my comfort zone of quantized based music. It helped me understand that emotion is not grid-locked and my (now more open) mind found ways to conceptualize the uniqueness that came out of that little machine.

A similar breakthrough were tape-loops as well. There is no doubt in my mind that my style will evolve and something I consider now to be groundbreaking will look like a mere happy accident that kind of happened.

Has this journey of building a hardware setup changed the way you think about music or life in general?

Definitely!

The thing I really disliked when my creating was only based in a DAW setup was getting home from work and having to open my laptop yet again, staring at the same screen and making something that seemed I made a million times before. With this typical DAW fatigue I started losing interest in creating electronic music and found that strumming away on an acoustic instruments was a far more satisfying creative session.

But soon enough, the limiting sound that strictly acoustic instruments produce pushed me to search for alternatives. Once I got myself an OP-1 everything kinda changed. I took it to the park and found out that I really enjoy noodling on these portable synth around the beautiful scenery and I just let these droney textures take over.

I always knew that music has a healing effect on me, but making something that seems so naturally slow and evolving really adds it to a new level. Ambient sessions have now become far more therapeutic.

Music making (at least in this context) is now a far more meditative experience that makes me more relaxed than it used to with just creating a track in Logic Pro and now I come out of it far more satisfied.

What’s your ONE tip on music-production or creativity?

Be bravely slow.

I did a lot of music with a mindset of being quick is the only right way. But now I find that this tends to push me back into making the same stuff over and over again.

But taking time and really enjoying the process is a way more rewarding experience, giving you a sense of yearning for more exploration. You take this feeling and let yourself be hungry for a new session or better yet a new exploration into the whole unpredictable world of sound. This will then make you excited whenever you sit back with your gear just to noodle around and most importantly have fun doing it.

A book/movie/article that fueled your creativity?

Huh, a hard question since a lot of books, movies and music inspire me, but if I'd have to put a finger on it I'd say probably Steinbecks "Grapes of Wrath". I took a lot of themes from that book and used them in lyrics for a folk inspired EP I'm working on.

Another book that greatly inspired my sense of trying to mix emotion with a unique take on creativity is Danielewski's "House of Leaves". I absolutely adore that book.

Do you have a question in mind that you think I should have asked?

"What is your current dream gear?"

Anything by Ciat Lonbarde

---

Friends, this is a past issue from the G.A.S. Newsletter. Every Tuesday and Friday a new artist is featured.

#studiotour #producerlife #musicstudio #homestudio #mystudio #producer #musicproducer #synthesizer #soundengineer #sounddesigner #beatmaker #musician #eurorackmodularsynth #eurorack #electronicmusic #gasnewsletter

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inner--islands · 6 months

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In Conversation with Inner Travels and Sunmoonstar (December 2017)

Sunmoonstar and Inner Travels released new albums back in September on Inner Islands, Rainbow Springs and Sea of Leaves (respectively). I, Sean of Inner Islands, got to chat with Natasha Home (of Sunmoonstar) and Steve Targo (of Inner Travels) about their lives and musical work.

Inner Islands: What have you two been inspired by lately?

Natasha Home: Hi! Well we just had a big storm here in Florida. Some time off was inspiring, and I spent one night playing with modular synths listening to the storm outside. I kept thinking the power would go off then it didn’t, and i guess that I was worried I’d lose everything I was creating, or maybe just accepting that it could be lost. We were very lucky with the storm, there’s allot to be grateful for this week!

Steve Targo: Hi, everyone! Glad you’re OK, Tash!! Probably the biggest sources of inspiration for me lately are the Yamaha CP, Korg Volca FM, William Allaudin Mathieu’s albums Streaming Wisdom & In The Wind, Scott Fitzgerald’s Bamboo Waterfall, the “Relaxation & Meditation with Music & Nature” series entries by David Miles Huber (thanks for the tip, Kyle Landstra!) and the book Zen Mind, Beginner’s Mind, by Shunryu Suzuki.

II: Yes, I’m really glad you’re ok too, Tash! And it’s interesting what happens to a creative practice when there is something on the line or there are these very present factors that are outside of one’s control. Embracing, or at least try to work with, the chaos…

NH: thank you! Ah Steve that all sounds like so much fun to have those instruments! I recently started playing with the Prophet ‘08 :)

II: Do either of you feel like the particularity of your synths guide your hands at all during the creative process? Like you might feel more inclined to play one sort of melody on one synth than on another?

ST: That's a good question, Sean. Until recently, I was a one-synth-at-a-time person. One synth, one song. With a Blofeld, that’s not really an issue, but it can be a challenge with the Volca FM. Such challenges can be rewarding. But I tend to forget that each synth can be used as an instrument in an orchestra, and how assigning each one a certain role in a session can really expand my ideas. How do you like the Prophet '08, Tash? Did you use it on Rainbow Springs?

NH: I am loving the Prophet 08! I started recording with it recently and am drawn to the sequencing processes, I love playing with the mathematics and the randomness and being able to let go of the composition. Actually for Rainbow Springs I focused myself away from sequencing, I practiced parts before I recorded them, chords and melodies on a yamaha synth, the SY35, two sequencers, the qy70 and qy100 with my Alesis Micron to write patterns and craft my own sounds as accompaniment. So I’m finding that if I let the machine write the melody my experience of intuitive memory is discovering emotion outside of myself that I can relate with. Lately and especially in Rainbow Springs I’m enjoying writing parts challenging myself to perform intuitively written pieces rather than push buttons and turn knobs to find out what will happen. I can’t say which process has more feeling, I’m interested in modular experimentation now too, so I’d say I’m inclined to work with emotion, everything else is open =)

II: Do you think either of you would be able to translate your albums, Rainbow Springs or Sea of Leaves, into a live setting?

ST: I’ve never played a live show, but I would assume I could perform Sea of Leaves. At the moment, my focus with music is on making and releasing recordings.

NH: This may be my ideal (Steve you are really living the dream!), to eventually be able to just focus on recordings alone, as I am currently writing a live set and wondering if practicing will ever be as interesting and as fun as improvising. In previous albums I did allot of sculpting in the mixing process to write songs. In Rainbow Springs I had live performance in mind, also the album is inspired by a particular place, and I’d like to play the songs there. We’ll see!

II: Well, I would love to see both of your albums performed live! Tash, what makes live performance interesting and engaging for you?

NH: I love improvisation, also I love pop so something inbetween which probably just comes out as ambient happens when I play live, and I also DJ regularly and love the live performance aspect of mixing, maybe this love for random creative moments comes through in my music too. Community and good times are probably my favorite things about playing out, especially conversations and after parties. Ever since I moved to Gainesville and started working with Elestial Sound I’ve been loving the live music experience even more. Gainesville inspired the songs and album title because we have a great community here and are surrounded by wonderful nature. For me live performance can be engaging with the community and listening to nature or recording, everything just kind of feels live to me about art. Meeting friends online and sharing our music is also a live performance vibe in a way sometimes ;)

II: When did you two start writing longer pieces (10+ minutes)? And how do you feel your way into the duration of a piece?

NH: I started recording long pieces early on for experimentation, also I listened to albums when I was starting to get into recording that have continuous tracks and some kind of theme, like Mike Oldfield’s Tubular Bells, White Noise An Electric Storm, Water Bearer by Sally Oldfield, also I was really into techno and experimental electronic music early on from going to dance parties.

ST: The first song on Nourish is almost 12 minutes long. It was recorded while I was making Garden Music, and I believe that’s the first time I had a song longer than 10 minutes on an album. Ultimately, I play or just let the synths go as long as I continue to feel something, or until my instinct tells me it should stop.

II: What can we look forward to from you two in the new year? And what are you two looking forward to yourselves?

NH: I’m saving for a fretless bass for my next album :)

ST: A new album, Yonder, will be released in the next few months. The album is dedicated to my mother, Christine, who died in February. She loved our vacations in northern Wisconsin and Canada, and over the years, she took many beautiful photos during those trips. Some of them appear on the Yonder cover, which I’m excited for people to see. And there are lots of sounds on the album I haven’t worked with before which I’m excited for people to hear! What I’m looking forward to most next year is hearing new music from you two. Rainbow Springs and Faces of Love are two of my favorite albums right now, and I can’t wait to hear what you both create next.

#dialogue

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kaito-kawana · 8 months

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使用機材：ゲームボーイ(LSDJ)・VT-4・ALESIS micron

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zzzwiw · 1 year

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Noisy minimal provides by SoundSaw app, as main effect on the mix of modded Korg Poly-800 mkII (thru Roland Space Echo RE-201) and Alesis Micron.

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fuwutapumena · 2 years

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pimedium518 · 2 years

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newryuworld · 2 years

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darkest-sunray · 7 years

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steamedtangerine · 4 years

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arielonbassmusic · 4 years

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inner-islands · 6 years

Text

in CONVERSATION with SUNMOONSTAR and INNER TRAVELS

Inner Islands: What have you two been inspired by lately?

Natasha Home: Hi! Well we just had a big storm here in Florida. Some time off was inspiring, and I spent one night playing with modular synths listening to the storm outside. I kept thinking the power would go off then it didn't, and i guess that I was worried I'd lose everything I was creating, or maybe just accepting that it could be lost. We were very lucky with the storm, there's allot to be grateful for this week!

Steve Targo: Hi, everyone! Glad you're OK, Tash!! Probably the biggest sources of inspiration for me lately are the Yamaha CP, Korg Volca FM, William Allaudin Mathieu's albums Streaming Wisdom & In The Wind, Scott Fitzgerald's Bamboo Waterfall, the "Relaxation & Meditation with Music & Nature" series entries by David Miles Huber (thanks for the tip, Kyle Landstra!) and the book Zen Mind, Beginner's Mind, by Shunryu Suzuki.

II: Yes, I'm really glad you're ok too, Tash! And it's interesting what happens to a creative practice when there is something on the line or there are these very present factors that are outside of one's control. Embracing, or at least try to work with, the chaos...

NH: thank you! Ah Steve that all sounds like so much fun to have those instruments! I recently started playing with the Prophet '08 :)

ST: That's a good question, Sean. Until recently, I was a one-synth-at-a-time person. One synth, one song. With a Blofeld, that's not really an issue, but it can be a challenge with the Volca FM. Such challenges can be rewarding. But I tend to forget that each synth can be used as an instrument in an orchestra, and how assigning each one a certain role in a session can really expand my ideas. How do you like the Prophet '08, Tash? Did you use it on Rainbow Springs?

NH: I am loving the Prophet 08! I started recording with it recently and am drawn to the sequencing processes, I love playing with the mathematics and the randomness and being able to let go of the composition. Actually for Rainbow Springs I focused myself away from sequencing, I practiced parts before I recorded them, chords and melodies on a yamaha synth, the SY35, two sequencers, the qy70 and qy100 with my Alesis Micron to write patterns and craft my own sounds as accompaniment. So I'm finding that if I let the machine write the melody my experience of intuitive memory is discovering emotion outside of myself that I can relate with. Lately and especially in Rainbow Springs I'm enjoying writing parts challenging myself to perform intuitively written pieces rather than push buttons and turn knobs to find out what will happen. I can't say which process has more feeling, I'm interested in modular experimentation now too, so I'd say I'm inclined to work with emotion, everything else is open =)

II: Do you think either of you would be able to translate your albums, Rainbow Springs or Sea of Leaves, into a live setting?

ST: I've never played a live show, but I would assume I could perform Sea of Leaves. At the moment, my focus with music is on making and releasing recordings.

II: Well, I would love to see both of your albums performed live! Tash, what makes live performance interesting and engaging for you?

NH: I love improvisation, also I love pop so something inbetween which probably just comes out as ambient happens when I play live, and I also DJ regularly and love the live performance aspect of mixing, maybe this love for random creative moments comes through in my music too. Community and good times are probably my favorite things about playing out, especially conversations and after parties. Ever since I moved to Gainesville and started working with Elestial Sound I've been loving the live music experience even more. Gainesville inspired the songs and album title because we have a great community here and are surrounded by wonderful nature. For me live performance can be engaging with the community and listening to nature or recording, everything just kind of feels live to me about art. Meeting friends online and sharing our music is also a live performance vibe in a way sometimes ;)

II: When did you two start writing longer pieces (10+ minutes)? And how do you feel your way into the duration of a piece?

NH: I started recording long pieces early on for experimentation, also I listened to albums when I was starting to get into recording that have continuous tracks and some kind of theme, like Mike Oldfield's Tubular Bells, White Noise An Electric Storm, Water Bearer by Sally Oldfield, also I was really into techno and experimental electronic music early on from going to dance parties.

ST: The first song on Nourish is almost 12 minutes long. It was recorded while I was making Garden Music, and I believe that's the first time I had a song longer than 10 minutes on an album. Ultimately, I play or just let the synths go as long as I continue to feel something, or until my instinct tells me it should stop.

II: What can we look forward to from you two in the new year? And what are you two looking forward to yourselves?

NH: I'm saving for a fretless bass for my next album :)

ST: A new album, Yonder, will be released in the next few months. The album is dedicated to my mother, Christine, who died in February. She loved our vacations in northern Wisconsin and Canada, and over the years, she took many beautiful photos during those trips. Some of them appear on the Yonder cover, which I'm excited for people to see. And there are lots of sounds on the album I haven't worked with before which I'm excited for people to hear! What I'm looking forward to most next year is hearing new music from you two. Rainbow Springs and Faces of Love are two of my favorite albums right now, and I can't wait to hear what you both create next.

#inner islands #sunmoonstar #inner travels #music #ambient #interview

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