I used to drop the sounds directly into audio tracks and edit them there. How do you get the sounds you’ve recorded into your Ableton Live arrangement? For instance, that’s how the track “Piezo Version Vision” from the album came about. I do this not only on stage but also when I’m producing in the studio. I knock on the object or touch the piezos directly with my fingers and then send that signal through effects. I use simple piezo microphones that I attach to a table or an object. You don’t need the most expensive device, you just need to be in the right place at the right time to press the record button.Īre there any specific microphones or techniques that you like to use? I have realized that the magic of a good sound cannot be forced. More recently, I’ve come back to using smaller field recorders from Roland/Edirol or Zoom because I can always have them on me. I wanted to have the best possible audio quality for my recordings. I bought an expensive recorder and recorded everything in 96 kHz. A few years ago, around 2008, I got very serious about it. I already have a large collection, but I still record sounds when I travel and actually, just about everywhere.
How and where do you make your field recordings? But when I record a sound in stereo that I end up using as a kick drum, I find that the kick sits better in space, it sounds three-dimensional and tangible. A kick drum taken from a sound library is always right in the middle of the stereo field. Besides, field recordings always bring their own spatiality. A self-recorded sound is always unique, always special. Up until about a year ago I used to often mix in Apple Logic, but now my productions are made completely in Live, including the final mix.Ī lot of your sounds sound like field recordings – not only the textures but also many of the elements in your beats. Now, Live has long since become my creative tool I start every track there because I just find it inspiring. In 2006, in the course of a particular project, I got to know Ableton Live and started using it more and more. I met a lot of musicians who were just starting off with Cakewalk Sonar on PCs. In the last year of my studies there was no compulsory attendance so I travelled a lot – to Spain, Paris, London, the States. When did you start working with music software? I recorded some demos and eventually I got mail from the Onpa label where I released my first EPs. I bought a Roland MC-505 Groovebox and learned beat programming and step sequencing. I studied economics for which I moved to Tokyo. I wanted to but my parents didn’t allow it. That’s how I started making music at the age of seven or so, with these endless ping-pong recording sessions. But one could also offset them rhythmically to get echo effects. When the players were approximately at the same speed this would produce phasing effects. I would record on two of them simultaneously, then play them both back and record on a third machine. Eventually, I even had three tape recorders. I was fascinated.īut you couldn’t record this without a second tape recorder.Įxactly. I did manage to manually turn the reels however and this produced some pretty strange sounds. I took it apart right away but I wasn’t able to repair it. My first experiment was my parents’ tape recorder when it stopped working one day I was allowed to have it. I absolutely wanted to make music, but with more freedom.
These classical lessons were too narrow for me, too constrained by rules. I always wanted to improvise but I was never allowed to. Were piano lessons such an ordeal for you?
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I didn’t become a gifted pianist but I did learn some music theory and how to read notation. My father gave me my first piano lesson when I was about three or four and I persevered until I was 13.
Your music sounds quite fresh and playful. In our interview Kyoka explains how she thinks and feels about her music and describes the techniques that went into the making of her album. The album’s twelve powerful, gratifyingly unpolished tracks are a daring fusion of rolling beats and organic, chopped-up vocals that don’t fit neatly into any genre category. Apparently, Japanese musician/composer Kyoka has them is (Is Superpowered) is her first full-length album, released on the well-established Berlin label Raster-Noton. Sometimes it seems that in order to be heard in the increasingly crowded field of electronic music, one needs – besides artistry and skills – superpowers.
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