Let’s start at the very beginning. Can you tell us how you got involved in composing, and what was your very first piece of gear?
Simply put, eager to create something. Try the melodies and harmonies in my way and try to find the paths of creation that sound good to my ear.
How many different studio iterations have you gone through, and what does your final setup look like right now?
So many haha. The whole building studio set-up is just a hit-and-miss. Learn what you did last time, and try not to forget the system when everything sounds soothing and lovely. In piano music especially and I’m not even joking. Mic position is extremely important. So, moving a mic less than cm here and there makes a huge difference. Now, since I’m not really recording an album, I just use 2x large diaphragm condenser microphones, and I love to use AT 4040 or 4033 as my basic sound mics. Also AKG c414 are pretty much used ones in my genre. Usually, when recording a piece or an album, I use a tube mic in the middle and a ribbon to catch ambient and smooth harmonies. Sometimes, it’s placed behind the piano.
Tell us about your favourite piece of hardware.
The used Apogee quartet was pretty killer. I love that. It’s getting old, but it still does a magnificent job if you ask me. Don’t know if its hardware really but I have to mention my current music video piano that I bought for 20€ (paid that for the chair not for the piano) and just the emotions attached to it when we carry that in Lapland in music video shootings. To the mountains and to the swamp areas etc. My first emotions were hate but now I love that instrument.
And what about the software that you use for production?
I try to keep it simple. I have my Logic running and sometimes few preset plugins on but usually just raw sound. I love to play with analogue-like eq plugs such as Pultec’s passive EQ’s.
Is there a particular piece of gear that you’re just dying to get your hands on, and do you think one day you’ll have it?
Not really, at the moment. I try to focus on the art and leave that gear hifiying a bit less attention. Even though I love that. But sometimes I think trying to improve the sound all the time with equipment just disturbs the creation process.
Can you please share some aspects of sound design in your work?
I’m super careful with the harmonies. I have my studio room truly acoustic and I try to avoid any harmonies that come back from windows or floor the way that I don’t like the sound. I love what wooden floors or walls do for the sound but everything else I wish to keep as dry as possible when it comes to sound.
Are there any particular new techniques that you tried out for your new album?
I actually recorded my kids laugh and just sounds from their life, play and meltdowns, echoed it and made it like a background sound and that combined with piano was so different. It sounded like I would have been played through the years. Or lifetime. Unfortunately it didn’t make it to the album. Maybe someday you will be able to hear it.
What does your live setup look like, and what do you bring with you when you travel for an extensive tour?
My life will be built to support simplicity and me as a character in front of the piano. So I will be using mainly an upright piano and nice lights on it and then me.
What is the most important environmental aspect of your current workspace, and what would be a particular element that you would improve on?
The piano in the middle of the room. That’s the essential thing that stares me every time I start to work or practice. I think keeping the room clean has been my struggle. I have my kids practicing violin etc. in there so it’s sometimes a mess.
What can you tell us about your overall process of composition? How are the ideas born, where do they mature, and when do they finally see the light?
I play and create through emotions. I have my own key and chord setups for different moods. I love to start with Em or G# minor if something is pushing me and having that elephant on my chest. Or if trying to unwind myself I usually start from F major. I usually find the most creative moments in the first 10 minutes of sitting on the piano bench. After that, I enjoy the freedom of creating something totally new.
After the piece is complete, how do you audition the results? What are your reactions to hearing your music in a different context, setting, or sound system?
I try to listen to as many devices as possible. But I have also shared this burden with my sound engineer, just because we all know that over-listening can make things messy, and I haven’t found anything good coming out of that back and forth with a melody or its post-production. It is good to have a member of your team saying, “Now it’s finished,” and you learn to trust their views. Of course, we don’t always agree but usually, they have the common sense there and know when to put a stop to postproduction.
Do you ever procrastinate? If so, what do you usually find yourself doing during those times?
Oh yes! But when you do it often, you need to tackle the problem. Try to understand yourself and the reasons behind it. Learn, get past it and move forward. Everyone has the same 24 hours a day. Use them wisely.
What gets you inspired?
Life, family, trauma, memories, pictures, books, music, history
