Suki Sou: "Making A Living From Music Is Like Trying To Compose A Symphony On A Calculator"
Suki Sow was born in Macau to a Burmese father and a half-Japanese, half-Chinese mother. The philosophy behind Suki's upbringing was to push the envelope.
“My parents sent me to a Catholic boarding school in Berkshire when I was eight years old,” he tells us. “I just went to the UK with a dictionary; "My mother's theory was that I had to learn the language on my own, without anyone's help."
This do-it-yourself attitude remained true to him, and under the influence of his father, an electronics engineer, Sow became fascinated with synthesizers and software. Now he has combined the best of both in one beautiful studio where he composes an eclectic mix.
He describes this music as "neo-morning electronica, cosmic and proto-techno". He has a refreshing "no rules" philosophy, doesn't strive for perfection ("it can hide the big picture from you"), and gives some of the best producer advice we've ever seen. Read on for tips on the Pure Data minefield and soft blast recording.
How did you get into music in general?
“It all started with my mom telling me to learn how to play the piano because of the cognitive benefits [laughs] . But when I got into music, I was very interested in the sound and how it could take me to the top. I started playing field records, fols and electronic instruments to create a sound palette that puts the listener at the center of the action.
“In my music, I strive to capture the sounds of our world that are often forgotten, such as the soft thump of jelly falling to the ground, or the spatial echo in an empty container. I want to create a world that encourages people to explore sensory experiences that have eluded them before and offer listening experiences they have never experienced before.
When and how do you think you became successful or even made a living with music?
“Living music is like trying to compose a symphony on a calculator: it's a delicate balance that requires patience, perseverance and risk. I am grateful for the opportunities that sound design gives me. The key to a sustainable career is the ability to adapt, take on new challenges, and stay true to your vision. "It's a bumpy ride, but the reward for the freedom to experiment and ultimately share what you do with others is priceless."
What is your philosophy or general approach to music?
“I do my best to balance accuracy and intuition driven by curiosity. I know that striving for perfection can make me blind to the big picture, so I trust my intuition and let the music speak for me. Attention to detail is key, but less is more.”
When and how did you discover the ability to create music on a computer, and how has that changed your work?
“I was determined to break free from the limitations of dependency on others in order to create the music I wanted. It all started in the early 2000s with a group of Japanese friends who introduced me to the innovative sound of Aphex Twin, Broadcast, Prefuse 73, Four Tet and all the Warp Records artists. Inspired by their creative process, I set to work. I study and experiment alone with the Korg EM-1 and the rest is history.”
Tell us about the equipment that you have in your studio...
“I own several synths, sequencers and drum machines that I use regularly, including a Korg EM-1 drum kit, Buchla easel, Knas Ekdhal moisturizer, Moog Mother 32, Korg Minilogue and SQ1, Casio 403 drum kit and Bastl Softpop 2. . To handle it all, I hooked everything up through my 16-channel Soundcraft mixer, a Focusrite interface, and my MacBook. I also have various MIDI plugins, pedals and controllers."
Can you tell us a little more about these plugins?
“When it comes to my favorite plugins, there are so many great options out there that it's hard to pick just a few. However, here are five that I keep coming back to, each with their own unique qualities and abilities.
“The Artoria V Collection. This pack is an absolute powerhouse filled with incredible synths, effects and more. I love the versatility of the instruments, from the classic sounds of Synthi V and Modular V to the modern possibilities of Pigments and Analog Lab. With so many great options at my disposal, I can easily create the perfect sound for any track.
"A virtual emulation of a classic analog synthesizer, the Cherry Audio ARP 2500 is absolutely stunning. The attention to detail is truly remarkable: every knob and switch has been faithfully recreated to replicate the sound and feel of the original instrument. Whether I'm designing pads, dark bass lines, or creating otherworldly soundscapes, the ARP 2500 is an indispensable tool in my arsenal.
“Pure data. I'm still learning a lot, but I'm happy to report that it has been added to my list of tools. It is an open source programming language for audio and video processing that allows me to create my own patches and algorithms. I'm blown away by how complex it is and how much control it gives me over timbre and signal flow, it's been a great way to create new sounds and experiment with different processing techniques.
Spitfire Audio Laboratories. This series is a real gem. This is a free collection of high quality virtual instruments, from strings and pianos to experimental soundscapes and more, where each sample is meticulously recorded and processed to create a truly immersive and expressive playing experience. And did I mention it's free?
“Puremagnet accessories. They are also my favourites. Their offerings range from classic analog emulators to modern grain synthesizers, each with unique features and capabilities. I also love the versatility and the fact that they are constantly releasing new and innovative instruments for musicians and producers. research".
Have you ever collaborated with other producers?
“I didn't work with anyone on this project, but over the years I've worked with other musicians. Collaboration can be a challenging but rewarding experience. It takes a lot of communication and commitment, but it can also produce unexpected and exciting results."
How do you usually start a track?
“I often start experimenting with different sounds and textures using my collection of synths and effects pedals. When I find a combination I like, I create it with MIDI and custom patches created with software like Logic Pro X or Max/MSP and Pure Data for complex control.
“Then I overdub additional sounds with equipment like Buchla Easel or Moog Mother 32 to add warmth and depth, and add field or foley recordings to add movement and of course lots of VST! Through alignment and compression, I carefully shape and refine each element to create a cohesive and polished final product.
How do you know when a title has ended?
“Oh my God... Completing a track can be a daunting task, but you have to learn to trust your instincts and embrace the process. I was inspired by the intensive listening practice of Paulina Oliveros, who took the time to fully immerse herself in the music and let it speak to you on a deeper level. This looks so serious! Sometimes that means taking a step back and coming back with fresh ears, or giving up on music entirely.
“I strongly believe that simplicity is essential when creating a course. Rather than overproducing, less is better than more, and it's important to know when to stop adjusting and refining. Follow your intuition 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're going to die anyway, enjoy the process and let the sound take you where it wants to go."
Tell us about at least one of your production techniques or processes?
“One of my favorite tricks would be to create a sense of movement and progression through repetition and variation. I often start with a simple pattern or motif and then gradually add new elements or variations on that theme. This approach gives me the ability to create…” a truly hypnotic and immersive environment. I think he did."
What's on your clothing wish list?
“Today I have a mission to build my Buchla 200e system. I'm also eyeing the ARP 2600 FS and would like to add the EMS VC3S to my collection if I ever get the chance. In the meantime, I'm looking on Reverb and eBay for a recorder and an old Tascam M-208 or a 32-channel SoundCraft mixer.
What would you like to develop further in terms of production technology?
“One thing that really excites me is the use of AI in music production. With the help of new machine learning algorithms, we can create models that can analyze and study large amounts of music data, generate completely unique and original ideas and perform them in real time with human musicians.
“Take Google's NSynth for example. It allows you to create completely new sounds by combining elements of existing sounds in innovative ways. And then there's Amper Music, an artificial intelligence platform that can create custom music tracks in seconds. I believe that as AI technology advances, we will unlock even more creative possibilities for music production, including automatic arrangements, real-time performance, and new forms of sound synthesis.
There is still a lot of room for improvement in terms of software and hardware integration.
“Another area that really interests me is haptic feedback technology. This type of technology provides physical feedback in response to a digital input, making audio control simpler and more intuitive. It's already used in game controllers and iPhones, but I think it has a lot of potential for making music. Haptic feedback can provide a more sensitive way to control things like filter cut, LFO speed, and envelope decay, making your performance more expressive and enhancing your creative process.
“There is still a lot to be improved in terms of software and hardware integration. We've made some progress, like the ability to switch between different DAWs or control different synths and effects pedals from a single interface. But I think there's a lot more that can be done to make the workflow more compatible and increase creativity."
What song would you like to produce and why?
“ Lori Spiegel's Patchwork is a song that shows how innovation can make music emotional and expressive. The four-part structure of the work is the result of a complex interaction of melodic motifs, rhythmic patterns and compositional techniques. It drives me crazy!"
What's the best advice you've ever been given?
“I've learned a lot about the technical aspects of live and studio work: invest in quality hardware and software that you're comfortable with! A reliable laptop or even just a MIDI controller, as well as a reliable DAW and plug-in, can make all the difference in your ability to deliver flawless and engaging live performance.
The more tools you have, the more creative and versatile you can be in the studio.
“When it comes to working in the studio, my advice would be to be organized and efficient. Develop a system for organizing your samples, presets, and project files, and make regular backups. Also, be willing to experiment with different software and hardware and don't be afraid to try new methods and workflows. The more tools you have, the more creative and versatile you can be in the studio.
“From the music industry: by all means try not to feel bound by the accepted rules and expectations of others. It is important that you go your own way and not just rely on others to do things for you. In today's industry, with so many tools and resources available, it's easier than ever to take matters into your own hands and create your own opportunities. Don't be afraid to take risks."
What else do you have planned for the future?
“My latest release is Notes On Listening, an EP dedicated to deep listening. It's a mixture of Neo-Morning, Cosmic and Proto-Techno-Electronics with smooth synths and hydrated loops. I hope listeners will find it nostalgic and forward looking. "At the moment I'm also busy writing the next album, but this year I want to spend time in Europe to experience myself in a new way."
Notes On Listening is now available on Curious Music.
