What is your name?
Where are you from and where are you currently based?
I’m Italian, I was born in a Southern town called Matera, I’m currently based in Berlin.
In March of 2017 you announced your new collaboration with Marco Donnarumma as part of Dadub and your brand new Dadub Studio, specialised in Mastering. What equipment do you use? How long does it generally take to master one track? Why did you open your own studio?
Last year I left Artefacts Mastering Studio, which I launched in 2010 with Giovanni Conti, to focus on my personal projects and to give life to Dadub again: the music project became well known in 2013 after its debut album “You Are Eternity”, released for Stroboscopic Artefacts, but after that it stayed silent for several years till I decided to collaborate with the sound artist Marco Donnarumma. We’re atm collecting several new tracks to release soon.
Talking about my new Mastering Studio (Dadub Studio), I was needing a more personal job-dimension than my past experiences, but in general I love to do mastering and it will remain one of my main activities: it’s something magic and it allows me to go deep in my sound experimentation.
Regarding the equipment I use, my main focus during the realisation of the studio has been first of all about how to get a correct room treatment and a proper Monitoring system. After having developed the room acoustics project I’ve worked with a master carpenter (http://filippo-pardini-tischler.de/en/) to realise it on a practical level, and I’m really satisfied about it.
The monitor system I use is something I’m really proud of: it is a passive handmade system (AFSM-3) realised by the italian brand “Audiofilia AF-Speakers” (http://www.af-speakers.com/). I must admit I’ve never been so satisfied with a listening system as I’m now, and my mastering skills are improving also because of that.
The machines I’m using at the studio are co-owned with the music producer/sound engineer Sofus Forsberg. He’s currently living in Denmark but Dadub Studio remains his platform for his own projects.
That’s the list:
– Knif Etip EQ
– Elysia Mpressor
– Chandler Limited Zener
– API 5500
– Crane Song STC-8
– Crane Song Hedd 192
– Bettermaker 542
– Bettermaker 502p
– Prism Orpheus Souncard
Regarding the time needed to master a track it depends: each track has its own history and it needs to be treated in a proper tailored way.
Regarding Inner8, after the last EP you recently released for In Silent Series (https://insilentseries.bandcamp.com/album/inner8-myths-iss002) you have taken some time off, can we expect to be seeing Inner8 some time soon?
True, after my “Myths EP” (actually the Inner8 work I like the most) I decided to put on pause the project for a while.
I will start to work again on Inner8 late 2017…It’s probably time to give life to a new Album.
Are you experimenting with sounds?
Yes, I’m doing sound experiments: I did already some tests, abstracting and deconstructing a lot my sound, shifting more and more into a dimension of live improvisation leaded by the idea of “controlled randomness”, intended as a system (in my case music composition) where I decide and control just the frames of an hypothetical conceptual framework, whose elements interrelationships are absolutely out of my prediction.
This approach allows me to be surprised by my own sounds. In my opinion too much control during music composition tends to make creation boring and fatiguing.
What do you like to do outside of music and does it affect your music?
Well, managing 2 music projects, a mastering studio and a label (Holotone) does not leave much free time. Lately I use the few free time I have to have contacts with humans, otherwise I risk to become a real hermit.
In general I like to read, travel, enjoy life.
Anything is inspiration for me, I think that the point is how much your soul is open to get inspired, not about how many things can inspire you or not.
How would you describe your music genre?
I don’t like the concept or idea of “music genre”, I find it pretty limitative. I want my creations to be visionary and inspiring, meaningful.
That’s what’s important to me.
What are your plans for the future?
Keep on going on the direction I took this year: I’m really satisfied about my Mastering Studio (and my customer as well), Inner8 is becoming more and more mature and Dadub is back again.
After this “rebirth” process I hope to intensify my live gigs activity, one of the things I love the most. Playing live makes me feel alive, and it is one of the most precious forms of communication I’ve ever experienced in my life.
How did you get into music?
I love music since I’m a child. My parents were owning a good heterogeneous vinyl/cassette collection and a good vintage hi-fi system (Galactron), so I spent endless days just by listening to music.
For a couple of years I studied Piano when I was kid, but the music school I was attending became a nightmare for me (too many rules), so I abandoned it to come back to music when I was teenager: I played a bit of Bass-guitar and Guitar before falling in love with Drums and Percussions.
I started to do electronic music when I was 26 years old, and after 2 years I realised it had to be my life path, without compromises.
What are you listening to at the moment?
Gruppo di Improvvisazione Nuova Consonanza, Psychedelic Afro Funk, Dot Product, Dub Music.
Who are your top 3 influences and icons?
– King Tubby
– Michel Foucault
When are you playing next?
No shows planned atm, I need lots of studio time.
– Inner8 by MICHELE MARAZIA, Matera 2016
– Dadub Studio by MARGHERITA PEVERE, Berlin 2017