In The Studio With Kidsuke TECH
field recording and going out there and finding original sounds is they can give your music more personality, more individual character, than everybody using the same synths and sounds.”
How did you manage to get your live set together? K: “The live story is quite funny, actually. This is one thing that doesn’t quite work when you both live in different countries — as Daisuke landed on a Wednesday afternoon, we only had a Thursday morning to figure out the whole live show and set before we had to play the gig in the evening. But now we’ve had a bit more time to rehearse. We have two laptops running Ableton which we sync together via MIDI clock, so we can both play different parts and be locked in tight with each other. Then we have the separate audio parts from our own tracks and the Kidsuke tracks, and just mix them all up together. I use an Akai MPD controller, and Daisuke is using the APC40. “We have kept the set-up simple at the moment, because we haven’t had time to do much more than that, we just want to make sure that we perform without causing chaos, but we have been talking about having a mic’d up table with loads of the children’s toys we used to make the album, so that we play some more stuff live.”
What is the Kidsuke vibe? D: “We are trying to have as much fun as we can, keeping a child-type vibe, you know, as a child just doesn’t care. We just want to keep that child-like fun element.”
K: “We both share a common ground when it comes to our music and ideas. Even though we have separate influences, we have similar tastes to the music that we like and how we have both grown musically. Daisuke has soaked up quite a lot of UK culture and sound from previously living in London, and I’ve grown up watching anime and immersed myself in Japanese music and sonic textures. All this comes together to help form Kidsuke.”
RBMA helped get you guys together. How important are schemes like this for new producers? D: “It is important, because it gives these guys a chance to meet great artists from all over the world. It also gives young producers the opportunity to record and produce on some great equipment. The studios are very well spec-ed.”
K: “I think the RBMA thing is such a good idea, executed properly. There are a few other schemes that try to do a similar thing, but these guys just seemed to get it right. Every year they are introducing artists that are relatively unknown before the sessions, and for the actual two weeks when you’re there, for a musician, it is the greatest scenario that you can imagine. You just get to meet these really inspirational lecturers and get to work with all these amazing and talented people, and learn so much and get to go to these really amazing gigs. It is just a really cool thing — it’s a bit like Willy Wonka’s Chocolate Factory, except for musicians.”
•The next Red Bull MusicAcademy takes place in New York City from April 28 through May 31, 2013. To find out more, including how you can apply to become a participant, check out:
redbullmusicacademy.com originalcultures.org
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