Kitchen Notes d'exception puisque A Strange New Pain, le dernier album du projet suédois Run Level Zero pousse les styles musicaux qu'il aborde à un excellent niveau de détail et de complexité, que ce soit du point de vue de la composition ou du sound design, tout en restant sacrément efficace. Et là où nous avons du bol c'est que nous avons pu obtenir des réponses très détaillées et passionnantes sur les méthodes de production mises à l'oeuvre pour y parvenir.
Exceptional Kitchen Notes here as A Strange New Pain, the last release of the swedish project Run Level Zero pushes the approached musical genres to an excellent level of detail and complexity, either on composing or sound design while remaining extremely effective. And there we are very lucky as we could get very detailed and fascinating answers on production methods used to reach this goal.
Gears and software
What gears/softwares did you use for A Strange New Pain ?
Hardware :
Moog Matriarch
Soma pulsar 23
Nord modular g2
Eurorack
Software :
Ableton live 11
Softube modular
Softube model 82, 72 and 84
Uhe bazille
Uhe Zebra
Native instruments Reaktor
Arturia pigments
Izotope neutron2/3
Izotope Nectar
Izotope vocalsynth2
Synchroarts revoice pro4
Ohmforce ohmicide
Your favorite gear(s)/software(s) ?
I’ve always been drawn to all types of modulars and synths, especially those with open architectures that offer complete freedom when it comes to modulation. There’s something incredibly liberating about being able to shape sound with no limits or predefined pathways.
For me, one non-negotiable requirement is audio-rate modulation. It’s not just about pushing boundaries; it’s about tapping into those intricate, high-frequency interactions that add depth and texture to the sound in ways that lower rates simply can’t. This level of control and freedom allows me to create truly unique sonic landscapes, which is what keeps me so deeply connected to this world of synthesis.
Any evolution in your setup ?
No, I’ve actually been using modular systems for nearly 20 years now. It’s been a huge part of my workflow and creativity for so long that it feels like second nature at this point.
Sound Design
Do you use/tweak presets ?
No, I don’t use presets very often. But when I do, it’s usually in those moments when I’ve hit a creative block—when the ideas just aren’t flowing, but there’s still this eagerness inside of me to find a spark, a new direction or feeling. In those times, I’ll turn to a preset, not as a final solution, but as a tool to help guide me. It’s like searching for a thread of inspiration to pull on, something that can lead me toward a new path or unlock a different emotion in the music I’m trying to create. It’s less about relying on the preset and more about using it as a stepping stone to find my own way forward.
Do you design you own sound ? On which synth/plugin in particular ?
I usually begin the creative process for each song by crafting a layered soundscape, combining the rich textures of Softube synths with the modular capabilities of Uhe Bazille. This approach allows me to sculpt the sonic foundation before diving into the arrangement and composition.
Any particular synth history ?
I'm deeply addicted to modular synthesizers and sound synthesis. I find myself constantly immersed in the search for that elusive "golden" sound, which often involves hours of experimentation and discovery.
In the world of modulars, there's an endless frontier of possibilities, with new modules, patches, and techniques to explore, each offering fresh opportunities for sound design. This journey of exploration often serves as the blueprint for my creative process.
What makes it truly exciting is the role of serendipity—those "happy accidents" that occur when unexpected sounds emerge. These unplanned moments often become the foundation for the initial stages of some of my tracks, giving them a unique character and texture.
The unpredictability and constant evolution of modular synthesis are what keep me so deeply engaged.
Writing/composing method
What would be your main writing/composing method ? Do you start classical rythm/bassline then arrange around it ? Do you already have structure in mind ? Do you improvise, record sessions then select ? ...
In Run Level Zero, we typically follow two creative pathways in our collaborative process.
The first begins with Hans, who takes the lead by composing a demo, setting up the foundational structure, vocals, melody, and rhythm. Once he’s happy with the direction, he sends the Ableton project over to me. That’s when I dive in, adding my own creative touches by experimenting with different textures, tweaking synths, layering sounds, and fine-tuning the overall vibe to deepen the track’s mood. My goal is to elevate the demo, blending our styles to bring it closer to its final form.
In the second pathway, I start by crafting the demo, shaping the sound and laying out the core themes. Once I’m satisfied with the overall direction, I pass it over to Hans, who then adds his creative input—new layers, textures, and rhythmic or melodic tweaks that offer a fresh perspective. We continue to pass the track back and forth, refining it through this iterative process until it reflects both of our artistic visions.
Producing/mixing method
Do you produce/mix in the box or do you use mainly external gears (effect/comp/eq...)
Our
process primarily takes place "in the box," meaning we rely heavily on
software plugins within a digital audio environment rather than using
outboard gear.
Once the core elements of a track are laid down, we
render the audio into what we call "liquid audio" — essentially,
bounced-down audio files that can be easily manipulated and processed.
From there, we use a variety of software plugins to further shape,
manipulate, and enhance the sound. These plugins allow us to add
effects, tweak dynamics, adjust frequencies, and explore various sound
design possibilities with precision and flexibility.
By working in this
rendered audio state, we have greater control over the sonic details,
allowing for intricate adjustments and creative experimentation as the
track evolves. This workflow keeps the creative process fluid while
maintaining the high-quality sound we're striving for.
What is your most painful / enjoyable step in track production ? Sound design, arrangement, mixing, mastering ?
Since I have such a deep passion for sound design, I've been focusing on making the sound sculpting process an integral part of the arrangement itself. I want every element to evolve organically, so that the sound is not just a layer on top but truly woven into the fabric of the composition. It’s about creating a seamless whole where the design enhances the story the music is telling.
On top of that, I'm paying careful attention to the mix, really honing in on those subtle details that bring the magic to life. It’s like uncovering the soul of the track by balancing frequencies and giving space to the elements that matter most.
The mastering process is the final stage, conducted in close collaboration with our mastering engineer. During this phase, we aim to elevate the sound further, enhancing clarity and depth without losing the track's energy or character. Our goal is to refine and clean the mix while ensuring it remains engaging and dynamic, avoiding any over-polishing that could make it feel flat or lifeless. This balance ensures the final product is both polished and exciting.
Run Level Zero's tips
I primarily use the Min/Max functions on audio for almost everything. By blending sounds with gradually evolving DC signals, I achieve a really pleasant and wide stereo image, especially when working at audio rate. This approach adds a subtle richness to the sound, making it feel more expansive and dynamic. The end result is often transformative, turning even ordinary sounds into something that feels polished and enhanced, almost like turning them into gold.Contact info
https://www.facebook.com/runlevelzero
https://runlevelzero.bandcamp.com
