Inside The Studio Of Sascha Funke

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Sascha Funke has made quite the splash with his new IFA EP on Turbo (released February 10th), turning all the right heads including those of Rebolledo, Michael Mayer and label boss Tiga himself, who in his own words describes the outing as a “huge record”. This week, Sascha invited team turbo into his workspace so we could see first hand, where the magic happens. What’s more, we got pictures…

Before we dive into the thick of things, can you give us a brief outline of your studio location?

The studio is located in my apartment. I share the studio with my wife Julienne aka Fantastic Twins.

Do you find that the surroundings have an impact on your creativity?

The studio window faces a beautiful park and although winter in Berlin is pretty dull, I find it more inspiring to face the daylight while I’m working rather than having a studio in a basement. My 2 year-old boy is also playing around me from time to time and despite the energy it requires to be a father, he has a positive impact on my creativity. I produced more music in the past two years than ever before.

Off the top of your head, what are the essential components of your current production set-up?

One of my key gear is the TC M-One. Almost every dry sound source is going through that effect processor. I use it for drums as well as for synths. I like to work from the very beginning of the production process with „wet“ sounds. It helps me bring the track into a certain direction.

What’s the most recent addition in terms of equipment?

I didn’t buy much stuff recently. Two years ago when Julienne and I started touring again as Saschienne we bought a Korg MS 20 and a Nord Drum 2 for our live set. I also bought the new Arp Odyssey. I use all of them on almost every production. Sometimes I buy a new plug in from Universal Audio, like the Eventide H 910 for example.

Do you strive to learn new techniques and uses for your tools?

I am not a very patient user guide reader. I’d rather look for the fastest way to come to the point. The new techniques come automatically if the set up is simple and easy to handle and the machines quickly connect with each other.

Are there any areas where you feel your skills could be better developed?

I am still missing sometimes the talent and skills for the final mix of a track. A lot of producers hand that part of the process onto engineers but I like to do it myself when possible. I’m getting better comparing to the past years but i am very rarely 100% happy with a mix.

In your mind or your body is there a particular time for idea creation and another for technical sound design or do both go hand in hand when you work?

It goes hand in hand. I work on different tracks in parallel. Sometimes an idea is not completely achieved and I have to wait for the next „right“ moment to continue. Also I feel the arrangement should always be done in the same moment otherwise i loose the connection. The mix can be done in another session but I never leave too much space in between so I can keep the momentum.

Berlin is a city of many studios. Are there any you have visited that you envy?

Cosmo Vitelli from I’m a Cliche has a great studio. It is located in a former East-Berlin office building and when I was young I passed by that building quite often. As a 10 year-old boy from East-Berlin, I would have never expected to visit a friend from Paris in that building one day. He has a large space divided in two rooms with a lot of interesting vintage gear, amps, guitars and a drum kit.

If the budget wasn’t an issue, what additions would you like to make to your own set up?

I would probably go for the Oberheim from Dave Smith.

What are the key production tools that were used in the creation of the IFA EP?

I used the Arp Odyssey on every track. Many drums come from the Nord Drum. The piano sound on “MZ“ is from the Korg SV1. The lead sounds of “Barkas“ and “Robur“ are all made with the Moog Voyager.

Sascha Funke – IFA EP is out now. Stream/Purchase here.

[Lead photo by Marco Dos Santos]