Oora - Interview
Artist Spotlight: Oora - A church of analog sequencing!
Oora is the solo project of Italian artist Federico Chiesa. Using mostly hardware synths, Chiesa is interested in spontaneous recording of minimal electronic music, cherishing the imperfection and authenticity of production. His live shows are fully improvised, making every performance unique and unrepeatable, since the sequences are always deleted at the end. Taking off the convenience of playing prerecorded material and embracing the risks of a blank start are the focal points of Oora’s acts.
Oora is a really inspiring modern artist who somehow manages to have an online presence on YouTube and Social Media while actually releasing albums and performing in live shows. His ambient sound is his trademark. Analog synths paired with effects pedals create mesmerizing melodies and dub beats that can soothe your mind and soul! We had the chance to ask Federico a few questions to understand more about his workflow, his musical aspirations, and, of course, his favorite pieces of gear!
Questions:
Q: So, Federico, what have you been working on lately?
Oora: I just finished mixing and mastering my new album. Had a lot of material that I recorded in the last year and I finally focused on polishing all the tracks.
Q: You’ve got a very interesting artist name – Oora. What’s the story behind it?
O: It’s pretty funny to me. I was chatting with my dear friend Marco, and I misspelled the word “ora “( now in Italian). I instantly said “This could be a good name for a music project”, and then I actually used it. While the origin of the name is nothing special, I like how the word sounds like aura and reminds me of Italy.
Q: You have a strong social media & YouTube presence and it’s clear you’re putting a lot of effort into creating content. How do you find the balance between music-making and content creation?
O: It was easier before, honestly. It all started with me publishing a video a day on IG, mostly as a challenge to be creative on a daily basis. Then it picked up. Now content making has become more prominent and a full line of work, which makes me really happy and privileged, but also took away some spontaneity. I try to carve out music-making time every day, focusing on improvisation and expression.
Q: You’ve recently moved to a separate studio space and now you’re going back to your home studio. Tell us a bit more about those decisions.
O: It has been a difficult one. For a year I have been at Riverside Studios in Berlin, surrounded by amazing artists, it was a great community. Sadly the space itself was small and underground, slowly I realized that windows and light are integral parts of my music-making, just as a synth could be. So I decided to move back into the studio in my new home. Luckily I share an amazing space In Funkhaus too, which I use for mixing mostly.
Having a studio home is really great to me: I can work when I want and I love having the chance to let creativity flow anytime. I also realized that the idea of having a full studio was overkill for what I do. As a creative, I just need a big desk.
Q: If I’m not mistaken, you used to be a photographer & videographer. How do other art forms affect your music and where do you usually find inspiration?
O: Yes, I have been a photographer for a long time. It really influenced the way I work. I like to say that my music is very visual, I compose with images in my mind. I think, as artists, we are the sum of all our experiences, and it has been great to come to a point in life where I can use all the things I learned on the same project.
Q: You’re originally from Italy and lived in NY & Berlin. Does the place you live in have an impact on your music?
O: Most definitely. The place I live is where I get the inspiration. NY has been so far my favorite place to live. It felt like being in a movie every day. Berlin is growing on me and I appreciate the laid-back vibe, how the light feels different, and how music is considered valuable.
In Italy I somehow gravitate towards different things, not sure why.
Q: Do you have any advice for aspiring musicians/ producers who want to make a living from their art? What was your journey in making this a full-time job?
O: The only advice I would have given myself would be just go for it, but do it fully and with confidence. It seems to me that very artist I met that I admire had something in common: full commitment. I spend a lot of my life regretting decisions and letting opportunities vanish. Now I embrace what I do and try to do my best. Results, with patience, always come.
Q: So, let’s talk gear. I know that your process heavily relies on synths and effects pedals. What is your go-to synthesizer and effects pedal combo when you start a new song?
O: I would say the Vermona Perfourmer has been my staple in the last few years. I can do everything with that. I also rely on the right sequencers, mostly being the Oxi One lately. As effects I just need a reverb and delay, they usually change a lot. But Benidub, Meris, and Strymon stuff have been the ones I used most.
Q: You have lots of hardware synths, effects pedals, and outboard gear, tell us about your current studio setup and your signal flow.
O: At the moment I simplified it massively. I have a desk and on it, I put the things I use daily. The Vermona, the Modular system, the pedalboard, the OXI, and the UDO Super 6. This can do 99% of the things I need. I am working on an even more simplified live setup. In the Funkhaus studio, I have the Zahl AM1 console, where I can do more complex stuff.
Q: Desert island piece of gear?
O: Hard to say if it has to be a single piece. Maybe an Elektron box, something that allows me to do everything, like the Rytm. The Octatrack if I feel naughty.
Q: Your absolute favorite effects pedal?
O: The Benidub Echo has been the one I used most.
Q: Your favorite Eurorack module?
O: I love the Qu-Bit Data Bender.
Q: Hardware vs Software. What’s your opinion? Do you use any software instruments or effects?
O: I am trying to embrace software more and more. I use a lot of mixing plugins. Not a lot of soft synths, but I have the full suite of Slate + Ash and I can create everything I want with that. They have been instrumental in the creation of my new album.
Q: Who is your biggest musical inspiration?
O: The artist that inspires me the most, both musically and for the approach to music making is Caterina Barbieri. A true maestro.
Q: Dream festival line-up that you would be a part of?
O: Caterina, Jan Jelinek, KMRU, Alessandro Cortini.
Q: And lastly, what’s the best advice you’ve got on making music?
O: Focus on your voice, the goal is to say something personal with it. All the rest is ornaments.
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