Meet Smilk, the pseudonym of Nathaniel Hansen. Based in Naarm/Melbourne Australia, Smilk is an electronic music artist and producer whose style is influenced by progressive trance, psytrance and techno. His compositions feature intricate rhythms, deep basslines and ethereal melodies that create an immersive and hypnotic listening experience. Smilk’s tracks create a sense of journey and transformation, making him a popular addition to electronic music festivals both locally within Australia and internationally.
In the interview to follow, we discuss Smilk’s approach to production, discuss equipment and processes and what inspires his sonic creations. Get comfortable, put on Smilk’s latest album Nefelibata and please enjoy the interview.
My inspiration for starting music production would be the ability to make finished songs completely on my own. Knowing that I made every decision in a song from the melodies to the mix down, and that every choice stemmed from my own creative expression. The music ends up representing you in a very connected way. I’d grown up working in bands playing the drum kit which requires a team of people working in harmony with similar goals and commitments to music. At the time I was struggling to find band members to work with that shared my goals and drive.
I enrolled to study in Melbourne after high school, doing a bachelor in music performance, jazz and contemporary with drum kit as my main instrument.
While I didn’t finish this course there was a subject covering music technology where the goal was to produce a song on a Mac using the DAW Logic. I’d say after studying this subject was when DAW music production really clicked for me.
When I played in bands we would all pool our money together to book one, maybe two days in a recording studio and attempt to make a record in that time. Where now I have the recording studio at my house, on my laptop ready to make music 24/7. I love this freedom and workflow.
Around the same time I was pouring my focus into uncovering all the possibilities of music production software, I was also attending my first electronic music festivals, and moving from my beachy hometown and into the city living, meeting other people who were doing electronic music production.
All the people I met used the DAW Ableton, so I knew this was the program I had to use so I could jam with my friends and share and learn production techniques easily.
I was also a passionate gamer when I was younger and was no stranger to all day sessions on the computer. I substituted games for music production in a way and still think it’s the best game you could ever play.
My set up when I first started production was pretty basic, a “demo” copy of Ableton 8 and a 13’ MacBook with the headphone jack plugged into the small hifi stereo in the lounge room.
I’d still say this is all you need to get started.
My studio now would be considered an “in the box” set up, where I work in a total software environment. I have 2 controllers to my left and right which allow me to connect in a more physical way to my digital synths and software.
To my right I have the Native Instruments S61 keyboard (I almost never use the screen on this keyboard, mainly I use the pots (knobs) custom mapped to synths in midi mode. Also as a piano player I wish I got the fully weighted version in hindsight).
And on my left I have a recently new addition to my set up, my Ableton push 3 controller. I’m still discovering and learning every new feature added to the push 3, I'm honestly really impressed with this controller.
For my sound card I use an Apollo Twin. It's the older solo core and thunderbolt model but I use an adapter to USB-C and it works perfectly. Being the solo core when I use the UAD plug ins I almost always track them to audio as it’s cpu limited, but I’ve adapted work around it. Shout out the Uad Neve preamp for really nice saturation/distortion.
I should mention some of the main VST software companies I use and love: Minimal Audio, Fabfilter, Xfer, U-he, Native Instruments (mainly using Massive X, Razor and Kontakt), oek sound, Vital, Arturia, Lounge lizard and most recently some Melda plug ins, checking out their free fx ;)
And the heart of my setup would be my laptop which I use in the studio and on stage. My newish M3 max MacBook Pro, this is my first apple silicon laptop I’ve used and I love working with it.
This would be where changes in technology have changed music production the most I think. My ability to work freely without concerns of managing cpu usage and rendering/freezing tracks. especially when songs are almost finished, my older laptops would struggle with some projects.
This means I can use high voice counts on synths, a low buffer size in Ableton, multiple Kontakt libraries ect.
I can’t imagine working within the restrictions technology had on electronic music production in the past. Like, compared to what someone like aphex twin would’ve used writing his early records compared to what we have now. We live in an era where it’s never been cheaper, easier and more accessible to do music production.
My process of starting a new song tends to change a lot in an attempt to get different outcomes. I’d choose a bpm and key early on. I might have a session playing the piano in the key I plan to write a song in, exploring, getting familiar and seeing if a phrase, loop or progression emerges. Maybe get the mic out and do some recordings of an instrument or foley field recordings of random objects.
Sometimes just doing sound design in synths, dialing in a clean melodic synth pluck or a dirty bass patch can kick off a song.
Many songs start in Ableton’s session view, patching up some synths and getting some loops working together. Other songs start more traditionally with a kick and a bassline also. I sometimes let it be simple and try to create freely in the early stages, without judging my work too much before its had time to grow into something.
There is balance of elements in a track though it changes depending on what the song leans itself towards. Some have a strong melodic theme while other songs are more focused on sound design or perhaps they’re all about percussion and rhythm. To create something immersive music to listen to or dance to, I think the song needs an element of flow state and integrity in its creation.
Well my studio productions and the content of my live set are very connected. But I try to draw from all my works to create a journey that goes somewhere, hopefully makes you feel something and hopefully makes an impression. In the studio it’s focused on creating the journey of an individual song, where the live set connects them together into a single piece.
What do I do in my performances to create a connection…well I do try to be my honest self, to be in the now and genuinely appreciate the moment and how lucky I am to be playing my music to a dance floor. I never wear sunglasses while performing.
There have been times performing where I felt like everything is right, the sound system, the dance floor, the vibe, it’s perfect, Bellissimo! I have vague recollections and a general feeling of happiness.
I would prefer working by myself the majority of the time. The artist’s you’ve mentioned are all my friends and those collaboration tracks remind me of the great times we had together writing them. Me and Sknow may have another in the works;) I think my favorite collaboration track hasn’t been made yet.
Hmm, I’d say that Terrafractyl/Hypanagog, Ryanasourus and Mr Bill would be on the top of my dream collaboration list.
I’ve had a second broken beat bass set slowly growing, which I hope to debut, along with continuing my exploration of progressive 4/4 dance music!
I’ve been wanting to make some more music production videos for my YouTube channel. Along with some more tour’s abroad to new countries. And of course more music! <3
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