Patreon Pack 10 (For Dune 3) and Interview by Echo Season (Patreon)

Patreon Exclusive for all tiers!

Peter Brefini, aka Echo Season, burst on the ambient music scene in 2018 with his debut release "Periphery" on Synphaera Records. With a mixture of hypnotic beats, gorgeous pads and textures, and a veteran producer's sensibility, this album quickly cemented him as one of the greats in our field. As you'll soon learn, it was I who "discovered" Peter when he submitted his very first public tracks to Ambient Online the year prior. I immediately recognized his talent, sent him a few emails and the rest is history.  

In my years in the music  business, I have never met a person so kind, so willing to assist, and so generous with his knowledge and time as Peter. He is always willing to help in any way he can and never asks for anything in return. His production skills speak way beyond his years as a professional producer and his sound designs have been sought after worldwide thanks to his collaborations with Luftrum Sound Design and Material by Synphaera, just to name a few. 

I recently asked Peter if he'd take a listen to a few of the patches I made for Patreon Pack 9 and without me asking, he offered to create some patches of his own for my patrons to enjoy! How could I refuse? One of you also recently suggested I bring on "guests" to this platform, and this felt like the right time for our first ever interview. In this interview Peter gives you a panoramic view of where he's come from, how he produces his music, and some deep insight that you can only gain from someone with the perfect combination of skill and generosity. 

The pack of 5 brand new presets for Dune 3, along with a pdf version of this interview are attached below. 

Cheers and enjoy and thank you for supporting me on Patreon!

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Today, we're going to interview one of the most talented ambient producers and sound designers I know, Peter Brefini a.k.a "Echo Season." Along with his top notch skills in the music world, he's also one of the nicest and most genuine people I've ever met. He is tirelessly working to perfect his craft and he's very open about his knowledge and expertise in the field and I'm super excited to have the opportunity to interview him here on Patreon.

Q:) You and I first made contact in 2017 when you submitted a demo to Ambient Online, and up until that point, you were an unknown producer to myself and the rest of the world. You seemingly popped up out of nowhere! Where did your journey with music begin?

A.) I suppose it started with piano lessons from my mother when I was young- too young really to appreciate the piano and how it would circle back in my life– I was also more interested in visual art, and eventually I stopped taking lessons, which I very much regret as she is no longer here. However, it gave me a solid foundation and I learned to read music and develop basic hand technique. I took up the saxophone for a while too and enjoyed it, and I even tried my hand at writing music with it; my attempts were naive and it frustrated me that it was just one instrument – one that I couldn't record either. Although it did plant a seed to get me thinking about recording, but I did not yet know how. Later in my mid teens I heard of Sonic Foundry's Acid, which was revelatory and I soon picked up a copy and spent plenty of school nights burning both ends of the candle. I stuck with it for years. Synths were still a distant idea, and Acid didn't have midi or vst's which were completely unknown to me.

Years later I was studying art in college, and a roommate of mine gave me a copy of FL Studio when it was still known as Fruity Loops. It introduced me to midi and vsts, which was eye opening. However, I couldn't quite grasp FL's workflow and went back to Acid, although I soon found it limiting without softsynths. Since I was heavily focused on visual art anyway, music took a back seat for several years, but I still dabbled in it. Eventually I discovered Sonar which instantly clicked. I picked up a 61 key midi controller and began the long hard process of re-learning a lot of music knowledge, which was brutal. I think the year was 2010 and it wouldn't be until a couple or so years later that I really began to learn about synthesis in depth. I decided I just needed to dig in and read as much as I could, as I desperately wanted to shape sound from the beginning. It took several years to get good enough with synths to feel really proficient – and this was with daily practice, note taking, reading, etc. I filled two notebooks. Fast forward to 2017 and I finally had enough music production knowledge that I felt comfortable enough to release something. so I put out a 4 track EP. Soon afterward I discovered Ambient Online's compilations, and I submitted a couple of newer tracks – partially believing that they might not be 'ambient' enough, but I figured they were close enough so why not try? It was a chance to be on a compilation. Next thing I new there's an email in my inbox...

Q.) Along with music production, you've made quite a name for yourself in the sound design world. You've made some amazing sound sets for Luftrum, Material by Synphaera, and for your own sound shop. At what point did you realize you had a knack for sound design and how did you get started?

A.) When I first started to teach myself synthesis I was using what came with Sonar, synths like Z3TA+ and Rapture, which are not beginner levels synths, but I didn't know better. It made learning harder than I believe it had to be. I remember feeling like I'd never understand synthesis. But I stuck with it and decided to try out some demo's of other synths. When I tried LuSH-101 everything soon made sense. Modulation is 'hardwired' already, and all one needed to do was turn up the amount of modulation and you would hear the effect. It taught me quickly why an LFO assigned to pitch sounds the way it does at a certain rate. It provided answers to questions I always had which I think are quite common when you first start. Things like, what's a unipolar LFO and why would I want one? What is Offset? Why are these controls labeled Attack Decay Sustain Release? Everything sounded like engineer speak. A simple 'hardwired' subtractive VA synth like LuSH-101 is the best to learn on as it can show you exactly what something does. While I may have learned the basics of subtractive synthesis with LuSH-101, Dune was the synth that really taught me sound design. After I released my first album, Periphery, I had accumulated a good number of sounds for Dune and I decided to release them for free. They happened to catch the attention of the sound designer Luftrum. He cold emailed me and I nearly fell out of my chair. He had downloaded my free pack and liked what he heard, and he asked if I'd be interested in releasing something on his site. I was astonished and grateful he asked, and I threw myself into the project. I learned a lot about the difference between sounds made for personal use and sounds made for other people who might use things differently. Additionally, things had to work across every octave, they had to be expressive, playable and tested to remove any irregularities. He taught me how to treat sound design as a finished product – which is much different than sounds made for ones own purpose.

Q.) Regarding your production process, what is your workflow when it comes to producing music? Do you start with presets you've already designed or does each song start from absolute scratch and you build sounds around it?

A.) I separate my workflow into two distinct groups. One is sound design and the other is composing/arranging. It took me a while to establish this as my preferred method of working. Years ago I used to program every sound from scratch while I tried to compose and arrange. It was not very efficient and many ideas were lost. Eventually it dawned on me that having ready to audition sounds would be much faster and the feeling of the track wouldn't be lost. It's crucial to not have your intent diluted or forgotten in the hunt for that perfect timbre. Parallels exist between what I learned through visual art and music. Similar to painting, it's always better to consider the large areas and establish the biggest relationships between things first, then move on to the smaller things. I keep it loose and open to change as things invariably change anyway. As for starting a track, it could come from anything, from a pad, to a simple melody, drum sequence or some curious texture. Things work out better if I hear the track in my head beforehand, but not always. I've had many tracks come out nowhere, and as long as they have some kind of magic, they'll work out fine. The core of the track is created first, like working from the center outwards. It doesn't always happen that way but it's a good endeavor. I establish the relationships between all the major elements which need to work as one. In a way, it is like storytelling so the sentences need to make sense. The choice of words, their delivery and emphasis will decide how the listener responds. I know pretty soon whether a track works, and if given a few uninterrupted hours, I can have the backbone of a solid track up and running. It's usually a very intense session. I'll return to it for the next few days. Then I step back, partially as I've been burning hard, but also to approach it later with fresh ears. So I shift gears and focus on sound design for a few days. Then I'm back at it. If the track still sounds good, I'll stay with it and finish it, which can take a while. The last 10 percent is the most time consuming – nips and tucks really at that point. But it's worth it when I have a finished track.

Q.) Like many of us, you first started with software and eventually found yourself dabbling in hardware. Hardware offers unparalleled authenticity and "analog quality" but software has much more immediacy and speed. Which do you prefer and why?

A.)  They're each good for different things. Software 'is what it is' in terms of sound. If something sounds good, it doesn't matter where it came from. Software is excellent at creating and then refining nuances, especially with things like multi-segment envelopes. You can get the right 'shape' of things fairly quickly, and when you are trying to establish the overall groove that can go a long way. There's also a broader set of tools that can be utilized. It's faster in some cases. It can be convenient, usually. Hardware on the other hand has an immediacy that software doesn't quite have, even if controls are mapped to a midi controller for a softsynth, it's not the same. You can also use both hands. With software, it's just a mouse, clicking away at little knobs, which in some cases can be a single pixel wide. With hardware though, the haptic aspect conveys a lot of information. I know if I turn an encoder a certain amount it'll result in a particular sound, all without having to look at a screen. Another reason I got into hardware was wanting to know synthesis from a more traditional perspective. Despite the limitations of hardware, I wanted to understand. I found that I learned things that either I never would have, or at the very least not learned in quite the same way. You think about things differently. Also, it doesn't need a license key to run. No convoluted download manager. No need to log in. You don't have to ask permission to use it. You turn it on and make stuff. Hardware is persistent. In some cases, I tend to work faster with hardware as I commit to audio sooner. The downside is that it's expensive, occasionally needs to be repaired and the modulation and voice count are more limited. Regardless, I try and use software and hardware for what they are best at.

Q.) Your gear - What synths are you currently using on all of your productions? Do you go through different phases with your tools where you use a bunch of the same synths and then move on to a different set or do you stick to the same usual suspects on most of your projects?

A.) I firmly believe in finding a set of synths to use regularly. The more you use something, the more familiar you will become with that tools particular aspects and you will be able to wield it more effectively. I use a handful of the same synths all the time. The exception to this rule are for track specific elements that need addressing or contrast. Currently, for software, I regularly use Dune, Thorn and Omnisphere the most. As for hardware I use an Iridium, Prophet 6 and DeepMind 12D. For very specific 'one-off' elements I rotate in another synth. Usually either Serum for things that cut through a mix, or Lunaris and Bioscape which are great if I need a quick textural element. Most of what I use is digital, and in most cases, I actually prefer the sound of digital as it suits a clean, open, and flexible sound. However, analog provides a great counterpoint.

Q.) Along with producing music, you're also a dedicated and passionate fine artist. Your wife is also very creative as well. Do you both find inspiration in each other and/or do you guys work together in any way?

A.) There's a lot of synergy that takes place, and we constantly consult one another. She's a fashion designer who runs her own shop and will ask for my input on specific things, even if it's not a piece of clothing but an idea for advertising, she'll ask to get another perspective. I'll assist with certain aspects where I can, like some media content, or promotional music – or her shop's uniquely hand decorated floor. So I help where my skills are applicable. Regarding my work, I'll often ask for her input for both music and visual art. It's interesting with the music especially because her terminology for things is different. She'll often say something surprising that I hadn't thought of. For instance, she might say “I like that buzzing sci-fi spaceship sound, but it's too prominent.” I'll then go hunting about for this elusive buzzing space ship that's too loud, and it turns out she's describing some glitchy hi-hat, which is always funny but enlightening. Her assessments are incredibly accurate and honest. She has a good sense for things regardless of medium. She began playing flute a couple of years ago and when she's practicing her flute, I'll be practicing my keyboard. Our creative lives are uniquely our own but intertwined and we assist each other toward our individual goals in our own way. One day after I raised the idea of synth covers, she went ahead and fabricated some truly amazing looking covers, and besides looking cool, it's nice to know that we're there to support each others endeavors, no matter how small.

Q.)  Do you have any advice you have for producers out there who are struggling to get to "The Next Level?" More than anyone else, I often reference your tracks as "benchmarks" for other producers to what they should be holding their own music up to try and reach towards.

A.) Thank you, that's quite humbling, I think we all have our reference tracks. I do the same thing with yours and Don's, as well as a few others whom I reference for different reasons. I would also add that I often listen to different but related enough genres to get ideas. You never know what you might find. As for advice, I would say push yourself out of your comfort zone and into a state of intense work and focus. Your work ethic should feel like you are constantly on the cusp of something new – on the edge. It can feel like an endurance test at times I suppose. Throw yourself into a project deeply and constantly learn. It should be a daily scenario. Reading, watching, practicing whatever it is you want to improve. Write things down, on paper. Map out a trajectory of learning. This will change depending on your current skill level and knowledge. The effect of all this is that you'll be able to handle difficult tasks, but still able to establish flow, where you are at ease when you need to be, which is important for ambient. For the beginners it's never been as accessible as it is now, and there's plenty of resources available. For anyone who has been working as a producer for a while and wants to improve, then getting to know your workflow, what your preferred methods are, and ultimately yourself, are the most important. Sticking with the same tools helps a lot, as they will indelibly become part of your sound. And don't worry about your finding your sound, you can't force it as it is something that happens organically. Seeing things through to completion is necessary too. Failure is a tool to learn from, so do not be afraid of it. Better to actually complete something, even if you feel it to be flawed, than never producing anything. Lastly, I always think back on a quote from one of my art professors who said to “Work towards your strengths while improving your weaknesses”. It's always proven useful.

Q.) Musically speaking, do you have any plans for the future? Any other projects that you are currently working on? Follow up question: Are there any other projects or goals you would like to reach that you haven't already?

A.)  Expect another Echo Season release later this year –I've built up a quite a collection of tracks that so far, I'm very pleased with. There's a single I've contributed to an as yet unannounced release which should be exciting for multiple reasons. And people can also expect another surprise I'm working on that's a bit different...and of course, there's a couple of more sound sets on the way. As for other goals that I'd like to achieve; I would like to do more factory sound design for developers. I did some of the factory presets for Bioscape, a Kontakt instrument created by Luftrum - an instrument I strongly recommend. I would enjoy doing more of that for major synth developers. Soundtracks would be nice to get into, for games, film or television; in particular, I would enjoy seeing my work used for some thoughtful indie game – preferably space related! I would be proud of that. Playing live at some point in my career at an interesting venue would be nice too.

Lastly, thank you for the opportunity to share my thoughts. I really enjoyed this, and hopefully they provide some useful insight for others. People can feel free to hit me up on Synphaera's discord channel too where I'm always ready to talk shop.

Patreon Pack 10 (Dune 3) by Echo Season: https://www.dropbox.com/s/1of7bym3w4ny2ek/Patreon%20Pack%2010%20by%20Echo%20Season.zip?dl=0