HeyMun
In addition to her new solo album, Australia based ambient synthesist HeyMun has scored the soundtrack for The Making Of The Witcher Sculp series by Danny Tran, as well as collaborated with synth maker Teenage Engineering and accessories maker Analog Cases.
SynthHead Magazine: So, you’re based in Sydney, Australia right? How’s the Sydney music scene doing these days? Before Covid put the world in shock, were you pretty active with live shows?
HeyMun: Hello SynthHead Magazine! Yes, I am based in Sydney Australia. Honestly, I have very little knowledge of the Sydney music scene these days and even before Covid, I was never really active with live shows. I am a hermit and most of the time I am in my studio making music or music videos for my Youtube channel haha. I did enjoy attending shows pre-covid. One of my favorite events in Sydney is called Vivid Sydney. It happens every winter at the Sydney Opera House and I’ve been so blown away by the shows that have been curated at this festival.
SH: I did a bit of digging around. It looks like you were doing more of a folky-pop thing some years ago, which sounded great. I’m actually involved quite deeply in the Americana/Singer-Songwriter side of things as well. What inspired the transition from the folky acoustic HeyMun into the more synth based ethereal ambient music we’re seeing from you now?
HM: Oh, you are? That’s very cool! I would love to listen to your music, please share!
Yes, I started making music with the acoustic guitar and eventually found myself writing a lot of folk singer-songwriter music. I knew nothing about making music when I first got my 99 dollar Yamaha guitar on sale, so I was just googling how to play a couple of chords and eventually wrote a bunch of songs and started recording demos in my shower with Audacity and a USB mic.
The shift to me producing my own synth-based ambient music happened when I recorded my first singer-songwriter style EP with a producer at a studio and I realized after that studio experience that I was super curious and drawn to the production side of music-making. So I learned Ableton, got my first synth the MicroKorg and found Spitfire Audio libraries that blew me away. The minute I had those 3 ingredients, I disappeared into my hermit cave haha, and created my first self-produced album Heymun (2018) That album was the start of my ambient direction and I couldn’t stop exploring. I bought the OP-1 from Teenage Engineering shortly after and that propelled my love for ambient music even further and I created another album called 1:11 with the OP-1.
A few synths have joined my gear family since and because I have been bitten by the ambient bug hard, every gear that I touch now, I think to myself, can this “ambient”? YES, it can! Haha.
SH: Well let’s get into some of your synths a bit. You have a few pieces from Teenage Engineering. I’ve heard of the company, but honestly I don’t know much about them or their gear. I always thought that the OP-1 was solely a tiny synthesizer with a lot of hype behind it that I simply didn’t understand. However, upon further research, I found that the OP-1 is actually a full on hardware DAW complete with an internal sampler, multiple synth engines, sequencer, etc…! Still not convinced that it’s the workflow that I’d find comfortable, but it seems to work great for you. How is your production enhanced by the OP-1 workflow versus that of a traditional DAW?
HM: Oh my goodness, the Teenage Engineering OP-1 is an absolute beast. I’m not joking when I say it changed my life. It connected me to a synth loving community and also to the cool folks of Teenage Engineering too. The OP-1 taught me how to think and create outside of the box, out of my studio, anywhere. It showed me how to enjoy the DAW-less life. When I was on a pre-covid trip to the US, I knew I would miss making music so I took the OP-1 with me to New York and LA and made music videos there that I have shared on my Youtube Channel. One backpack with just my OP-1, Roland Go Mixer Pro, and my iPhone.It was so much fun!
I love the portability and freedom that the OP-1 offers. I can create a full track, layer till my ambient cloud is full, play a solo lead on top while the full track is spinning in the background (the Tombola sequencer is my absolute favorite to solo on) and when I go back into the studio I just press play and record my new track into Ableton.
My way of producing music is definitely a blend of my love of a DAW-less and DAW life haha. I spend a lot of time with my gear outside of a DAW and when it is time to produce and record, I enjoy working on my DAW. Music is a lot like cooking to me. The gear is the ingredient and Ableton is my kitchen. All the tools are there in Ableton to make a dish sing. I love both the DAW and DAW-less life haha.
SH: With a workstation this compact, there are inevitably some things that a unit like this excels at, as well as areas it falls short. What are the major cons that you’ve found in your experience with the OP-1?
HM: Honestly, I personally never saw any major cons to the OP-1. I have always appreciated it for what it truly is and because there are so many ways to use the OP-1 if you want to get things done, there is more than one way and if you spend enough time with it, you will find your own unique way to speak through it.
SH: The Roli is another one that I’m pretty unfamiliar with. Is it a synth? Is it a controller? Both? What is it? I know that it’s definitely a badass tool for modulation expression. The expressiveness that can be achieved on the Roli is unmatched. I remember them from Winter NAMM a few years ago; watching guys like Stevie Wonder and Corey Henry play them. Hans Zimmer seems to be a big fan as well. Of course these guys are exceptional in the industry, so it’s easy to be convinced. From what I can see, you’re using the Roli as controller for the OP-1. What does the Roli bring to your production that you can’t get from another controller?
HM: Ah yes, the ROLI Seaboard, one of my favorite gear babies. I was so intrigued when I first saw a Seaboard used for the first time, ROLI definitely has that “Wait..what is that..wow factor”. I was glad they came out it with the smaller Block version of the full Seaboard.
It is a midi controller but leveled up, they call it MPE (MIDI Polyphonic Expression). The Seaboard is pretty special to touch because of the texture of its skin. It’s all about the touch and feels when using a Seaboard. You can bend pitch, slide, and basically have a different kind of human touch to your sounds.
I actually use the ROLI as a separate companion to the OP-1. The OP-1 is usually, the full backing track, and I use the ROLI as a soloist. I love the ROLI as a solo performance tool on my Youtube videos. I think it is very beautiful to perform with it, I often use various movements and apply different pressures with my hands to shape sounds so it looks and sounds like I am triggering strings on a fret at times haha. I definitely think ROLI is best used with their own software Equator, that is where every sound and movement truly shines. When the full ROLI MPE power is unleashed it just hits the ears and soul different ya know?
SH: I have a deep appreciation for what Korg is doing. They just released some heavy hitters with the Arp 2600M, MiniKorg & Modwave. They seem to be putting some serious focus on modern sound design and not too much looking back towards the past. In my studio there’s the Minilogue XD, which is one one of my favorites. I’ll pick up the 2600M to compliment my Odyssey (Behringer). You’re getting some considerable use out of Korg’s MicroKorg. Tell me about this one and what it’s bringing to the HeyMun arsenal?
HM: Oh, I would love to give the Minilogue XD a go! The MicroKorg will always have a soft spot in my heart. It was my first synth after only using the acoustic guitar to make music. It was my first synth introduction and I was thrilled it has such a wide range of sounds to play with. To me, the MicroKorg has a wild side to its personality. When I start tweaking it, it is clear that the combinations of sounds and possibilities are limitless, you can just keep mutating a sound so far from its original patch that you kind of realize, there is nothing micro about the MicroKorg at all, it’s loud and packs a real good punch. Every time I use it, I know it will be a fun adventure. Where I start is rarely where the sound ends. Fully letting go and firing the MicroKorg up is a whole new level of fun. I actually just featured my MicroKorg in a collaboration film I created and scored for Analog Cases. I love its portability and how powerful and rich its sounds are.
SH: Then there is the PO Modular 400 also from Teenage Engineering. I remember starting to see this compact yellow modular system about a year ago. What about the Teenage Engineering PO 400 speaks to you compared to other all-in-one modular systems in its class?
HM: I bought the PO Modular 400 because I was a newbie and wanted a way into the world of modular synths. I didn’t know where to start when it came to building my own system so when Teenage Engineering released the PO Modular 400 and I saw what it came with, a set of modules and you can even build it yourself, I just knew it was my start to learning and understanding the modular world I was so curious about.
I was also already a customer of Teenage Engineering through the OP-1 and because it made a real impact on my music and life, I was naturally drawn to other things that they were creating. I am glad they released the modular series that year, it saved me time, money and gave me an understanding of the basics of what a modular system needs and how it functions.
SH: In addition to the PO 400, you have a much smaller euro rack setup. It looks like you’ve left some rack space to grow into. What are the modules you’re currently working with and how are you using this modest chain in your work?
HM: Yes, my small eurorack is named “Frankie” my little Frankenstein Intellijel Palette with 3 modules haha. I have Mutable Instruments Plaits, Marbles and a Genki Instrument Wavefront module.
I have always loved Intellijel and Mutable Instruments. With my small and non-flexible budget haha I knew I was about to build a super small system. I decided to start with an Intellijel Palette and find some fun in the challenge of making some sweet and decent music with just two modules haha. I’ve seen tiny modular systems with 3 modules before but not with 2 modules so I was using VCV rack to find the best-sounding pairs of two types of modules and I used Modular Grid to stay on budget. I found that Plaits + Marbles are a great combo for a 2 module setup. I love the tones of Plaits paired with the randomness of Marbles. After some patching experiments, I created my 2 module track and posted it onto my Youtube Channel. That track then got picked up by VERGE in one of their modular synth articles and I was so shocked and happy that my tiny 2 module eurorack system with gaping holes made it into the article.
My third module, the “Wavefront” was gifted to me by Genki Instruments from Iceland. The Wavefront allows you to shape your modular systems sounds via the Wave Ring, a midi ring controller by Genki Instruments. It’s a game-changer for me because I love adding that human touch to my modular music.I was actually looking for a performance style module, any module that would allow me to shape my modular sound via touch so when the Wavefront arrived, it was the perfect third module to join my eurorack.
My favorite way of using Frankie my eurorack is with the OP-Z as a sequencer and the Genki Instruments Wave ring to shape my modular sounds via the Wavefront module.
SH: Do you have your eyes on any particular modules to expand the euro rack setup? Do you see yourself getting bitten by the modular bug to the point where you’ll find yourself with a wall of modular gear?
HM: Honestly, I only dare eye a module when I have the budget to buy a new one haha and right this moment I don’t have any budget for expansion plans so I try not to look. For now, haha.
I did set myself some rules for my eurorack adventure early on. Like setting a fixed budget to begin with and making the best sounds I can out of the 2 modules that I have. Basically focus on gleaning the best of each module, understand it well before adding another. That way I appreciate and make full use of what I already have and have clarity on what I actually need for the next module.
A modular wall. Hell yeah. I suffer from “G.A.S — Gear Acquiring Syndrome” like everyone else haha and of course a wall of modular gear would be a real joy and heaven. I smiled just thinking about a modular wall beast as I was typing haha. If that day ever comes I know I’ll have the best of fun and it probably means there is a large modular budget going on there right? If so, it is very likely I’d use some of that budget to make my Buchla Music Easel dreams come through too haha. I have always loved Buchla and the Buchla Music Easel is on top of my wish list.
I am still waiting for my local music store to unbox their demo Buchla Music Easel. Pre-covid times, I would go there and check-in often if the demo was on display yet haha. I haven’t had a chance to meet with a Buchla Music Easel in person yet. I am aching to experiment with one, to hold it in my arms. I am smiling again now. Oh, Buchla!
SH: There’s also the Moog Grandmother, which I’m very familiar with. It’s a great mono synth with semi modular capabilities. You’re doing some cross patching between the three; euro-rack, PO Modular 400 & Grandmother. That’s the great fun of modular; being able to patch various synths together to create truly unique sounds. These patches can’t be saved as presets, so even when recalling, the patch is never 100% the same. I love that about analog and modular synths. Also, unless someone has these exact synths, they can’t possibly recreate your sound. That’s a proposition I’m eternally fascinated with. What kind of cool unique sounds have you discovered from patching these three synth worlds together? Are you documenting patches on patch sheets?
HM: Oh you and I, I have a feeling we can talk for hours about this haha. I totally hear you. Those patches cant be saved or replicated and just like life itself, that part is the most present, fleeting, and precious thing about modular. I am super fascinated by that too.
Ah! I call that trio “FrankGranPoe”! When I crosspatch “Frankie” my eurorack, “Poe” PO Modular 400 and “Gran” the Moog Grandmother a lot of interesting sounds have surfaced and one thing I love the most is that serious darkness that the Moog brings to “FrankGranPoe”.The Moog Grandmother reminds me often of Mystique from X-Men. On its own it is unique and it can also easily morph itself in to play well with other modular synths but yet, the darkness of the Moog Grandmother is always there. There’s that iconic Moog moody darkness that will always shine through. It is that special Moog tint that makes modular sounds that are deep, layered, and interesting.
I am not documenting patches on sheets at all. I still cant document nor read music too haha but I document all of my work on video on my Youtube Channel. Music to me has always been a by feel and visual experience so when I look back at the videos, I can kinda re-call what I was doing there.
SH: Well hey HeyMun (lol see what I did there?) it was great talking synths with you and much thanks for being apart of SynthHead Magazine. Looking forward to seeing how things continue to develop for you. Maybe we’ll catch up again down the line when you’ve acquired a few more cool synths. Yes, I wish “Synth Acquisition Syndrome” upon you! What projects, collaborations or releases do you have coming up?
HM: I see what you did there! (haha) Thank you so much for this opportunity to be on SynthHead Magazine. Yes let check-in, in the future and I pray the Buchla Music Easel will be mine by then haha. Oh, I wish. So there is S.A.S — Synth Acquisition Syndrome and G.A.S. — Gear Acquiring Syndrome, happy to report I suffer from both haha.