Playful catched up with Jin Synth before her live set on Berghain's 20th birthday - to talk about preparations, AI and bringing a recorder to capture voices of friends and family.
Your music and performances are deeply rooted in textures and experimental soundscapes. What emotions or sensations do you hope to evoke during your set at Berghain’s 20-year celebrations?
I hope to provide a space for the audience to calm down. Other stages will undoubtedly be intense and exciting, so my mission is to create a meditative environment. I want the audience to find a sense of peace during my set.
You describe your CDJ setup as an instrument in itself. Can you share a bit about your process of improvisation during a live DJ set? How do you balance spontaneity with structure?
"When performing a DJ set, I typically prepare a folder with my tracks alongside loops from idea sketches. I experiment with BPM, pitch, and loops, and sometimes incorporate a third or fourth CDJ to improvise with my samples. I believe a strong foundation is essential. Throughout the mix, my focus is on gain staging and maintaining a solid groove, as low frequencies—particularly around 100 Hz—can easily become muddy. As long as the foundation remains stable, I can go crazy on top of it. However, for this performance at Berghain’s 20th anniversary, I’ll be doing a live set instead of a DJ set. I’ll be bringing my modular setup and won’t be using CDJs."
Your work involves creating your own instruments and DIY microphones. How do these custom tools shape the sounds you produce, and can we expect any unique instruments to feature in your Berghain performance?
"Yes, I’ve prepared a lot of sounds using self-made instruments, my friends’ voices, and my own voice. My performance will be like storytelling. I hope the audience can feel the message I’m trying to convey: “Sound upon sound, focus on the sound, and enter a mindful state.”
Berghain is renowned for its unique acoustics and immersive atmosphere. How does the space influence your preparation and approach for a set like this?
"I’m very grateful to have performed at Halle once and Berghain twice this year, which has made me feel a bit more relaxed compared to before. Berghain’s sound system is the largest and most powerful I’ve ever worked with. Even a 1 dB difference feels significant, especially when the low end resonates and physically hits the audience. I’ll make sure the volume is appropriate during my set and adjust any unnecessary frequencies during the soundcheck. It’s all about balance!"
Field recordings seem to play a significant role in your sound design. What’s one of the most unusual or memorable sounds you’ve captured and incorporated into your music?
"I love carrying my recorder and capturing the voices of my friends and family. These sounds hold special meaning for me. Sometimes, when I incorporate their voices into my music, I get teary-eyed.. (Shh..don’t tell them, haha!) But it’s true that we all pass away someday, so I want to preserve the sounds I hear and create a “history” people can listen to. For me, making music is like “freezing time and bouncing it out.”
With your academic background in sonic art, how has your exploration of sound theory informed your live performances? Are there any concepts or ideas from that realm that particularly resonate with you?
"One concept that deeply resonates with me is from a book called Peak: Secrets from the New Science of Expertise. It emphasizes that extraordinary achievements—whether Mozart, Einstein, or Da Vinci—aren’t solely the result of talent but are achieved through deliberate practice. The book highlights blind spots in practice and guides effective learning. A simple example is using running as a means of staying healthy. Instead of running 12 hours in one day, you’d achieve better results by running 30 minutes EVERY DAY."
"I apply this method to practising vinyl mixing or synthesiser perform. I never over-practice, but I maintain a consistent rhythm of daily training. During practice, I introduce challenging elements to prepare myself for unexpected situations. I’ve observed that many outstanding individuals are incredibly disciplined, and this principle is deeply reflected in my performances."
As someone pushing the boundaries of electronic and experimental music, what excites you most about the future of sound and technology? Are there any emerging trends or tools you’re particularly drawn to?
"I think AI is something to be excited about. For example, there’s a recent voice-controlled AI plugin that can operate DAWs through voice commands. This could significantly benefit individuals with disabilities. Imagine someone with visual impairments being able to control software through speech—it’s incredible. I’m also fascinated by advancements in audio technology. Recently, I came across a sound system called HOLOPLOT, which can direct sound specifically within a space. In one room, different people could hear various languages without interference. It’s amazing!"
Looking back at your journey as an artist, what does playing at Berghain for its 20-year celebrations signify for you personally and professionally?
"This is a question that hard to express in words.. I feel a profound sense of recognition. In the past, I’ve performed on countless small stages with only a few people in the audience. This invitation is undoubtedly a milestone in my music career.
I’ve always told myself that even if there’s only one person in the audience, I must give my best performance. During every set, I truly immerse myself in the sound, fine-tuning it to present exactly what I envision. For Berghain’s 20-year celebration, I hope my music can deeply move the audience."
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