!["Not Only Did I Struggle to Write, I Completely Avoided the Studio": Apparat Shares How He Reconnected with His Creative Spirit to Release His First Album in Seven Years.]](https://backingtracksfullcollection.com/wp-content/uploads/2026/02/Not-Only-Did-I-Struggle-to-Write-I-Completely-Avoided-758x400.png "\"Not Only Did I Struggle to Write, I Completely Avoided the Studio\": Apparat Shares How He Reconnected with His Creative Spirit to Release His First Album in Seven Years.] 1")
“I wasn’t just unable to write,” says producer and composer Sascha Ring – best known by his artist monicker, Apparat, “I started avoiding the studio altogether.” The genesis of the Berlin-based musician, producer and composer’s latest album, A Hum of Maybe – recently released on Mute – lies within this lengthy period of creative stagnation.
Following the release of his previous Grammy-nominated record, 2019’s LP5, Sascha’s connection to his production process and music unexpectedly stalled.
It took a new approach of looking to come up with a song idea every day without pursuing musical perfection that led to a routine and forward path. The ideas for what would become A Hum of Maybe started to coalesce with the help of his co-producer Philipp Johann Thimm over six months in 2025.
It’s an assured collection of music, from the glitchy, anthemic IDM of An Echo Skips a Name to the more introspective melodies of the album’s eponymous title track.
Although this is his first artist release in seven years, Apparat has been delving into other areas in the interim. It comes in the wake of a broad range of creative projects. From working with Modeselektor as a third of Moderat, composing the main theme for Netflix show, Dark, as well as hooking up with BPitch Control lynchpin, Ellen Allien. He’s also worked on a series of film soundtracks.
A Hum Of Maybe is the latest instalment in his musical journey, a record living in the space between his twin loves of electronics and classical composition. Here, Sascha shares how he created the record, his connection with music technology and what his musical future holds…
MusicRadar: How did the album come about? I’ve read it stemmed from a period of writer’s block. Is this something you’ve had to overcome before?
Apparat: “Yes, but this time it felt different. I’ve had blocks before, but they were usually short and followed by a clear release. After LP5 it became more structural and that was new for me. It took a while to realise this wasn’t just a pause, but something I had to actively work through.”
MR: How did you go about writing or composing a song-or sketch-a day?
A: “I redefined what a ‘song’ or ‘idea’ meant. It didn’t have to be a track. Sometimes it was just a texture, a chord progression, a rhythmic idea, or even a few seconds of sound. The rule was simple: something had to exist at the end of the day. No judgment, no fixing. That shift from outcome to continuity was crucial. Once I gained back self-confidence, it all started to flow.”
MR: How did you find the sound of the album? How did the sonic identity and themes reveal themselves?
A: “The sound emerged before the themes were clear. At first it was just about staying connected to making music at all. Over time, I noticed a certain fragility repeating itself – less layering (as I usually do), more variation on the timeline. Only later did I realise that this mirrored what the album was actually about: uncertainty, intimacy, and things being unresolved. The themes didn’t come from a concept, they surfaced from the material itself.”
MR: Can you talk about the studio process? Were there any essential hardware or software elements?
A: “The studio process was intentionally modest. I worked mostly in my own room, which helped keep things intimate. Modular synthesis played a role early on because it pushed me into unfamiliar harmonic ideas. Cycle Instruments Tetrachords is one of these modules that give you a new perspective on music theory, I love these things for writing different melodies.
“Later, a lot of acoustic material entered; strings, brass, guitar, voice – which was then processed digitally. Software-wise, I didn’t rely on anything exotic. Universal Audio plugins, FabFilter stuff. Simpler tools helped me focus on decisions rather than possibilities. If anything shaped the sound of this record it was my new speakers, the ATC SCM50 loudspeakers. Suddenly [listening with these] I am hearing three dimensions of sound in my studio and it makes it so much more fun to work with reverbs.”
MR: Are there any esoteric pieces of kit that supported your process?
A: “Once Philipp, my co-producer, joined the process, we started recording a lot of strange material. He loves flutes, autoharps, and various ‘world instruments’. Often these only play a minor role in the final tracks, or they simply trigger ideas that lead somewhere else.
“For the first two months I worked on my own with a very limited, mostly analogue setup – lots of pedals (Pladask Elektrisk Baklengs) and quite a bit of Soma gear. I love the Pulsar, especially when paired with Ornament 8. When Philipp came in, the sound shifted noticeably. I was a bit sceptical at first, but I made a conscious decision: when I collaborate, I want to genuinely embrace what the other person brings to the table.”
MR: What is your relationship with music technology? Do you impose limitations?
A: “I’m not interested in accumulating tools anymore. I’ve done that phase. Now I’m more selective. Limitations are helpful – not as rules, but as boundaries that allow depth. Too many options flatten decision-making. I prefer fewer tools that I know well, and that I can push into unfamiliar territory. My rule is – if something in the studio remains untouched for one year it needs to go.”
MR: How would you describe your approach to the studio? Do you work quickly or refine before moving on?
A: “I work quickly at first. That initial phase is very instinctive. Almost manic. Later, I return with distance and refine. But I’ve just learned to let things sit for as long as possible to continue working on them. It’s great to gain back as much objectivity as possible. I don’t believe in perfecting something in one go. Ideas need time to breathe – and sometimes to fail before you know what they actually are.”
MR: How have you refined the balance between classical and electronic elements in your music?
A: “I don’t see them as opposites. I’m interested in moments where that distinction collapses – when acoustic instruments feel mechanical, or electronic sequences feel human. Processing plays a big role here. The goal isn’t contrast, but ambiguity. Honestly, after all these years, any instrument is just a tool in the toolbox. It doesn’t really matter whether it’s electronic or acoustic.”
MR: Are there any tracks or moments on the album that surprised you?
A: “[The whole album] was a constant surprise. I often worked in a very loop-based way before and didn’t care much about arrangement. This time it almost became a kind of competition between Philipp and me to add parts to the songs. We would often work alternating hours in the studio and leave little ‘Easter eggs’ for each other. It was quite funny at times.”
MR: What advice would you give aspiring producers, songwriters, or composers?
A: “That really depends on the kind of musician someone wants to be. I don’t have much advice for people whose main goal is to become famous or rich – and personally, I think that’s a bad reason to make music. For those who make music because they want to express themselves, to make art… let’s be honest, these are difficult times.
“You’re expected to be good at marketing yourself on top of being good at making music. That’s a lot to carry, and many people aren’t good at both. I think the first thing is to be in a position where you can afford to make art.
“For many people, music might be better suited as a hobby rather than a job that forces constant compromise. Beyond that, stay connected to process, not outcome. Most frustration comes from expecting results too early. Experiment freely and don’t compare yourself too much to others. Inspiration is fine, but comparison easily turns into frustration. You might feel you’re not good enough, when in fact you’re just different, and that’s a good thing. All the technical stuff is available online. It can take time to learn, but that’s actually the easier part.”
MR: AI is a hot topic in music creation. What’s your take on it?
A: “AI is a tool, and like all tools, it reflects intentions. In a way, it is just the logical continuation of a development in which there is a preset for everything. I don’t see it as a threat, but I am cautious when it comes to outsourcing copyright. There will be many people who just want to make money, and there will be a flood of content.”
MR: What are you hoping to achieve with the live shows? Is it the same lineup as on the record?
A: “Yes, it’s largely the same group of musicians. The aim isn’t to reproduce the album, but to translate its openness into a shared physical space. The live versions are allowed to drift, to change. Less perfection, more presence. Each show should feel slightly different. Each time.”
