ARTIST OF THE MOMENT: Jin Synth

Ten years of On Board Music—it speaks for itself. We’ve been collaborating with them almost since the beginning, watching them grow steadily while staying true to their values—thoughtful curation, long-term relationships, and a real commitment to the artists they work with. Reaching a decade in this industry without compromising is something worth celebrating.

For their anniversary compilation, they brought together a group of artists who reflect that spirit. Among them is Jin Synth, whose track Self Navigation adds a spacious, introspective layer to the release. We first met Jin at Mostra Festival a few years ago and have been following her work since—whether through her releases, her live performances, or the way she approaches sound as something deeply hands-on. She also contributed a guest mix to our series, offering another glimpse into her precise, layered style.

In this conversation with Theresa Bäumel, Jin shares more about her background in sound art, her process of building custom instruments, and how she stays grounded in a constantly shifting scene.

Hi Jin, wonderful to have you contributing a mix for our series. Tell us a little bit about when you created it and the tracks you picked.
I put this mix together in my home studio with the goal of making it an immersive and enjoyable long-form listening experience. I focused on smooth and seamless transitions, carefully selecting tracks that complement each other and blending different sounds to keep the energy flowing naturally.

This mix consists of around 18 tracks. It starts with The Sound of Particles by A4, released on Axis Records, mixed with my experimental elements. Following that, I included two unreleased tracks by Mateo Hurtado, which will be released under Night Garden’s label, vysyon. Since I designed the vinyl cover for this upcoming EP, I had the chance to get these tracks in advance.

Next, I blended in Cipher, a track I released on Konstrukt, before transitioning into a sequence of techno selections featuring artists like Tauceti, Jako Jako, Atis, Rizla Ops, Feral, Claudio PRC, and Svreca. I also included two tracks from the On Board 10 compilation: Submersion by Altinbas and Sensorik by Dorisburg.

In the middle section, I introduced a shift in mood with a track by Clearlight and Owl, creating a significant emotional transition. Finally, for the closing, I used Marco Shuttle’s latest release—an atmospheric recording captured in the Colombian Amazon jungle—blending it with many other elements to create a natural and meditative ending.

How did you get into music and, consequently, DJing in the first place?
I started learning piano at age seven, acoustic guitar at eleven, and electric bass at sixteen. During high school, I joined a street dance club, which led me to explore music for dance purposes. I remember a dancer friend once taking me to a DJ equipment store—that’s when I became fascinated with vinyl and started teaching myself how to DJ.

But actually, my very first mix happened when I was eleven years old. I used a blank cassette tape—back in elementary school. Our English teacher would give us blank tapes to record homework assignments. Instead, I often used them to compile songs from cartoons to listen to them in my dad’s car or even give them to friends as birthday gifts. (Wait… does sharing this totally reveal my age?)

You use CDJs as an instrument and are deeply immersed in the world of synths—many people also know you as “Jin Synth.” In your productions—and I might be wrong—I seem to hear an influence from classical instruments. Some sounds even remind me of a clarinet, for example. What music was your main source of inspiration in your earlier years?
I see CDJs and mixers as an enormous sampler-synthesizer setup. You can loop, adjust pitch, add effects, and manipulate EQ—essentially reassembling sounds in real time. When selecting tracks, I look for interesting elements, often layering at least three or four CDJs simultaneously to create something entirely new. For me, DJing is an art form of live remixing, and I enjoy challenging myself to blend and reshape sounds in unexpected ways.
Yes, I really love the sound of instruments, especially highly experimental jazz. I don’t set any specific genre for my music because I study sound art. I remember being deeply impacted by a class taught by Louise Gray during my time in graduate school. She asked us to go out into the streets with our notes, walk for an hour, and write down all the sounds we heard. Louise would ask us to close our eyes, simply listen to the sounds, and then "draw" them. It might sound a bit abstract, but when I focused entirely on listening in the present moment, I experienced a profound sense of calm.
As for what kind of music has influenced me… I think there are just too many. But one concept that I find truly special is the one by Niccolò Paganini, where he would intentionally break the strings during his performance, eventually finishing the entire piece using only a single string. I simply love the mindset of how he defied conventional ways of playing the violin.

Your creativity extends beyond being a producer and graphic designer—you also build your own microphones and instruments. How did you get into that, and how do you use them in your productions or live performances?
I learned how to make contact microphones while studying at the University of the Arts London, thanks to two sound artists, Michael Speers and Rory Salter—shoutout to them! My background is in sound arts, and the university provided incredible resources, whether for building cables, synthesizers, or even coding. However, my earliest experience with DIY electronics dates back to middle school. In a science class, our teacher showed us how to make a simple speaker using very simple materials. That moment amazed me and sparked my interest in sound transmission and frequency. For my master’s thesis, I researched instrument-building and even incorporated my self-made instruments into live performances.
In my productions and performances, these handcrafted microphones and instruments add more texture and flexibility to the sound. For example, I often use self-made contact microphones to capture subtle physical vibrations, which, after processing, enhance the music with unique atmospheres and depth. Additionally, in live performances, I integrate this noise generator I made to create improvised soundscapes, making each performance a one-of-a-kind experience.

For me, instrument-making is not just a technical practice but also a way to explore the boundaries of sound and music. This process feels like an experiment, continuously allowing me to discover new sonic possibilities and giving my creations more freedom and individuality.

What's the coolest or weirdest instrument you’ve built?
"Spring"—a noise generator. It’s an experimental instrument I designed that explores resonance and feedback using physical springs, metal and wood. The way it reacts to touch and movement makes it unpredictable and dynamic, which I find fascinating. You can find more details about it on my website.

This year marks the 10th anniversary of Onboard Music, the label and agency you're affiliated with and dear friends of ours at Delayed. You contributed the track Self Navigation to the celebratory release. What’s behind the title?
For me, Self Navigation is a refined techno piece that offers a sense of breathability—something fresh and uplifting compared to my darker, heavier works. The title reflects my approach to making techno: rather than conforming to club scene trends. I wanted to create something true to my own artistic vision. It’s a reminder to forge my own path instead of simply replicating what already exists. I'm truly honored to have Self Navigation included in On Board 10, especially as it marks the 10th anniversary of On Board Music—a label and agency that means so much to me. This release is a celebration of a decade of passion, dedication, and artistic freedom, and I’m grateful to be part of it. Big shoutout to Laura for her incredible dedication and vision!

Your tracks—whether fast or slow-paced, like Self Navigation—are intricate, full of layers and subtleties. They seem very precisely constructed. I’d love to hear more about your production process.
Having a flexible approach is key for me when creating music. For example, I have a vast collection of plugins and synthesizers, so I often experiment spontaneously—recording bits and pieces here and there and then assembling them like a collage artist.

For Self Navigation, I started with the drums and bass, looping them until I felt a melody naturally emerge. Since much of it was improvised, the track evolved dynamically before I finally added the hi-hats.

You curate a mix series yourself, Jin Invites, where you invite fellow artists to contribute a mix, and while you listen, you “channel” the artwork that accompanies it. Tell us more about this process.
The idea behind Jin Invites was quite simple—I wanted more opportunities to collaborate with other DJs and producers. My contribution to them is the artwork I create while listening to their mix. Once it’s done, I send them the print as a gift.

How do your graphic design and music-making influence each other?
Taking breaks while working on music helps give my ears time to rest. So, I switch between making music for a couple of hours and painting for another couple of hours. This alternation helps me step back and gain a fresh perspective on both.
I often compare music composition to visual art. A highly detailed and complex track could be like a Da Vinci painting—lifelike and intricately refined. Meanwhile, minimalistic music resembles Mondrian’s abstract compositions, where geometric blocks and lines create powerful simplicity.
Ultimately, there’s no absolute definition of what sounds “good” or “bad” in music from a creative perspective. I remember standing in front of a Van Gogh painting, completely in awe of its brilliance, only to overhear someone saying they didn’t like it. That moment was an epiphany for me—if even Van Gogh’s masterpieces have critics, why should I worry about universal approval? That realization freed me from overanalyzing whether my work would be accepted by the masses. My goal is simply to keep creating until the day I take my last breath.
However, I do believe that in terms of technical aspects, there is such a thing as good or bad, especially when it comes to gain staging. That’s why I always strive to establish a solid technical foundation—so that within those parameters, I can push my imagination to its fullest potential.

Looking back at your journey so far, what keeps inspiring you to do what you do?
Insecurity, anxiety, and uncertainty have surprisingly become major driving forces in my life. It might sound unusual—after all, who enjoys those feelings? But I’ve learned to embrace them. Anxiety and uncertainty push me to prepare more. And reflecting on mortality reminds me of the urgency to create something meaningful. Instead of letting these emotions hold me back, I use them to propel me forward.

I believe death is the greatest teacher—it teaches me to cherish each day and to be kind to the people I meet. To me, being a DJ is more than just a job; it’s an opportunity to travel the world and connect with others.

Looking ahead, any exciting plans for the rest of the year?
Right now, I’m most excited about my upcoming releases on Semantica and some incredible performance opportunities. Oh, and I’m also preparing to debut my Techno Live Set—just thinking about it gives me an intense rush of excitement!

Tracklist:

A4 - The Sound of Particles
Mateo Hurtado - The Eternal Mirror (unreleased)
Mateo Hurtado - An Invisible Fire, Working In Secret (unreleased)
Jin Synth - Cypher
Claudio PRC - Typha
Feral - Riad
Eddie Hale - Standing Still
Dorisburg - Sensorik
Tauceti - Black Rimel
Altinbas - Submersion
JakoJako - Äon
Rizla Ops - Physiker
Clearlight & Owl - Into The Mist
Svreca, Tilliander - 10 AM Is When You Come To Me
Edit Select, Antonio Ruscito - Apollo
Atis - Samael
Marco Shuttle - Part One

InterviewsTheresa Baeumeljin synth, On Board Music