▼ 响度为负数的歌听起来是什么样的？3ASiC给你答案 ▲
3ASiC 是来自南京、现居深圳的电子音乐人，在中国和荷兰先后攻读了录音艺术和声音设计专业，他同时还是一位从小学就开始写代码的技术宅。这样的背景让他始终对「声音」和「技术」有着超出常人的痴迷与掌握。
3ASiC Bolier Room DJ Set
他不仅在中文圈和说唱歌手 Jony J 共同缔造了播放量近亿的爆炸金曲《套路》，更受到众多国际音乐平台如 Boiler Room、Fact Magazine、Red Light Radio、NTS Radio、Keep Hush、Bass City的支持，被 Boiler Room 称为「中国最好的低音音乐制作人之一」。
他的音乐绝不局限于舞池或低音风格，创作手法也不循常规。他曾制作出一首理论上达不到 LUFS 参数值为正数的歌曲来讽刺行业里的「响度战争」现象。
有时他热衷于用无形的极端音色对听众的音箱进行现实世界里的物理打击，有时又会创作情绪丰富的氛围音乐。
自 2013 年开始，他活跃地参与到中国本土电子音乐场景中，表演遍布了国内各个音乐节和俱乐部，还曾被邀请至欧洲电子音乐盛会 ADE ( Amsterdam Dance Event ) 演出。
在俱乐部里，他总将 Bass、Grime、Experimental、Trap、Techno 等等不同风格的音乐元素融合在一起，给舞池营造独一无二的凶猛体验。
近期，作为录音艺术专业的他开始了「玩话筒」即兴项目，旨在现场演出中呈现不可复制的声效和随机的情绪，给观众留下震撼而印象深刻的记忆。
由此项目发展而来的声音氛围实验EP《Gillyweed》于2020年12月1日在Eating Music发行。
《Gillyweed》 是以旋律、声音、氛围为主的非舞曲电子音乐。它诞生于 3ASiC 的「玩话筒」即兴声音项目，这些乐曲彷佛是从作者的音乐制作设备中自然而然流淌出来的。在这张 EP 里， 作者录制了现实空间中的物理震动，并用数字声音信号处理方式把这些声音解构重塑，试图体现机械化的人类情感表达。这也是作者第一次尝试把自己的「人声」作为重要的音乐元素，用来呈现渐进迸发的情绪。
EP 的名字“Gillyweed”，是一种来自地中海地区的的神奇草药，可以让人长出鳃在水里呼吸，因此它有使人长久呆在水下的能力。人被液体容器包裹着的状态下，隔绝了大部分的噪音，细节开始失真、变得迟缓，就像这些音乐带给人的感觉，有一种对现实世界的抽离与局外感。
“有人曾经问过我一个问题：‘在一首歌所有的元素中（比如旋律、节奏、音色等等），哪个最能代表我自己？’我的回答让对方意外了——「旋律」。这恐怕也不符合大部分听众的预期，因为我常常是以低音舞曲制作人的身份面对大家。可其实在我看来，旋律是最能代表「我」的元素。”
——3ASiC
3ASiC is an electronic musician from Nanjing who lives in Shenzhen and studied recording art and sound design in China and the Netherlands.
He is also a tech geek who has been writing code since elementary school. With such a background, he has always been obsessed with "sound" and "technology" and has mastered it beyond normal people. His track “套路” featuring Jony J has reached nearly billion play all around the world.
His music has been supported by many international music platforms such as Boiler Room, Fact Magazine, Red Light Radio, Keep Hush and Bass City, and has been called "one of the best bass producers in China" by Boiler Room.
His music is by no means limited to the dancefloor or bass genre, nor is his approach to creating music. He once satirized the industry’s "loudness war" phenomenon by producing a song with positive LUFS parameter which is theoretically could not been achieved.
At times, he is keen to use invisible extremes of sound to physically hit the listener's speakers in the real world. At times he is keen to deliver real-world physical blows to the listener's speakers with invisible extremes of sound, and at other times he creates emotionally rich and beautiful Ambient music.
Since 2013, he has been actively involved in the local electronic music scene in China, performing at various festivals and clubs around the country, and has also been invited to the Amsterdam Dance Event (ADE).
In the club, he always combines Bass, Grime, Experimental, Trap, Techno and other musical elements from different genres together to create a unique and ferocious experience on the dance floor.
Recently, as recording-arts and sound-design majors, he started the "Playing the Microphone" improvisation project, which aims to bring unrepeatable sound effects and random emotions to live performances, leaving the audience with an impressive and memorable experience.
The sound ambient experimental EP ‘Gillyweed', which evolved from this project, have released by Eating Music on December 1, 2020.
"Gillyweed" is a non-dance electronic music EP made up of melodies, sounds, and ambient music. It is born out of the improvisational audio program "Microphone Experiments" by 3ASiC.
This music sound like naturally flowing out of his producing equipment. In this EP, he recorded the physical vibration in real space, and reconstructed these sounds with digital signal processing, trying to embody human feelings mechanically. This is 3ASiC's first attempt to make his voice an important element, to provide crescendo emotions.
The name of the EP, Gillyweed, is a kind of magical herb from the Mediterranean area, which allows people to have gills, so they can stay longer underwater. When people are surrounded by liquid, isolated from most of the noises, details turn fuzzy and slow. Just as the feelings of this music bring to people, creating a dissociation and isolation from the real world.
"I've once asked about a question: 'Which element in a song (melodies, rhythms, tones, etc.) is the best representation of yourself?' My answer surprised that one: The melody. This answer might not meet most listeners' expectations, because usually, I'm in the face of a 'Bass Music producer'. But to me, melodies are the best representation of me."
---- 3ASiC
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