STEF
Stef shares her advice to her younger self to put more trust in her taste, the particular VST instruments that help shape her sound and why she believes alternative outlets are important for the electronic scene to recover from over saturation and exploitation.
Stef's track "Between Dreams" is available on OTBD015 now
Stef is known for her diverse sets, blending leftfield sounds, acid house, breaks, techno and electronica into unique musical journeys. A passionate digger with a strong taste in cutting-edge sounds, she brings energy and depth to every dancefloor. Always driven by deep curiosity, she stays open to discovering new music, constantly searching for elements that can add fresh and unexpected layers to her sets.
Deeply inspired by 90s rave culture—with a special love for the UK vibe, San Francisco’s psychedelic house, classic progressive house, progressive trance, deep Detroit-influenced techno, and early trance—her sets reflect a palette rooted in that era while always looking forward.
She has played at top events and clubs across Indonesia and continues to share her love for music nationwide. In recent years, Stef has also stepped into production, releasing tracks on labels like Love International (Malaysia), Sala Records (Indonesia), Little Insects (Colombia), UNDERRADAR Records (Indonesia), and Future10 Music (Indonesia). Her track “Absence of Fear” even reached the No.1 spot on Paranoia Radio Show’s chart.
Could you tell us a bit about the process of making your track? How did it come about? Can you remember where you wrote it? What methods did youuse to produce it?
I started working on this track in 2024, and it feels like the happiest track I’ve made so far. My music usually leans toward a more melancholic mood, but this one came out lighter, the notes feel catchier and more uplifting :)
The track really began with the main synth, which I created using Arturia Analog Lab V. When I came across that particular preset, it immediately stood out to me. I loved the character of it and knew I wanted to build an entire track around that feeling.
I wrote the track in August 2024, in the comfort of my room. There wasn’t anything especially significant about that day, I was simply feeling inspired and allowed myself to follow that energy without overthinking it. The main idea started from one of MIDI clips from my soundbank, which I then modified and shaped until it became the core loop of the track. Once I found that central sound, everything else naturally formed around it.
The bass, arrangement, and overall mood all followed the character of that initial discovery. During this process until the mixing stage, I also collaborated with my friend Bernardus Fritz, and I’m very grateful for his input and contribution, which brought extra depth and clarity to the track and helped shape it into a complete piece.
If you could go back in time and give guidance to your younger self, what would you say that would impact your career the most?
If I could go back in time, I’d tell my younger self to trust my taste, my song selection, and my artistic choices and to be proud of what I create. Stay true to what I love, even when it doesn’t immediately fit trends or expectations.
Give your best to every gig, no matter the scale, and remember that community, patience, and consistency matter more than quick validation.
At Outboard, our aim is to establish a new way of remunerating music producers , fairly and transparently. Why did you choose to come on board?
I chose to come on board with Outboard because I’m drawn to the values behind the platform. It feels like a space that truly respects the process behind the music and gives artists more control and clarity over how their work is supported.
Beyond that, Outboard offers a fair and transparent way for producers, especially independent and underground artists, to stand on their own and generate sustainable income from their work.
At a time when music creation feels more saturated than ever, and underground artists can easily feel invisible or discouraged, this kind of support really matters. I genuinely believe
platforms like this can create a positive ripple effect, helping artists feel seen, valued, and encouraged to stay true to their craft.
I’m very thankful to the Outboard team for being genuinely supportive and welcoming, and for making communication open and easy throughout the process. I’m truly honoured to have a record released alongside such talented artists.
When producing, are you more in the box or do you use Outboard too? Could you share with us a single unit or tool that is a true game changer for you, and why?”
I mainly work in the box, simply because that’s where I feel most comfortable and free. I’ve explored hardware in the past. I owned Korg Volca Keys and an Arturia MicroFreak and used them on a few tracks and I really appreciate the depth and character that hardware synths can offer.
That said, diving deeply into complex sound synthesis is not my main focus. I’m more drawn to composition, melody, and shaping textures intuitively. For that reason, I tend to lean towards simplicity in my workflow and often rely on stock Ableton plugins and selected VSTs for processing and sound design.
A real game changer for me has been Arturia Analog Lab V. It perfectly suits my way of working, thousands of presets from legendary synthesizers in one place, with enough flexibility to sculpt sounds without slowing down the creative flow. It’s incredibly powerful, but still immediate, and it often sparks ideas very quickly.
For drums, I love using Beat Shaker Electro, a Max for Live MIDI device. Since building drum pattern isn’t my strongest area, i find this tool very helpful. It generates endless rhythmic variations and unique patterns, which makes working on drum programming feel playful and inspiring. It keeps the process fun, especially when exploring electro-inspired sounds.
What is the one thing that you always do when producing that if you didn’t, it wouldn’t be a ‘STEF’ track?
I see music production as a space for exploration and honesty rather than a purely functional tool. Even coming from a DJ background, I don’t force my tracks to fit my sets, I let the process lead.
The non-negotiable part for me is defining the emotional core and sonic identity of a track first. Before worrying about technical details, I make sure the melodies, textures, and mood are clearly established. If that foundation isn’t locked in, it simply wouldn’t feel like my track.