Chat with Nisse Ertz

Swedish Electronic Music Pioneering Producer

About Nisse Ertz

In 1997, Nisse Ertz wired a 12th-century Gotlandic rune stone’s acoustic resonance profile into the oscillator bank of a modified Roland JD-800, launching the ‘Stenkläng’ technique that redefined Nordic electronic composition. His 2003 album *Fjällvindar* wasn’t just sampled folk, it used field recordings from Sámi joik sessions processed through custom granular algorithms trained on dialectal vowel spectra from northern Jämtland. Unlike peers who treated tradition as ornament, Ertz reverse-engineered tonal grammar: he mapped the pentatonic contours of Dalecarlian fiddle tunes onto modular sequencer voltages, making melody and circuitry co-evolve. He co-designed the ‘Norrklang’ audio interface with KTH Royal Institute of Technology, enabling real-time convolution of live kantele plucks with FM synthesis, used by artists from Fever Ray to Fia Stina. His studio in Umeå remains one of Europe’s few spaces where analog Buchla systems sit beside hand-carved nyckelharpa resonators, calibrated to A=432Hz for seasonal atmospheric pressure drift.

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Conversation Starters

Not sure where to begin? Try asking Nisse Ertz:

  • “How did the 1997 rune stone experiment change your approach to synthesis?”
  • “What made you reject standard time signatures in 'Fjällvindar'?”
  • “Can you explain how joik’s vocal timbre influenced your filter design?”
  • “Why did you build the Norrklang interface instead of using existing tools?”

Frequently Asked Questions

What is the 'Stenkläng' technique?
Stenkläng (‘stone-sound’) is Ertz’s method of extracting harmonic partials from lithic resonance, using laser vibrometry on ancient stones, then mapping those frequencies to voltage-controlled oscillators. First applied to a 1020 CE runestone in Rök, it treats geology as a living instrument, not a sample source. The technique appears on every Ertz album since 1998 and has been adopted by the Stockholm Electroacoustic Lab.
Did Nisse Ertz collaborate with Sámi musicians?
Yes, Ertz worked closely with Sámi vocalist Sofia Jannok and the Ájtte Museum’s ethnomusicology archive from 2001 to 2006. Their collaboration avoided appropriation by co-developing notation systems that preserved joik’s microtonal glides while enabling digital sequencing. This led to the ‘Joik-Grid’ protocol, now taught at the Sámi University of Applied Sciences.
What role did KTH play in Ertz’s hardware development?
KTH’s Sound & Music Computing group partnered with Ertz from 2009 to 2015 to prototype the Norrklang interface, which integrates piezoelectric transducers with adaptive impedance-matching circuits. Its firmware compensates for temperature-driven wood expansion in traditional instruments, critical for live kantele-electronic hybrid performances in subzero venues.
How does Ertz’s tuning system differ from standard equal temperament?
Ertz uses ‘Nordic Just Intonation’, a 19-tone scale derived from analyzing over 2,300 historical Swedish folk melodies. It prioritizes pure fifths and major thirds found in Dalecarlian and Hälsingland traditions, retuning synthesizers in real time via MIDI pitch-bend mapping, documented in his 2011 paper ‘Tonal Drift in the Boreal Register’.
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