Recording engineer Marta Salogni chats to Danny Turner about her career and restoration of albums for ’80s synth pioneer Pauline Anna Strom
Arriving in London from her native Brescia, Italy, Grammy-nominated recording engineer Marta Salogni has emerged as one of the most sought-after mix engineers in the industry, having engineered, mixed and produced for artists including Björk, Depeche Mode, M.I.A., Animal Collective, Frank Ocean and FKA Twigs. Working from her own Studio Zona, Salogni possesses a particular fascination with reel-to-reel tape machines and feedback mechanisms.
In 2020, Salogni was approached to remix and restore three albums from the back catalogue of hugely underrated West Coast electronic synthesist Pauline Anna Strom. Already a fan of the re-released LP Trans-Millenia Music (2017), Salogni spoke to the visionary composer to discuss how she could help restore the vastly evocative canvas of sounds presented across Strom’s remarkable back catalogue.
Using digital copies from the original reels, Salogni restored three albums, Trans-Millenia Consort, Plot Zero, Spectre, and the previously unreleased Oceans of Tears, for the newly released box set, Echoes, Space, Lines. Tragically, Strom passed away prior to the project’s completion, further motivating Salogni to add her voice to the late musician’s powerfully imaginative work, itself influenced by legendary composers such as Klaus Schulze, Brian Eno and Vangelis.
Were you aware of Pauline Anna Strom’s work before you began restoring and remixing four of her albums for the box set Echoes, Spaces, Lines?
“Yes, I was aware of her record Trans-Millenia Music that RVNG put out in 2017 and really loved that because it had a transportive quality that took me to a different place when I listened to it. When the record label got in touch about Paula, I was over the moon: it was like being asked to mix one of your favourite records again, and not just that, but all of her catalogue including the albums Trans-Millennia Consort, Plot Zero and Spectre. We found the multi-tracks from the original reels and some unreleased tracks and they were baked to preserve their quality before being digitalised. For the release of Echoes, Space, Lines, my job was to retain the feeling that had got me so spellbound while adding the clarity and definition that a new and modern mix could bring to Paula’s music, which is full of frequencies that deserve to shine and be more present.”
We understand that you met Paula prior to her passing in 2020. What did you discuss?
“When I agreed to be part of the project, it was suggested that I get on a phone call with Paula to discuss what she was hoping for and expecting from these new mixes. I had the honour of talking to her and she was such a brilliant soul – so clever, quick and funny. She knew exactly what she wanted but also gave me scope for experimenta
