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Mar 19, 2026
Input / Output: Sakura Tsuruta
Input / Output is a semi-regular series where artists show how they make music using Ableton Live, Push, Move, or Note, and share easy-to-follow tips and a free download.
Sakura Tsuruta is a Tokyo-based electronic music artist whose blend of delicate melodies and driving rhythms has been steadily earning her international acclaim since her 2019 debut single "Dystopia". Beyond the studio, Sakura’s creative reach spans immersive performances, sound installations, and collaborations across fashion and art. A dedicated educator and advocate for gender equality in music, she teaches globally and works closely with Berklee College of Music, using both her platform and her practice to shape a more inclusive future for the next generation of artists.
What are you sharing with us today?
I’m sharing the project file of a track called "Euphorique" from my latest EP What Are You Drinking? released on Third Place Records. For the purpose of this interview, I recreated some parts that were originally bounced to audio, so that people can see the MIDI editing, automation, and overall workflow behind them.
Download the full Live Set of Sakura Tsuruta’s "Euphorique"
*Requires Live 12 Suite
Why did you choose to share this specific piece?
It reflects my current workflow the best. I used to be extremely regimented and meticulous about every step, but recently I’ve been letting myself focus more on sonic exploration first, and worry about organization later. For the purpose of this interview, I’m sharing the organized version but trust me, it used to be a complete mess.
Sakura Tsuruta - “Euphorique”
What was the idea behind the EP this track is featured on?
The concept of the EP is playful and inviting. The question "What are you drinking?" to me is a gentle icebreaker – something I catch myself asking when the bass is thumping and I’m feeling social in a club. It’s a way to start a conversation, learn something about the person next to you, and feel connected in a space where words are usually secondary to sound. This EP is a toast to those moments – the buzz, the curiosity, the clinking glasses, and the spontaneous laughter. A sonic nightcap for the dance floor.
“I also always place a +6 dB Utility on the master track while producing. When I’m ready to export, I simply deactivate it, and it instantly gives me 6 dB of headroom - perfect for sending to a mastering engineer.”
Does Live answer a specific need you have in your music-making practice?
Always. I love how intuitive the devices are – they allow me to take the ideas in my head and get them into a project quickly. Recently, I’ve been loving the presets for some of the Audio Effects, especially for devices like Roar and the updated Auto Filter. They give me context, help me understand different use cases, and offer a solid starting point when shaping a particular sound.
Sakura Tsuruta’s live set-up
How do you tend to use Live in your daily workflow?
I regularly use Live, Push, and Move. Live and Push are my main tools in the studio. My workflow changes depending on the type of project – I’m much more structured and regimented when I’m working on music for clients (fashion shows, commercials, etc.), whereas I’m much more free, experimental, and playful when I’m working on my own projects. I love that Live can adapt to both extremes. I also use Move when I’m away from the studio or want to sketch new ideas on the go.
Excerpt from Sakura Tsuruta’s live performance at Attack Release, Glasgow
Are there any tips you’d like to share relating to the material you’re sharing?
I color-code group tracks based on the colors I use in my live sets. This keeps things consistent across all my projects, and it becomes second nature to know exactly where everything is. It also helps me to set up my live sets efficiently – I’ve already played this track many times this year in my live performances.
When I’m drawing automation, I hold down command and free-hand the lines with the pencil tool, ignoring the grid entirely. It’s much more fluid and lets me shape the effect quickly, exactly how I hear it in my head.
I also always place a +6 dB Utility on the master track while producing. When I’m ready to export, I simply deactivate it, and it instantly gives me 6 dB of headroom - perfect for sending to a mastering engineer.