NICE NICHE! Feat HISS

FFO: Form and function, with cool-as-hell electronic instruments that spark play, curiosity, and interactivity.

HISS is an electronics studio that embraces the unexpected nature of simple forms, designing objects that spark play and interactivity through sound.

I first stumbled on HISS thanks to rabbit holes of admiring designs from synthesiser products c/o companies such as Teenage Engineering and Arturia. Not a skilled musician with electronic instruments by any means, but I had been having a yearning in recent times to lean into sound design a lot more, it really interests me.

Then I stumbled across HISS one day, and there was something so simple, thoughtful and soothing about the design and presentation of the product PITCHI, and the brand, and my curiosity was piqued from there.

I got in touch with Luke Elliot out of complete curiosity about how he builds this incredibly interesting and niche company, to unpack a bit more about his thoughts on experimentation, connection and creating things that people emotionally resonate with. Super glad he said yes!

Gaz:

Luke, thanks for joining GROUPED today. Tell us about HISS?

Luke:

HISS has been running for two and a half years now. It began as part of an arts grant from the City of Melbourne, where I received funding to create sound objects placed throughout the city. These were designed for people to interact with - recording their environments and manipulating the sounds they captured.

Then the lockdowns hit, and the project could no longer go ahead in its original form. I still had the funding, but no clear way to proceed. So the idea naturally evolved into a product called PITCHI, which was born out of a simple question: How can I create something people can use in their own environments to record sound? That’s essentially where things started to snowball.

Before that, I played in bands while growing up and went on to study audio engineering. I currently work in the music industry as a technician, with experience across both theatre and live music. I’ve always had a deep appreciation for sound and all genres of music.

I’ve also always been confident with tinkering - opening things up, figuring out how they work. Taking things apart and putting them back together has always felt like the best way to learn.

So really, it was just a natural combination of skills and the desire to make sound feel more personal.

Gaz:

I love that. What was something of note a little earlier to this grant recipient time that acted as a bit of a bridge between working in sound and audio manipulation, to then being a bit of an inventor and tinkerer? Did you always have the want to create your own physical products?

Luke:

The product definitely came out of not being able to do the public space installation. But in hindsight, I’m actually glad it worked out that way. It’s given me a new approach - putting something out there, sharing it with people, and using that as a foundation to build on other ideas through HISS.

Gaz:

There's someone I've worked alongside and gotten to know quite well, named Gerard Mason, he’s sort of a creative technologist, but also a musician. He also got that grant, and also had the experience where he got quite delayed because of lockdown etc.

But, because this is through the City of Melbourne, he had access to all these crazy instruments around the city, plus the city has its own record pressing plant initiative? Which is crazy? So he’s been able to access the cities’ organs and all types of things.

So, yeah, I think that… I know that the grants are there for involvement from the city side, but it might not be fully sort of understood externally, and I don't see from my vantage point a lot of involvement or understanding in what music technology is.

In my lens, what with working with a lot of technology companies, it feels like this deep irony that we're in Melbourne, such a creative and music minded city, but music tech is sort of not one that's being championed and known about collectively. So it feels a bit subculture, which is a deep irony, I guess.

So (long-winded) referencing your work on sound installations, and creating audio technology, how do you think the work is perceived locally? 

Luke:

I think there’s a perception that sound installations can be a bit inaccessible. People often find them ambiguous, unsure of how they work or what equipment is involved. Often, it comes down to how the space is designed: whether it invites interaction and is truly accessible to the audience.

Gaz:

Mind if I ask then about the evolution of your product/s? Has it been a bit of an arduous experience working with hardware?

Luke:

Yes and no. There were definitely times in the beginning, especially when working with voltage, where things would quite literally catch fire. I ruined many circuit boards along the way. A lot of it has been trial and error.

PITCHI originally came from working with tape loops - the tactile process of cutting and splicing tape to create loops, where you never quite know what you're going to get.

I was using tape machines for all of that, but I wanted a way to streamline the process. I found a microcontroller that could work with audio in a similar way and built the circuit around that. It all came together quite quickly at first, but it took time before I felt confident enough to release something people would actually pay for.

Gaz:

Out of curiosity then, what's the sales channel that works for you? How many would you produce in a particular product run, or do you produce on demand?

Luke:

Everything is made to order. A big part of what I do is ensuring there's no waste and that each unit is made responsibly. That approach helps it stand apart from products that can feel cold or mass-produced.

It’s all been such a natural progression. When I first released it, I was blown away by where it ended up. The very first unit I sold went to Ben Lee, and not long after, I was shipping them around the world - even to some of my favourite producers and musicians. It really just caught on.

It all happened quite organically - word just spread. Even my collaboration with David (Ghostpatrol) came about after he bought one. That connection grew from there.

Gaz:

Oh that’s amazing.

Luke:

And we’ve become friends through admiring each other's work.

Gaz:

So you weren't long-standing friends, that was a result of people from slightly disparate worlds coming together based on this product being a vessel for creating conversation and relationships with people?

Luke:

Exactly. And I think the biggest treasure I’ve gained from all of this is the people I’ve met and the friendships I’ve made around the world. It’s been amazing connecting with others who are just genuinely interested in sound and these cool little tinkering projects. Meeting up with them and sharing that connection has been pretty special.

Gaz:

So have you found surprising elements that it gets shared around in particular forums, or is it sort of like a very personal thing, like a person shares to another person in their closed network in the producer, musician, creator sort of world?

Luke:

Instagram has definitely been a great vehicle for people to share it - whether through little videos, photos, or just showing it in use. A lot of the growth has come from people telling others about it. MESS (Melbourne Electronic Sound Studio) have been especially supportive, sharing posts and having a few units in their studio. I think people are seeing it in these kinds of spaces, and that’s creating a natural curiosity and interest. It’s so cool to see that happening.

Gaz:

That is cool. So what’s your intention or inclination for what’s next? Are you comfortable with the rate it’s growing at at the moment, with this sort of conservative launch approach (only on demand) and happy with this niche audience of customers and lovers of the product?

Luke:

It’s an interesting time. I’ve just launched an interactive sound installation named ENTO, for the newly opened Balam Balam Place (a purpose built creative and community precinct) in Brunswick with the Merri-Bek City Council.

So, balancing that alongside PITCHI has been a challenge, mainly because of how much time it takes to process orders. I’m always amazed by how many units I’ve built so far, and there are definitely moments where I stop and think, ‘fuck, what could this become?’

To me, it started as a personal interest - something I wanted to share and communicate with others. But then it’s like, okay, even at this scale, people are still really connecting with it.

So there have been times where I’ve questioned whether to invest more into it and try to reach a broader audience, or just let it remain a niche thing - something small and special that people can connect with on a deeper level.

The main focus with HISS has always been about communication - using sound and electronics in a collaborative and innovative way.

Gaz:

ENTO sounds really cool by the way, love to hear some details about how this project came to be?

Luke:

Yep for sure. ENTO invites you to explore the unique sounds of natural and urban environments, blending the familiar with the often overlooked to create a personalised soundscape that evolves with each interaction.

It’s driven by generative code, meaning every listening experience is a bit of a fresh journey shaped by an individuals’ curiosity, memories, and individual story.

We’re using ENTO to fill the newly designed building with layers of ambient sound, which encourages a deeper awareness and appreciation of the space.

I just want to say a big thank you to the Merri-Bek City Council for bringing ENTO to life, and yes, come and experience it for yourself, permanently on-site at Balam Balam Place!

Gaz:

I guess within this niche creation and niche curation perspective, I find it quite interesting to see the levels of sort of fandom that you’ve bought out in people with that particular emphasis on these highly niche products. It’s really inspiring and interesting. Just to see something like this speak to people directly at their souls.

Luke:

And I think a big part as well is making it affordable. PITCHI is under $100, so it’s reaching these places, and most people can actually access it.

It's not like this out of reach, an expensive investment. If you're curious and want one, I’ll build it for you.

Gaz:

I think one thing that really attracted me towards what you're doing, obviously the music technology aspect, but the real playful and experimental sort of nature. I’d be really interested to  hear the anecdotes of experiences that get passed back to you, that you get to receive?

Luke:

It’s incredible. I get messages from people all the time - some just sending love or even happy birthday messages. A lot of parents tell me, “My kids love it! They’re running around the house recording their farts,” (laughs).

And then I’ll get messages from people like Marshall from Phoebe Bridgers or Matty Healy from The 1975 saying they’ve used it in songs. It’s amazing - the range of how people connect with it. From kids engaging with it in this playful, instinctive way, to artists using that same naive quality in a creative, expressive context.

Like you said, it’s playful. It’s not demanding or overly complex - it just invites you in to create and explore sound.

Gaz:

Amazing. Amazing. I'd love to know maybe, one final remark about environment and opportunities that you see within the local environment, that’s going on under the under the surface, more interesting things emerging, etc?

Luke:

I think approaching anything with thought and respect has always been the driving force behind what HISS does.

Coming from the guitar industry, I saw a lot of waste and not many products that were economically viable or truly accessible for people. So, for me, it’s about creating things that feel considered - thoughtful, sustainable, and within reach. That’s really where I want to take it.

The inspiration I’m working from now is more about how people react within their own spaces, and how those reactions reflect personal moments and movements. Whether that’s in environmental or urban contexts, it all shapes who we are, how we think, and how we communicate.

Gaz:

Thank you so much for sharing Luke. Such a fan, I can’t wait to check out ENTO in Brunswick, congratulations once again!

HISS Melbourne: https://hiss.melbourne/

Find HISS on Instagram: @hiss.melbourne

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