emma who? turns simplicity into spectacle. The performance video for her latest release, “Hollow,” is a single, continuous take filmed in the snow-covered peaks of Mammoth Lakes, California. “The ‘Hollow’ video is a completely live shot and sound recording from beginning to end,” she explains—a creative feat made possible with the BOSS RC-505mkII Loop Station and VE-22 Vocal Performer. Using minimal gear, she conjures a musical landscape as sublime as the expanse that surrounds her. “There is beauty in simplicity,” emma who? adds, underscoring imagination over excess. It’s a philosophy that runs deep with this artist.
Loop Station Sensation
“Hollow” captures total focus, yet emma who? delivers an effortless performance using the RC-505mkII and VE-22. “I feel the most present and in a flow state when I’m looping,” she tells us.
emma who? began making music as a child. She was happy as can be, recording herself and playing violin, but stepped away after being encouraged to pursue a more “practical” path.
Years later, a chance moment at a live show reignited her passion. From documenting her progress online to collaborating with Grammy-nominated songwriter and producer Drew Pearson, she steadily rebuilt her creative life.
Embracing sessions, emma who? grew into an outstanding songwriter and producer herself. Morphing from indie-pop, her style now leans toward an ethereal sound she describes as “a blend of Lana Del Rey, Odesza, and Beach House.”
BOSS sat down with the Loop Station sensation to talk about writing and performing with the RC-505mkII and how she found her way onto the right path in music.
Rising Star
Congratulations on your new performance video, “Hollow.”
Thank you! I’m really happy with how the “Hollow” video turned out. I made it with my friend David Linkletter. We woke up early before the sun rose, so the lighting wasn’t too bright or harsh, and drove four-and-a-half hours to Mammoth [Lakes, CA] from Los Angeles to film it.
We were out in the snow setting up all the gear at six o’clock in the morning, and it was freezing cold—we were shivering! It was a challenge, but we warmed up a little once we were rolling.
I think David Linkletter did such a great job. It looks so good. I’m worried people are going to think it’s AI, but I was sitting in the freezing cold snow. I swear it’s real! Without David and my boyfriend helping with gear, I think it would have been an impossible task.
"The RC-505mkII is easy to use, self-explanatory, and very user-friendly."
There’s something really special to me about capturing performances in real, tangible places. This viewfinder series has become a way to place each song in an environment that reflects its emotional work.
With so much AI-generated content around us, capturing moments that are fully real and deeply human feels more important than ever.
Given how cold it was, was it difficult to perform?
Oh my gosh, yeah, it was brutal. We had the Loop Station set up to start looping automatically. That was especially useful for the bass, because I couldn’t press a button and start playing at the same time. We had the Auto Record function enabled, so the Loop Station started recording as soon as it detected an input signal.
What was the biggest challenge you faced making the “Hollow” video?
The “Hollow” video is a completely live shot and sound recording from beginning to end, and the bass went out of tune because it was so cold. We kept the recording, but we had to slightly correct the tuning afterward.
BOSS Inspiration
Alongside the BOSS RC-505mkII Loop Station, you used a BOSS VE-22 Vocal Performer to record the “Hollow” performance video—are you planning on using those live in the future?
I really love the BOSS VE-22. It’s so nice. I run it through the RC-505mkII and into my computer. I’ll definitely be using both for live shows. I use the VE-22 for vocal processing rather than looping, though I know it can do both.
"I run the VE-22 through the RC-505mkII and into my computer. I'll definitely be using both for live shows."
I especially like the VE-22’s Double [harmony] and Chorus effects. Obviously, the reverbs and delays are really cool as well. Those are probably my favorites.
Do you improvise with the BOSS RC-505mkII Loop Station?
Yeah, there was a bit of spontaneity with the Loop Station at the end of the “Hollow” video. I was practicing with it before we headed up to the mountains to film, and a melody came to me. I thought it would be perfect for the ending, so I recorded it as the outro.
Found Sound
The found sounds featured in your TikTok and Instagram videos add unique textures—how did those ideas come about?
I thought it would be fun to get creative in that way. Honestly, it was just what was in my room. I had a book and a lighter, and I thought it would be fun to make sounds with them, to show that you don’t have to do crazy things to make a song.
People really resonated with that. It just shows that you can take anything, even an inanimate object, and turn it into elements of a song. People love watching songs being built from something as small or unlikely as a lighter or a book.
I’m always trying to find new things to play with. There was also a medicine bottle that sounded like a really good shaker. I loved recording that sound.
Do you now hear potential samples in everyday life?
Yes! I’m always thinking about samples everywhere I go. Even just watching TV or eating dinner at a restaurant, I’m like, “That kick sounds really, really nice.” Or when I hear a song come on, I’m like, “What synth is that?” I’m always searching for sounds.
Beauty in Simplicity
What do you enjoy most about looping?
It’s really cool to start with something basic and build on it. You don’t have to do anything fancy for a song to be catchy. There is beauty in simplicity, and I think looping really helps me remember that. All too often, you can get caught up in production details, thinking you need a grandiose sound.
"I feel the most present and in a flow state when I'm looping and making music."
If you have only four tracks, and it already sounds good, that must mean you’re on to something. Like, yes, you can keep building on it, but if you can strip a song down to its core and it still sounds amazing, you have a great song on your hands.
Finishing a song can often be a discipline in itself.
I honestly had a really hard time with that for “Hollow.” I had about 15 different mix iterations. Drew Pearson was very patient with me. Eventually, I was like, “Okay, I’ve just got to stop, because no one’s gonna be able to tell the difference.” I imagine that will always be hard, but I’m hoping it’ll get easier as I go on.
How long did it take you to get comfortable using the BOSS RC-505mkII Loop Station?
Only a week or two. I feel like there are still a few things that I haven’t fully perfected, like the Track FX. I want to dig a little deeper into that. But overall, I feel like the RC-505mkII is easy to use, self-explanatory, and very user-friendly.
Creative Flow
What’s your approach to producing?
When I’m producing, I try to keep everything super straightforward. I only use a few plugins on Ableton, because I can get bogged down by too many choices. I like to have an analog instrument, like a synth, to use. I love getting out of the box and using real instruments.
Before music was made on computers, musicians were playing actual instruments. Physically playing instruments, like keys or bass, is different than using a computer—it’s an important part of the creative process for me.
I primarily use Ableton to get my ideas out, but I don’t get hung up on things like EQing sounds too much. I don’t let small details get in the way of an idea, especially when I’m in a creative flow. I’d rather focus on getting my ideas out in full, firstly.
"I use the VE-22 for vocal processing rather than looping, though I know it can do both."
Where do your ideas for songs tend to start?
It varies, but recently my creative process has been very synth-focused. I’ll start with a blank page on Ableton and go through synth presets until I find something that feels inspiring. Most of the time, I’ll hear a sound and come up with a verse, a pre-chorus, and a chorus melody all at once. Then, I’ll just kind of build tracks around that.
How has your creative approach changed over time?
When I was first making songs, I used to start with drums and then come up with a bassline. I started to realize I lean more towards funky bass lines, which dictated my melodies. But now, when I use synth pads, I tend to come up with a greater variety of melodies.
I think the way I approach starting a song will always shift and change. I love sitting in sessions because everyone has their own approach, which I get to learn from and take home.
New Direction
How did you go about writing “Hollow”?
“Hollow” started out as a more upbeat, indie-pop song. The original version sounded a bit like Clairo. A few months later, I revisited “Hollow” on the Omnichord and thought it was sounding really cool, so I recorded a new version in Ableton. It’s funny, it sounds like a completely different song now.
Have you reworked many older songs?
Yeah, I’ve done that a lot. I’ve taken some demos that I’ve made with other producers and revisited them, turning upbeat songs into something more ethereal. The stuff I’m making now feels to me like a blend of Lana Del Rey, Odesza, and Beach House.
I’m really excited about my next batch of songs. I’m finally getting more confident in my production skills. I feel like my musical style is coming through better because I’m getting better at producing—taking ideas I’ve worked on with other people and putting my own touch on them.
"The stuff I'm making now feels to me like a blend of Lana Del Rey, Odesza, and Beach House."
On the Right Path
Are you looking forward to playing your songs live?
Recently, I’ve been thinking a lot about my live show and how the songs will translate. When I was looking at “Hollow,” “Give Me One Good Thing,” and some upcoming songs, I really felt like I could be on stage and sing them with full confidence, feeling like myself. That was when I knew I was on the right path with the music I was making.
We’re gearing up for live shows now. I’m prepping and making sure that I can run all the gear. That’s the next step.
What kind of live setup are you planning?
It will be me and, potentially, a drummer. We’re still working it out, but that’s the configuration we’re thinking of—somebody to cue tracks alongside me. I want to make sure I’m up there playing instruments and loops, because that’s what I portray to everyone, and it’s what I do at home. I need to bring that to the stage, too.
How much rehearsing can you squeeze in?
Well, I have a full-time job, so, along with staying on top of social media, it’s a lot to juggle, but I do as much as I can. For the most part, I’m working on my live show and upcoming singles. We have two more we want to shoot soon, so I need to make sure those songs are finished and polished.
I’m a bit hard on myself, but I’m proud of how far I’ve come in the last year or so. I’m excited to see what the next year brings.
Live Lessons
What was your relationship with music like growing up?
When I was a kid, I always loved playing music, recording myself, and making little videos. But somewhere along the way, I kind of got pushed away from music. People in my life were like, “You can’t make money doing music. You can’t do that kind of thing.”
"I'm working on my live show and upcoming singles. We have two more we want to shoot soon."
I’d always played music (I grew up playing the violin), but once I got to the tail end of high school, I was like, “I should start thinking practically about my life. I should do something that would make me money when I’m older.”
So I started studying bio and chemistry when I went into college. I did a full pre-med track and began studying for the MCAT. I didn’t play much music during those four years, but I would always go to live shows.
What reignited your passion for music?
One day, towards the end of my senior year, I was watching a band play in Charleston, South Carolina, which is where I went to school. It was a duo that played folk music, and I thought it was so cool.
One of them played the mandolin, and I told him, “I used to play the violin.” He was like, “You should play with us!” That was what got me back into playing music. I started playing gigs with them locally and just fell in love with it again.
Then I was like, “You know what? Maybe I don’t want to go to medical school.” So I took a pause on that while playing gigs full-time. But when one of the people in the band left, I thought, “What should I do now?” That’s when I started teaching myself to play bass.
Bass Line Breakthrough
What drew you towards playing bass?
I thought it would be interesting to pick up the bass because it’s almost the opposite instrument to the violin, even in the way the strings are set up. Low to high, a violin is normally tuned G, D, A, E, while a bass is normally tuned E, A, D, G. It’s like a mirror image.
"I love going to sessions, being in the room, and making music with people. It really inspires me and makes me excited to make more art."
How did you progress as a solo artist?
I started documenting my progress and posting some stuff on TikTok to just track myself growing and getting better. And then, serendipitously, I landed a job in LA as an assistant.
In my free time, I connected with people on social media and started meeting up with other artists. It wasn’t until two years ago that I got connected with my manager. He asked if I’d ever wanted to do a session, and I was like, “I’ve always wanted to!”
That’s when I started meeting some of my current collaborators, like Drew Pearson and Linsey Urrea. I love going to sessions, being in the room, and making music with people. It really inspires me and makes me excited to make more art.
I have always wanted to write songs. I had always made stuff on my own, but it was nice to work with an experienced producer, whose job it is to help flesh out ideas.
Musical Mission
When did you start writing music?
I started writing music about two years ago. It’s been really cool to progress as a songwriter and get better. I think I’ve come such a long way and gained a lot of confidence in songwriting and production skills. I produced my previous song, “Give Me One Good Thing,” myself, with some help from Drew Pearson.
“Give Me One Good Thing” was the first song I did top to bottom that I felt was ready to share with people. It feels good to put my stamp of approval on an entire song and share it with others.
What advice would you give to aspiring musical artists?
I’ve wanted to do this project for so long, and I waited because I didn’t feel like it was practical to become an artist. I was also afraid of what people would say about me online and how I would be perceived.
"Music is part of my purpose while I'm here on earth, and I'm so glad I didn't wait any longer."
I really feel that music is part of my purpose while I’m here on earth, and I’m so glad I didn’t wait any longer. I think I waited long enough, and I almost missed out on it. I almost went to medical school and didn’t pursue music at all.
I hope people know that it’s not as scary as it may seem and that they should take a step in the direction they feel is their purpose. And I hope people can see that you’re allowed to do what you want and nobody’s judging you as hard as you might think they are. And if they are, you probably don’t want to be associated with them.
All the people I’ve met in the music industry who are farther along than I am have been so kind, welcoming, and supportive. Anyone who has made something of themselves respects anyone who’s just starting.
In the Moment
Do you find the BOSS RC-505mkII Loop Station draws you into the present moment?
I feel the most present and in a flow state when I’m looping and making music—finding a sound I like and coming up with melodies. That’s where I’m 100% present, and I don’t get that very often in everyday life.
That’s also why I love sessions. I always make a point of turning off my phone and not looking at it. I try to soak up the room and just be present, rather than letting my phone drain me.
