Tunç Çakır – Biography

Born in Kırklareli in 1987 and currently based in Istanbul, Tunç Çakır is an electronic music artist, producer, composer, drummer, percussionist, vibraphonist, multi-instrumentalist, sound designer, arranger, and recording and mixing engineer. He is also the founder of Volt.Age Studio & Laboratory in Istanbul, as well as a co-founder and one of the designers of VAEMI – Volt Age Electronic Musical Instruments, which develops analog synthesizers and electronic musical instruments.

Although electronic music lies at the centre of Tunç Çakır’s musical approach, his musical language has been shaped by the classical music education he received during childhood and by the jazz, Latin music, acoustic music, and improvisational traditions on which he focused intensively in later years. Çakır primarily defines his own electronic music within the fields of bass music, IDM, electronica, and electro. In his productions, he combines analog synthesizers, modular systems, drum machines, acoustic and electroacoustic instruments, custom-designed sound-processing units, and digital production tools.

In his acoustic and live performance projects, he has worked across a broad spectrum extending from jazz and pop to rock, funk, R&B, soul, hip-hop, Latin, disco, and experimental music. Rather than regarding these different musical traditions as separate fields, he considers them parts of a shared production culture that feeds his approach to electronic music and sound design.

Tunç Çakır began his professional career in 2001. To date, he has performed at more than four thousand concerts in Türkiye and various countries around the world, and has worked as a performer, composer, producer, arranger, sound designer, and audio engineer on albums, singles, film scores, video game music, contemporary dance productions, exhibitions, stage performances, and interdisciplinary art projects.

Two of the longest-running live collaborations of his career were with Gökhan Türkmen and Tarkan. He worked continuously with Gökhan Türkmen for approximately twelve years and with Tarkan for approximately ten years. He has also carried out concert, album, and production work at different periods with Sertab Erener, Athena, Gevende, Mabel Matiz, Nükhet Duru, Ceylan Ertem, Emir Ersoy, Aşkın Arsunan, Önder Focan, Ercüment Vural, Bora Uzer, Atiye, and many other artists.

In the current phase of his career, Tunç Çakır continues to pursue electronic music production, live performance, studio work, instrument design, and teaching simultaneously. Between 2024 and 2026, he continued performing his solo electronic music concerts, appeared on stage with Groovesizer, a project he founded, continued BAM, a project developed together with Barış Ertürk, and performed as a percussionist at Bergüzar Korel’s concerts.

During the same period, he continued his production, recording, sound design, mixing, and mastering work at Volt.Age Studio & Laboratory, while continuing to develop new analog, digitally controlled, and environmentally interactive electronic musical instruments under VAEMI.

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Childhood and Musical Education

Tunç Çakır began his musical education at the age of eight by playing the piano. He studied piano and ear training with Reha Doğruöz for four years. In 1998, he was accepted into the Percussion Department of the State Conservatory at Mimar Sinan Fine Arts University in Istanbul, where he began studying with T. Mehmet Sökmen.

During his conservatory years, while studying the classical percussion repertoire and Western music, he also began developing an interest in different fields such as jazz, Latin music, ethnic music, improvisation, and electronic music. During this period, he focused not only on performance but also on how music is composed, arranged, recorded, and technically produced.

In 2001, he took ethnic and Latin percussion lessons from Engin Gürkey. In 2002, he studied drums with Cengiz Baysal, and in 2003, Latin percussion with William Richard Cardoso. In 2004, he took lessons in harmony and big band composition from Kamil Özler.

Alongside his classical music education, his studies in jazz, percussion, harmony, and arranging formed the foundation of the versatile performance and production approach he would develop in later years.

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The Beginning of His Professional Career and Pasaporte Latino

Tunç Çakır began his professional music career in 2001 with the group Pasaporte Latino. The group had a repertoire consisting of Cuban and Brazilian music and also performed Latin music arrangements of several well-known Turkish songs.

Çakır worked with Pasaporte Latino for approximately two years, sharing the stage with some of Türkiye’s prominent jazz and pop musicians, including Cengiz Baysal, Serkan Özyılmaz, Jozi Levi, Ercüment Vural, Eylem Pelit, Şenova Ülker, Aycan Teztel, Levent Altındağ, Banu Kunt, Mehmet Vurkaç, Burak Kut, and Genco Arı.

During this period, he had the opportunity to meet and perform with numerous Cuban and Latin American musicians who were either living in Türkiye or visiting the country for concerts. He performed at more than fifty concerts with Pasaporte Latino over the course of two years.

This period enabled him to enter the professional music world while his conservatory education was still continuing and allowed him to gain significant experience at an early age in live performance, touring, rehearsals, repertoire, and ensemble playing.

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Nardis Jazz Club and the Tunç Çakır Quartet

Tunç Çakır performed regularly at Nardis Jazz Club from the club’s early years within the Istanbul jazz scene. He appeared at numerous concerts at Nardis, particularly between 2003 and 2007.

During these years, he performed as a vibraphonist with the Tunç Çakır Quartet, which he founded under his own name. Musicians who appeared in the quartet’s various line-ups included Önder Focan, Ferit Odman, Erdal Akyol, Mehmet Kütükçüoğlu, Cem Aksel, and Ahmet Sakkaf.

The Tunç Çakır Quartet concerts were among Çakır’s first significant projects in which he appeared on stage as a bandleader and vibraphonist. In addition to jazz standards, these concerts featured works reflecting his own musical approach and vibraphone-centred arrangements.

This period at Nardis enabled him to work with musicians from different generations of Türkiye’s jazz scene, perform regularly, and develop within the culture of a jazz club.

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“Kırmızıya Çalıyor” and His Early Studio Experience

One of Tunç Çakır’s first professional studio recordings was his percussion performance on Ercüment Vural and Önder Focan’s album “Kırmızıya Çalıyor.”

Between 2004 and 2006, Çakır performed with the same project at numerous jazz clubs, concert halls, and festivals, particularly Nardis Jazz Club. As part of the project, he appeared at numerous jazz festivals held in different cities across Türkiye and performed at more than one hundred concerts.

This work played an important role both in introducing Tunç Çakır to a professional recording environment and in developing his experience within the jazz scene. His long-running concert work with Ercüment Vural and Önder Focan formed the foundation of the musical relationships he established with jazz musicians from different generations.

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His Turn Towards Electronic Music

The year 2004 marked the beginning of the period in which Tunç Çakır started systematically focusing on electronic music production. After purchasing his first computer and studio monitors, he began conducting experimental work by borrowing analog synthesizers and various pieces of recording equipment from musicians around him.

These early studies in electronic music, recording technologies, synthesizer programming, and sound design gradually became one of the central areas of his life and musical career.

In later years, Çakır developed largely through a research-oriented and experimental method of his own in the fields of production, electronic music, synthesizer programming, and sound design. By combining his acoustic music education with electronic sound-production techniques, he developed a distinctive musical and technical approach.

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Teneffüs

Tunç Çakır played vibraphone in Teneffüs, a group founded in 2004 that continued its work until 2008. The group produced original compositions inspired by ethnic music, jazz, ambient music, and improvisation.

The album “Sabah İçin,” recorded during this period, remained unreleased for many years and was finally presented to listeners in 2020.

Teneffüs was one of the first projects in which Tunç Çakır expressed both his identity as a vibraphonist and his interest in atmospheric and experimental music.

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Kangroove

Tunç Çakır performed as a percussionist at numerous concerts with Kangroove between 2004 and 2008.

This period, which brought together jazz, funk, soul, and groove-based music, had a significant influence on Çakır’s percussion and rhythmic language. His work with Kangroove contributed to the development of the groove-oriented approach that he would later use in pop, funk, R&B, and electronic music projects.

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Aşkın Arsunan Blue Print Project

Between 2005 and 2008, he worked with the Aşkın Arsunan Blue Print Project. The project brought together some of Türkiye’s leading jazz musicians, and Çakır shared the stage with musicians including Volkan Öktem, Tony Jones, Duygu Tipigil, Sibel Gürsoy, Selen Beytekin, Aydın Kahya, Şenova Ülker, Aycan Teztel, Yavuz Darıdere, Çağdaş Oruç, İmer Demirer, and Keziah Jones.

He performed as a percussionist at more than three hundred concerts and festivals with the Aşkın Arsunan Blue Print Project. This period played an important role in developing Çakır’s experience of performing percussion within large-ensemble arrangements based on jazz, funk, and soul.

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Electronic Music Performances with DJ U.F.U.K. and Murat Uncuoğlu

Between approximately 2006 and 2012, Tunç Çakır gave numerous live electronic music performances with DJ U.F.U.K. and Murat Uncuoğlu at different periods.

At these concerts, which ranged from clubs and festivals to private events and large-scale stage productions, he used acoustic percussion together with electronic backing tracks. These concerts, which combined DJ performances with live musicianship, were among the important projects in which Tunç Çakır began bringing electronic music and acoustic performance together on stage.

This period constituted one of the first major stages in the development of the hybrid electronic music, live electronics, and live performance approach he would later pursue.

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Nada

Tunç Çakır played drums in the group Nada between 2008 and 2010 and was responsible for the concerts’ backing-track systems.

He produced and arranged the group’s first album, “Oda,” released in 2010. He programmed the synthesizers for the album and played numerous acoustic instruments during the recording process.

Nada was one of the first projects in which Çakır comprehensively combined his work as a live musician with production and electronic music programming.

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Live Performances and Album Work with Ceylan Ertem

Tunç Çakır was a continuous member of Ceylan Ertem’s concert band for two years, approximately between 2008 and 2010.

During this period, he played drums and drum machine at the concerts. He was responsible for integrating acoustic drums, electronic rhythms, and programmed backing tracks within the same live performance set-up.

His musical collaboration with Ceylan Ertem later extended into studio work. For the album “Yine de Amin,” released in 2017, Çakır created an electronic version of Yıldız Tilbe’s song “Sen Hiçbir Şeysin.” Produced and arranged by Tunç Çakır, this version was released on the album.

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His Work with Bora Uzer

Following his period with Kangroove, Tunç Çakır began working in Bora Uzer’s concert band approximately between 2008 and 2010.

During this first period, he mainly played percussion and took part in Bora Uzer’s various concert and stage projects.

Çakır reunited with Bora Uzer in later years. Between approximately 2016 and 2018, he performed at numerous concerts with Bora Uzer. He played drums and percussion in different live formats combining electronic music with live instruments.

During the same period, he also took part in concerts by Analog People, a project created by Bora Uzer and Stimulus. Analog People’s performances combined drums, percussion, electronic rhythm systems, and programmed backing tracks.

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Emir Ersoy Projecto Cubano

Tunç Çakır worked with Emir Ersoy Projecto Cubano as a timbalero, percussionist, and drummer between 2009 and 2011.

He participated in the recordings of the project’s albums “10 Şarkı 10 Şarkıcı” and “Karnaval” and performed at numerous concerts with the group.

This work enabled him to reinterpret the Latin music and percussion experience he had developed since the beginning of his professional career within a large-scale pop and Latin music project.

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His Work with Atiye

Tunç Çakır worked continuously in Atiye’s concert line-up for two years, approximately between 2010 and 2012.

During the first year, he appeared at concerts as a percussionist. In the second year, he became the group’s drummer. Throughout this period, he took part in nearly all of Atiye’s concerts and large-scale stage productions in different cities across Türkiye.

His work with Atiye played an important role in developing Çakır’s experience within pop music, dance music, electronic backing tracks, and large-scale stage productions.

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Bir Gün Bir Adam and Interdisciplinary Projects

Tunç Çakır founded the group Bir Gün Bir Adam together with Barış Ertürk. The group, which produced original compositions, performed at numerous concerts until 2017 and developed its work into an album.

Çakır produced the album and played vibraphone, percussion, and synthesizer both on the album and at the concerts.

With Bir Gün Bir Adam, he contributed to the music for the contemporary dance project “İzole,” created in collaboration with Tork Dans. In the project, choreographed by Tan Temel and Sernaz Demirel, he played drum machine and synthesizer and carried out the backing-track and electronic music programming.

Together with Barış Ertürk, he composed the music for the dance performance “Çıkış,” choreographed by Didem Ertan.

These works were among the important projects through which Tunç Çakır expanded his electronic music and sound design practice beyond concert and album production and connected it with contemporary dance and performance art.

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Osman Dinç – “Gürültü” Exhibition

Tunç Çakır carried out sound design work for artist Osman Dinç’s exhibition titled “Gürültü.”

In this project, sound was approached not merely as a musical element but as a design material completing the exhibition’s physical and conceptual structure.

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Puka

Tunç Çakır was a member of the group Puka together with Yasemin Özler and Burak Irmak between 2011 and 2013.

He oversaw the entire production process of the group, which created music within the fields of synthpop, electro, and disco. At concerts, he played synthesizer and drums, while also preparing and managing the backing-track systems on stage.

The Puka period was one of the projects in which Çakır’s work as a live musician, electronic music producer, synthesizer programmer, and live electronic performer came together in a clearly defined way.

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Twelve Years of Work with Gökhan Türkmen

One of the longest and most extensive collaborations of Tunç Çakır’s career was his work with Gökhan Türkmen.

During the twelve-year period that continued uninterrupted from approximately 2012 until 2024, he worked in numerous areas, including live performance, production, arranging, recording, synthesizer and drum programming, mixing, mastering, drum technician duties, and the preparation of live performance systems.

Çakır began working as a percussionist during the early years and later became responsible for the concerts’ backing-track systems. In the following period, he also took over as the band’s drummer.

He performed at more than two thousand concerts with Gökhan Türkmen in nearly every region of Türkiye. At these concerts, he simultaneously carried out different duties involving percussion, drums, and electronic backing systems.

Tunç Çakır worked as a producer or co-producer on three of Gökhan Türkmen’s albums.

In 2013, he co-produced the album “En Baştan” together with GT Band. He arranged the song “Yaramaz” from the album and carried out synthesizer and drum programming on various tracks.

On the album “Synesthesia,” released in 2018, he played percussion and contributed to the album’s mixing.

On the album “Virgül,” released in 2019, he worked as producer, arranger, recording engineer, and mixing engineer. The song “Ben Unuturum,” which he arranged, was streamed millions of times across various digital platforms.

He subsequently took part in the production process of Gökhan Türkmen’s album “Romantik.” He worked as a musician, recording technician, producer, and mixing engineer on four singles released as part of the album and on the album recordings themselves. These works were later also released on vinyl.

Tunç Çakır worked on Gökhan Türkmen’s album and song recordings not only as a performer, producer, and audio engineer but also as a drum technician.

During the recording process of numerous songs on which he did not personally play drums or percussion, he was responsible for setting up, tuning, preparing, and technically configuring the drums for recording. His work as a drum technician extended across a large part of Gökhan Türkmen’s discography and album recordings.

In the following years, he completed the mixing and mastering of more than twenty songs for Gökhan Türkmen.

On the songs “Seninle Ben,” released in 2022, and “Buram Buram,” released in 2024, he was responsible for mixing, mastering, sound design, and synthesizer programming.

His twelve-year collaboration with Gökhan Türkmen was decisive in the development of Tunç Çakır’s identity not only as a musician performing on stage, but also as a producer and audio engineer involved in the creative and technical stages of an artist’s album and concert world.

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World Tours with Tarkan

Tunç Çakır performed as a percussionist at Tarkan’s concerts for approximately ten years between 2013 and 2023.

In addition to major concerts held in Türkiye, he participated in world tours across Europe and the United States and appeared in the live line-up at more than 150 concerts.

During this period, he performed at internationally significant venues including the Hammerstein Ballroom in New York, The Novo in Los Angeles, the Hammersmith Apollo in London, the Max-Schmeling-Halle in Berlin, the Hanns-Martin-Schleyer-Halle in Stuttgart, the Jahrhunderthalle in Frankfurt, the Mitsubishi Electric Halle in Düsseldorf, Zenith in Munich, the Barclaycard Arena in Hamburg, the SAP Arena in Mannheim, AFAS Live in Amsterdam, the Wiener Stadthalle in Vienna, Samsung Hall in Zurich, and the Lanxess Arena in Cologne.

This long-running collaboration with Tarkan constituted a significant part of Tunç Çakır’s experience in world tours, major productions, high-capacity concert organisations, and large-scale stage systems.

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His Work with Sertab Erener at Different Periods

Tunç Çakır worked with Sertab Erener during three separate periods of his career.

He first took part in the Sertab Dijital project, which combined electronic music with live instruments.

During a later period, he appeared on stage at a special concert performed jointly by Sertab Erener and Demir Demirkan.

He subsequently played on the recordings of one of Sertab Erener’s albums and appeared on stage three times in the artist’s musical concerts.

Rather than representing a single continuous period of band membership, these works consisted of concert, album, and stage production collaborations taking place at different times.

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The Gevende Period

Tunç Çakır was a member of Gevende between 2014 and 2016, playing synthesizer and drum machine at the group’s concerts.

Gevende’s approach based on improvisation, experimental music, and collective creation held a special place in the development of Çakır’s musical language combining electronic and acoustic sounds.

With Gevende, he performed a special concert at Saint Antoine Church in Istanbul that was entirely acoustic and heavily focused on percussion. This concert was later released as an album titled “Live at St. Antuan.”

The group also created a contemporary dance project titled “Ters Okyanus” together with Çıplak Ayaklar Kumpanyası. In the project, in which the music was performed live on stage, Tunç Çakır played synthesizer and drum machine and carried out the electronic music programming.

He also contributed to the collective composition process for the Gevende album that began to be prepared following the Saint Antoine concert. He worked with the other group members on the development of some of the album’s compositions and received composition credits for these works.

However, as he did not participate in the album’s final recording and completion process, he did not appear as a performer on the released album.

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Boost

In 2014, Tunç Çakır took part in the Boost project, formed together with Çağrı Sertel, Volkan Öktem, and Alp Ersönmez.

He played percussion, drum machine, and synthesizer in the project. Boost developed as a live performance-oriented project bringing together jazz improvisation, electronic music, and rhythmic programming.

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His Work with Can Bonomo and Kenan Doğulu

Tunç Çakır performed as a musician at the launch concert held during the early stage of Can Bonomo’s career.

He played percussion on the song “Aşk ile Yap,” included on one of Kenan Doğulu’s albums. He also had the opportunity to make music with Kenan Doğulu at jam sessions and live stage encounters held at different times.

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Aylin Zoi

Tunç Çakır played vibraphone and percussion on Aylin Zoi’s 2014 album “Mecaz” and 2015 album “Aşk Biter.”

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Mabel Matiz and Nükhet Duru

Tunç Çakır undertook production duties on Mabel Matiz’s album projects and played instruments on various recordings.

In 2020, he produced the new version of the song “Nerde,” performed jointly by Mabel Matiz and Nükhet Duru. The work reached millions of streams on digital platforms.

Through this project, he had the opportunity to work with Mabel Matiz and Nükhet Duru during the production and recording process of the same song.

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Athena and the “Kendi Yolumda” Film Soundtrack

Tunç Çakır performed on the soundtrack recordings for Athena’s film “Kendi Yolumda.”

The recordings were used as part of the film’s soundtrack. The film music was later released on digital platforms in 2023 as part of the “Kendi Yolumda” soundtrack album.

Through this work, the music recordings created together with Athena became both part of the film’s narrative and an independently released soundtrack album.

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Other Performance Work and Collaborations

Throughout his career, Tunç Çakır has worked with numerous artists, groups, DJs, and musicians in pop, jazz, rock, electronic music, Latin music, and alternative music through concerts, festivals, recordings, and special projects.

The artists and projects with whom he has worked or shared the stage include Tarkan, Gökhan Türkmen, Kangroove, 123, Aşkın Arsunan, Önder Focan, Athena, Pasaporte Latino, Je-Latin, Ercüment Vural, Steve Smith, Emir Ersoy, Atiye, Sertab Erener, Can Bonomo, Bora Uzer, Stimulus, İmer Demirer, Mira, Korhan Futacı, Okay Temiz, Amik Guerra, Ceylan Ertem, Donovan Mixon, Çağrı Sertel, Genco Arı, Burak Kut, Serkan Emre Çiftçi, Evrim Özsuca, Gevende, Robby Ameen, Steve Adelson, Robert Owens, Fahir Atakoğlu, Sibel Köse, Bulut Gülen, Aslı Demirer, Emre Kula, Yaşar, Işın Karaca, Ricardo Moyano, DJ U.F.U.K., Murat Uncuoğlu, Aytekin Kurt, Main Project, Demir Demirkan, Tolga Bedir, Sarp Maden, Levent Altındağ, Oğuz Büyükberber, Serkan Özyılmaz, Aycan Teztel, Volkan Öktem, Eylem Pelit, Serdar Barçın, Şenova Ülker, Çağdaş Oruç, William Richard Cardoso, Luis Ernesto, Jozi Levi, Ringo Jets, Eskiz, Andres Denis Macias, and Alex R. Contreras.

Between 2006 and 2023, he took part in the formation or development of numerous groups and projects. Projects that he founded or whose founding line-ups he joined include Puka, Bir Gün Bir Adam, and Nada, while groups of which he was a member include Kangroove, Gevende, and Teneffüs.

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Production and Arranging Work

As a producer and arranger, Tunç Çakır has worked with Gökhan Türkmen, Ceylan Ertem, Mabel Matiz, Nükhet Duru, Ege Çubukçu, Grogi, Dyghe, Nada, Hakan Kalgıdım, Bir Gün Bir Adam, Gazla, DJ U.F.U.K., Ahmet Faik Dökmeci, Güler Tuncer, Ediz Hafızoğlu, Ufuk Atar, Aslı Demirer, and various other artists and projects.

His productions that have reached millions of streams include “Blue Room – Katana Zero Version” by Tunç Çakır feat. LudoWic, Gökhan Türkmen’s song “Ben Unuturum,” and “Nerde,” performed by Mabel Matiz and Nükhet Duru.

He produced Ahmet Faik Dökmeci’s album “Birkaç Yılın Öyküsü,” released in 2018. On the album, he played synthesizer, percussion, and vibraphone and carried out the synthesizer programming.

He has worked with Ege Çubukçu, Ediz Hafızoğlu, Grogi, Didem Ertan, Soner Sarıkabadayı, DJ U.F.U.K., Aslı Demirer, Ekin Beril, Hakan Kalgıdım, Ufuk Atar, Güler Tuncer, and many other artists and projects as a producer, arranger, musician, recording engineer, or mixing engineer.

To date, he has contributed to the mixing of more than 150 songs, the mastering of more than 50 songs, and the arranging of more than 100 songs.

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Remixes and Collaborative Work

Tunç Çakır released a collaborative single with Hakan Kalgıdım.

He created two remixes for Ekin Beril and one remix for Emre Kula. He also carried out remix and collaborative production work with Miya, LudoWic, and various other artists.

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Solo Electronic Music Career and Wic Recordings

Tunç Çakır began working with the Netherlands-based independent record label Wic Recordings in 2016 and released his first solo electronic music album, “Voltage Controlled Music,” in the same year.

On one of the album’s tracks, he collaborated with Dutch electronic music artist LudoWic.

In 2017, two of his tracks were included on the compilation album “Square Planning Wic, Vol. 1,” released by Wic Recordings.

His second full-length album, “Volt.Age,” was released in 2018. Produced, composed, arranged, sound-designed, and recorded by Tunç Çakır, the album was released not only digitally but also on cassette in Europe.

“Volt.Age” became one of Çakır’s most significant solo works, comprehensively demonstrating his approach to analog synthesizers, drum machines, experimental sound design, and electronic music production.

Between 2018 and 2023, he released numerous singles, EPs, and albums. These works included “Overdrive,” “T-Bounce,” “Morning Whistle,” “Aquadrum,” “Gliese,” “Telephone – Eski Versiyon 2013,” “Seagull in the Garden,” “Far,” “Leakage Electricity,” “Soundscapes No:1,” “T-Wonderland,” and “Portray.”

In 2025, he released the solo works “Motor-Cycle” and “Way.” In 2026, he continued his solo electronic music output with new works including “Res0na-8” and “Frog,” released through Wic Recordings.

“Frog” is a dark, hard-hitting, and physical electronic music work combining the energy of bass music, EDM, trap, dubstep, and drum & bass with analog synthesizer culture and a detailed sound design approach.

The composition, production, arrangement, recording, sound design, mixing, and mastering of the track were all carried out by Tunç Çakır.

Tunç Çakır did not limit his solo electronic music work to studio recordings. He has given solo electronic music performances at various events in Istanbul.

He gave collaborative performances with Serkan Emre Çiftçi. He also appeared on stage as part of MultiRaid, a trio consisting of Emre Nişancı, Serkan Emre Çiftçi, and Tunç Çakır.

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Katana Zero and “Blue Room”

One of Tunç Çakır’s works to reach the largest international audience is “Blue Room,” which he composed and produced.

The track, which also features contributions from LudoWic, was included in the soundtrack of the video game “Katana Zero,” developed by Askiisoft and published by Devolver Digital.

Through the worldwide success of the game, “Blue Room” reached a broad international audience. Tunç Çakır also contributed a remix to the remix album created for “Katana Zero.”

The game’s soundtrack album was released on vinyl in 2021. Both the first and second pressings of the internationally distributed vinyl release sold out completely.

“Blue Room” became one of the most important works through which Tunç Çakır combined electronic music production with video game culture, visual storytelling, and interactive media.

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Mixing and Mastering Work

After carrying out production, recording, and mixing work for many years, Tunç Çakır moved his mastering activities into a more professional and systematic structure in 2021.

He began working professionally within the Apple Digital Masters certification programme and served as mastering engineer on album and single projects across various genres.

In 2022, he mixed and mastered the audio and video recordings of Emil Kuyumcuyan’s performance of French composer Adrien Trybucki’s work “Mutatis Mutandis.”

He managed the backing-track, concert mixing, and mastering processes for Emil Kuyumcuyan’s “Better Me” concert project.

He mixed and mastered the albums “Azure” and “Pigeons,” released by Wic Recordings. In 2023, he was also responsible for the mixing and mastering of the album “It’s Not About Me,” again released by Wic Recordings.

Artists whose work he has mastered include Grogi, Gökhan Türkmen, Derbaz Coşkun, Bostancı Dayı, Barış Ertürk, Turgut Çıgı, and Ahmet Faik Dökmeci.

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Volt.Age Studio & Laboratory

Tunç Çakır continues his production, recording, mixing, mastering, and sound design work at Volt.Age Studio & Laboratory in Istanbul.

Volt.Age Studio & Laboratory is a production, recording, mixing, mastering, research, and development space in which analog synthesizers, modular systems, acoustic and electroacoustic instruments, custom-built sound-processing equipment, transformer-based and tube-based analog units, digital production systems, and various measurement tools are used together.

In addition to music production, arranging, recording, sound design, mixing, and mastering, the studio hosts testing and design work involving analog electronic musical instruments and custom sound-processing systems.

Volt.Age Studio & Laboratory is the primary workspace in which Tunç Çakır brings together his musicianship, production, audio engineering, and instrument design.

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VAEMI – Volt Age Electronic Musical Instruments

Tunç Çakır’s interest in electronic musical instruments was not limited to using existing devices.

Beginning in 2016, he and his brother Efe Çakır began developing analog circuits, synthesizer modules, sound-processing units, and various electronic musical instruments in response to the needs of their own studio and musical production.

Efe Çakır’s work in electronic engineering and circuit design and Tunç Çakır’s experience in musicianship, production, sound design, and instrument use gradually developed into a shared design approach.

The devices they initially developed for use in their own studio entered a professional production process with the establishment of VAEMI – Volt Age Electronic Musical Instruments in 2020.

VAEMI develops analog synthesizers, standalone electronic musical instruments, Eurorack modules, transformer-based sound-processing systems, experimental sound sources, and alternative control instruments that allow artists to interact with their surroundings.

The company’s products have now reached more than thirty countries and are used in the systems of electronic musicians, producers, sound designers, professional studios, film composers, and experimental music artists.

Tunç Çakır works at VAEMI as a founder and designer. He is involved in creating the musical concepts for new products, developing user interfaces, determining sound characteristics, musically testing prototypes, and evaluating products within professional production environments.

In this respect, Tunç Çakır’s career has extended beyond that of an artist who produces electronic music and uses existing devices, developing into the identity of an electronic musical instrument designer who also creates the instruments and sound-production systems he uses himself.

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Education and Workshop Activities

Since 2020, Tunç Çakır has provided private education in electronic music production, synthesizer programming, sound design, mixing, mastering, drums, and percussion.

Rather than focusing solely on the use of a particular piece of software or equipment, his lessons address the physical and electronic structure of sound, analog and digital synthesis methods, subtractive synthesis, modulation systems, filters, envelope structures, drum synthesis, sampling, effects design, arranging, recording, mixing, and mastering through practical production work.

At DIY electronic musical instrument workshops organised under VAEMI, he works with participants on constructing analog synthesizers, drone synthesizers, Atari Punk Consoles, and various sound circuits.

In his electronic music production workshops, he demonstrates in practice how a piece can be developed from the initial idea through composition, arranging, recording, sound design, mixing, and mastering.

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BAM

Tunç Çakır has continued the BAM project together with Barış Ertürk since 2023.

The project brings together acoustic instruments, electronic sounds, improvisation, and original compositions. BAM has developed as a new creative field within the long-term musical partnership that Çakır and Barış Ertürk have maintained since the Bir Gün Bir Adam period.

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Groovesizer

Through Groovesizer, a project he founded, Tunç Çakır brings electronic music, groove, improvisation, and live instruments together within the same stage format.

For the project’s 2026 release “Yes, Sir Right!”, he worked with Gökhan Sürer, Barış Öztürk, and Efe Çakır.

Groovesizer is one of Tunç Çakır’s projects that brings together within a shared musical structure the different approaches he has developed over many years in jazz, funk, electronic music, drums, percussion, and sound design.

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Bergüzar Korel Concerts

As part of his current live work, Tunç Çakır performs as a percussionist in Bergüzar Korel’s concert line-up.

At these concerts, he performs with a percussion set and various rhythmic instruments, continuing his career as a professional live musician within the pop music scene.

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Current Solo Electronic Music Performances

In his solo electronic music concerts, Tunç Çakır uses analog synthesizers, modular systems, drum machines, custom-built sound-processing units, and digital systems together.

Rather than reproducing his studio productions on stage as fixed recordings, he transforms them into live performance structures that can be altered in real time and remain open to improvisation and immediate intervention.

At these concerts, music production, sound design, and live performance take place simultaneously, with analog and digital systems being used like an ensemble of instruments.

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Tunç Çakır Today

Today, Tunç Çakır continues his work in Istanbul as a versatile artist and designer producing across solo electronic music, live performance, album production, arranging, sound design, recording, mixing and mastering, analog synthesizer and electronic musical instrument design, electronic music education, and interdisciplinary art.

On the one hand, he releases his own electronic music albums and singles, performs solo electronic music concerts, and develops original projects such as Groovesizer and BAM. On the other hand, he continues to work as a professional live musician at concerts by artists such as Bergüzar Korel.

While continuing his production, sound design, mixing, and mastering work at Volt.Age Studio & Laboratory, he also develops new analog and electronic musical instruments through VAEMI.

His career, which began with classical music education and expanded through jazz, Latin music, pop, electronic music, experimental music, studio technologies, and electronic instrument design, has developed into an integrated field of production in which performance, composition, production, audio engineering, and design disciplines mutually inform and support one another.