Clouzer, A Deep Dive into His Transcendental Rhythms

Full name
11 Jan 2022
5 min read

Please tell us more about you and your music.

While I find it a bit challenging to talk about myself, discussing my music is a pleasure.  First of all I hope it's good enough and there are people who can resonate with it.
I put a lot of effort into it, I like when producers pay attention and take their time for details and so I try to do as well.
One of the main criteria for my music - it should be dancing for the body and transcendental for the mind. Do you know that 'ecstasy' effect? My reference in production is when I can reach this effect with sound without taking substances, so the effect should double for the people on the dancefloor.

What conditions would be ideal for discovering your music?

Ideally, my music should be experienced on a vibrant dance floor, complete with exceptional sound quality. Like any musician, I wish for listeners who fully engage with the music. However, other environments, such as focused listening sessions or solitary road trips with quality headphones, can be great, too.

Can you tell us more about the last tracks you have released? 

My last released EP is "Time Warp." Honestly, after all that process of copywriting and promotion surrounding the EP, I don't have much inspiration to speak about it more. Can I talk about my upcoming EP instead?
Entitled 'Call of the Abyss,' this release features three original tracks and three remixes by artists such as Damon Jee, Zakmina, and my friend Zee Mon.
The EP holds particular significance, as two of the original tracks "Voices from the abyss" and "Perpetual" were born from the Full Orchestra project. With a return to broken beats, I'm especially proud of "Voices from the Abyss," a track I still cherish even after countless listens during production and mixing processes.

What setup did you use to produce these tracks (instruments, VST plugins, pedals, synths, etc.)?

My production setup remains fairly consistent across all tracks. I use Sub 37, TR8S, and Ableton synths. I recently tried out Access Virus A, which I love, too.
I'm gradually reducing my use of the TR8S; I still appreciate its unique groove. I used to like to build patterns on it, recording into Ableton and then substituting samples. This approach is cool but very time-consuming.
I increasingly rely on Ableton's drum rack, particularly for Kick, Snare, and Toms. I prefer using loops for hi-hats, which I manipulate to complement specific basslines. I use Sub 37 mostly for all my bass lines and also for some cool backgrounds. Pads and leads are primarily from Ableton. I can't say names; I just scroll until I like something.
For all my synths, I'm fond of using effects to achieve the desired sound. I love it; it's great for reaching that "hi" goal, but it is dangerous for the mix.
I don't like most of the well-known VST synths for some reason, so I don't use them at all. But again, I use a lot of effect plugins; I have a bundle from pretty much all major brands like UAD, Soundtoys, Arturia, and Plugin Alliance (once a year on Black Friday, I buy one bundle lol)

What setup would you advise for starting to produce this type of music?

Pretty much my setup: one hardware synth, a MIDI keyboard, and Ableton Live.
While a MIDI keyboard is certainly enough for beginners, a hardware synth significantly speeds up the production process. Unlike MIDI, where the possibilities of changes are endless, working with hardware puts you in particular frames, somehow enhancing the workflow and overall productivity. You find the sound you like, you record it, and that's it; you work with what you have, with no way back to change something.

Why have you founded your label?

This is a good question. Establishing Distant Gaze Records was rather a culmination of circumstances and aspirations. The idea had always lingered in my mind, a vague dream waiting to materialize. However, it was when I encountered consistent disregard from labels, except for one label - NEIN Records, I'm extremely grateful to Neil Praner, who was the first to notice my music, listened to my tracks, and was eager to release my very first EP. Actually, there was another label, quite some time ago in Canada, which released my deep house track for a VA compilation. At that time, I was also very happy and appreciative that the team at Secret Society took interest in my work. So yeah The journey has been challenging, fraught with obstacles I was pushed by Universe to create my own label first of all to release my own music. Despite the struggles of running a label, I'm grateful for the opportunity to carve my own path and uphold my vision.

How is the music field in Berlin? What do you like the most in this city? 

It's obviously great, and I believe it's still the best. Most of the great producers and DJs live in Berlin, so you can definitely meet your favorite artists personally here. The genre diversity is insane, and at the same time, clubs are always full. So, I think it's still the place to be for electronic music producers.

What frustrates you the most about making music in Berlin?

Like any megapolis, it requires a lot of financial effort and becomes increasingly challenging every year. The system sucks and is demanding, and I'm still not earning through music, which is the standard situation for most musicians. You need to work tirelessly, leaving little time for music. At least, I'm fortunate enough to earn through web design, allowing me to listen to music extensively. This is how I gather amazing tracks for my DJ sets. I'm constantly exploring new music. However, this dedication to web design consumes a significant amount of time that I could otherwise devote to music production. I feel I have a lot to offer to the world through my music, but time constraints hold me back. Hopefully, one day, I'll begin earning through my music and have the opportunity to produce more. As for other aspects of Berlin, such as its reputation as a 'dark city,' they don't really bother me.

What convinced you to be part of Full Orchestra?

The funny thing is, I was skeptical at the beginning and even missed the first edition. I initially thought it needed to be more serious for producers who are serious about their music. And I believed I didn't have time for music that lacked potential for release. Well, I was mistaken big time. The project turned out to be very serious and showed potential for release and opening new skills and horizons. What convinced me were the arguments of my fellow producers in the project, and especially Gautier's (the project founder) opinion. It completely changed my perception. I must admit, I was quite narrow-minded, and I'm glad to acknowledge that I was mistaken :)

Did Full Orchestra help you with that?

Absolutely, the most important and significant self-discovery is that I wouldn't have believed before that I'm able to make a track within one day (as I have a bad habit of leaving things to the last day lol). It's obviously not ideal, but it's good enough to present to listeners and touch up later. About 90% of the arrangement is pretty much there. I was truly amazed by the new skill I discovered within myself. It also gave me more confidence in production in general.

How would you imagine a Full Orchestra in a few years?

Mmm hard to say, I wish for the project continued growth and evolution. Perhaps new cities will join the fold, new participants and sponsors. Maybe more advanced listening sessions. I guess there are so many ways it could develop: online streams, production courses, even retreats, and collaborative events. My wish for Gautier is a lot of inspiration and strength to realize these aspirations.

Why should we contact you (collab, gigs, etc.)?

I think I'm not the best person to collaborate with. I'm very picky about my sounds and melodies, and I don't feel comfortable demanding the same from another musician. To accept compromises in music is difficult for me; I won't be happy. So collaborations are pretty challenging for me, but of course it's still possible. I'm sure there are so many musicians with the same sound values and same taste as I am, it's just not easy to find.
For gigs for sure, I'm always happy to play.
Also, I'm open to listening to new demos; send them over. I would be happy to have more like-minded artists on the label.

What videos and tutorials have helped you the most in producing music?

How to Make Techno with Tom Hades at ADE 2018

FabFilter Pro-Q - EQ Tips & Tricks

Trackspacer: Why Is Everyone In Love With This Thing?

4 Magic Frequencies for Mixing Snares

Here is my step-by-step mixing process. But I'm still learning myself. When I'm happy with my mix, I go to Professional for touch-ups, where I understand that my mix is quite crap.

⁠Kick and Snare tuning

⁠Levels Pink-noise technic 

Kick and bass EQ 

⁠Mix Low End (Kick & Bass)  

⁠Balance Kick and Bass levels  


⁠Master channel

Mixing Masterclass: 'Mixing Your Track for the Club'

Electronic Music Mixing Masterclass with Matt Lange

Subscribe to our newsletter

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Suspendisse varius enim in eros elementum tristique.

By clicking Sign Up you're confirming that you agree with our Terms and Conditions.
Thank you! Your submission has been received!
Oops! Something went wrong while submitting the form.
Join our newsletter to stay up to date on the next listening sessions and last updates.
Thank you! Your submission has been received!
Oops! Something went wrong while submitting the form.
By subscribing you agree to with our Privacy Policy and provide consent to receive updates from our company.
© 2024 Full Orchestra. All rights reserved.