ANGELZ Interview

SoundShock: What made you want to start making music and get into production? How have things changed since then?

From the get go, I wanted to be a producer like Timbaland ,The Neptunes or Scott Storch. I loved rap music, but knew I couldn't be a rapper, so I started learning everything I could about producing.

Your drops contain a lot of interesting cuts, textured sounds, drum fills, and bass fills. It can be easy to just throw in sounds without having the song sound cohesive. How do you go about choosing and arranging these complementary sounds so they come together and make sense to the listener?

For me, it's all about having a solid main idea then making that idea even more interesting. I always design my sounds specifically for each song. A lot of it is just instinct.  The drops are where the styles are flexed

Your bass house baselines are unique, dynamic, and well crafted. What synths do you use for your baselines and how do you process them so they provide the necessary power and character to be successful on the dance floor?

I mostly use the same synths as everyone else. I just try to be unorthodox with them.

Many of these baselines are actually quite simple but have quite the impact on the listener. How do you go about writing your baseline patterns and how do you create the subtle little changes in them that make them so effective?

This comes from years of producing hip hop. It's hard to explain the process. Kendrick couldn't even explain how he got his flow. A lot of it is just doing what I would want to hear on loud speakers.

What are your go-to effects and processing chains at the moment?

My style is very CPU heavy so I've learned how to do everything with the FL studio stock plugins because it lets me use a lot of instances. I use everything from their compressor to maximus.

What is the hardest part of producing and how do you work around it?

For me, the hardest part is not having a set producing environment. As soon as I get used to one, I need to make a track in a plane or in a hotel. I work around this by knowing my headphones inside out. I recently tried the listening environment simulators and they were pretty interesting.

For many it is easy to lose momentum and over listen to tracks when producing, resulting in unfinished tracks that never see the light of day. How do you keep the momentum, creativity, focus, and excitement of producing going throughout the process and finish ideas that you start?

I like listening to the song I'm working on at different pitches. It gives you a new outlook on it. I would not do this too much though because it can backfire on you. Sometimes you pitch it back to the normal speed and you hate it even more.

Many artists aspire to get their music released on big labels. Do you have any advice for producers looking to get their music signed with the big labels in their genre?

Make sure that your music is ready before you get it out there. You only get one first impression.