Hello everybody and welcome to a new episode of The Producer's Loft.
I'm actually in Denmark right now, believe it or not.
I'm here with...
Well, you have many names, but you are best known as Wavolizer.
This interview will be in English, but it will be subtitled as well.
How are you?
I'm good, thank you.
How are you?
I'm great and happy to be in Denmark.
Why?
What are you doing here?
Just traveling around, having a look and visiting you.
The most important thing of course.
Of course.
You are, among others, mostly a hardcore act.
But, many years ago, you did start out as a hardstyle act.
Why did you choose to go to hardcore and how did this change happen?
Well, there are a lot of reasons. One of them is that I closed down the hardstyle parties anyway
My music was a bit too difficult for hardstyle at that time.
I used to listen more to hardcore than hardstyle at that time.
I liked it better and I looked up to a lot of guys.
It made sense to switch.
Hardstyle was not what I fell in love with at the beginning.
But now it has evolved again.
But yeah, it made sense and I don't regret it at all.
I'm still very happy.
Was it easy to switch?
It took me a while to get used to it.
4 years ago, we were in discussions with the label and some of my former colleagues.
I think, I quickly got used to the thought, because, back then, I already wanted to make hardcore
The idea was to produce something on the side, but then I realised that it was better to
completely focus on it and leave hardstyle behind a bit.
So it has been 4 years now and hardstyle has changed a lot.
Lots of people are experimenting...
You completely switched, whereas nowadays other producers experiment within their style.
What do you think of that?
I think it's really good.
I think hardstyle is doing a lot better than when I left.
Ironically.
I hear so much diversity in hardstyle now than in the past.
When I started making "rawstyle", there was no rawstyle and it was not that hard.
Now you have Malice who are pushing it beyond raw.
You still have awesome melodic and softer music.
There seems to be space.
Of course, there still seems to be a gap between the two scenes.
But I also see that a lot of rawstylers are producing melodic music now.
I think that there have been a lot of changes and it should keep evolving.
I think hardstyle is doing really well, from my point of view.
What about hardcore?
Because we also see the hardcore scene evolving a lot.
What do you think of that?
The faster music is popular right now.
Hardcore that is too fast makes me feel exhausted very quickly.
Hardcore can be both slow and fast.
I like a DJ set that goes from slow to fast and even slow again.
And not constantly playing high-speed tracks.
I am not a big fan of it, but I do accept it and I think that it's good to have a change again
It should evolve.
I think that if it stays the same, it will just die.
Trends come and go and that's fine.
I think it's better to embrace it and not fight so much in the scene.
I see a lot of people saying: "Oh, I want the sound from 5 years ago."
Yeah, but that is what they said 5 years ago as well.
There always is a generation shift in hardstyle and other styles.
You work a lot with slower sounds.
You make industrial sounds, but they are slower than a usual hardcore sound.
I once heard that hardcore has to be at least 170 bpm.
But I thought: "No f*ck that, I make slower music."
And I know a lot of great track that are slower than the usual hardcore bpm:
The Outside Agency and Mindustries...
Deathmachine also made a number of solo tracks that were
There are a lot of great industrial tracks out there.
The newest track of Somniac One is also great.
There still is a scene for that and I am so happy that this is the case, because it's
what I want to do as well.
I do like to make to make a faster track once in a while and I like to end my sets with
a very fast bpm, but I also like the progression.
So that's what I am about.
I feel that there is room for more "deepness", if you will.
The slower your tracks are, the more room there is for elements.
You don't only do as a (industrial) hardcore, but you also do projects like D00d and Chaos Collision.
That's drum and bass.
How did that happen?
Did you just want to experiment?
First of all, the thing with Wavolizer is that I wanted to use it as a hardcore act.
I want people to expect that it has something to do with hardcore now,
even though I diversify my sets.
When I collaborated a lot with Rik, also known as Geck-o, I realised that I had this self-imposed pressure.
It told me to make the tracks more hardcore and I got a little tired of it.
Often when we are collaborating, we just wanna go in whatever direction is possible
Instead of limiting myself like 'this has to work for Wavolizer as well'
That is sort of the reason why D00d became a thing.
I even played at the first Funky Cat he organized 2.5 years ago.
It was a Wavolizer Cross Genre set, so that allowed me to go in many directions.
There I already started using the name "D00d" for bootlegs.
Those weren't hardcore at all.
D00d became a secret project.
This year I did an actual release as D00d during Funky Cat.
The style is hard to describe.
Whenever people ask me "What actually is D00d?", I don't know what to answer.
It's a mix of techno, house and psychedelic.
It is usually a lot slower as well.
Yes, I usually say that it is a little slower than hardstyle.
I would just like to have that as my playground and alias for mixing all these genres
and producing something exciting and different with deep vibes.
This was kind of the case with Chaos Collision, but it was more focused on drum and bass.
I really wanted to pursue that, because the past 3 years I grew taste for drum and bass.
I started to really enjoy it.
It was also hard for me to make it and I still think it is.
So it will take a while until I release another track.
I did have one on Othercide Records, which is an awesome drum and bass label.
So that was a nice achievement.
Eventually, I want to do more with that.
I thought that it would made sense to have that as a different name.
Different goal, different challenge.
So people can already sort of know what to expect when they see you on the line-up.
How do you even make time to do so much?
I don't.
I think I just open the door of my digital audio workstation, make what I want to
and then feel in what direction (D00d, Wavolizer, or whatever) the track is going.
It just sort of makes sense to do that.
Of course, it is better to focus on one project and I hear that a lot nowadays.
Zatox, for example, had about 10 aliases 15 years ago.
Now he only is active under the name Zatox.
It makes sense when it is one style, but these are so many different styles.
I need to spread it out a bit.
I guess I just try to balance it a litle bit.
So you don't think about what style you want to make?
You just start with something and then work it out?
It depends.
I would say that I sometimes do have a specific goal.
I feel that it should go in that specific direction.
But that is not always the case, as I often think that a track should have this bpm or
should be in this key.
But then later I realise that it is better to change that.
I actually think that I often do have a goal when I'm making the track, because there is
a difference between making sounds and having an idea.
I like to separate that, because I that it's healthy and I heard that others do that as
well.
I started to take that seriously last year and it helped a lot, because you have your
own samples when you finally build a track.
You just put them together and they are your samples.
They haven't been used by a thousand producers before, unlike samples from a sample pack.
I think that this is a good approach to producing, so I recommend that to everybody.
You heard it here.
Let's talk about good and bad production habits.
I probably have more bad than good ones.
I think a good habit is that I don't play my music too loud.
And I know that a lot of producers crank it up a notch and that is not good for your ears.
It isn't.
I protect my ears well and I wear good ear protection at parties.
So that is a good habit.
A bad habit would be that I export a track when I'm not done with it and then listen
to it too much.
So if I want to change or improve it, I can't, because I am used to it.
That is very dangerous.
I heard from some old wise man that you shouldn't listen to your track more than 50 times or
you'll get so used to it.
You can't hear the mistakes anymore?
No, indeed.
When you listen to something that sounds amazing and then go back to your own track,
you'll realize that it isn't good enough.
You don't really know why.
I that it is a kind of dangerous habit, so I try to completely avoid it.
I want to finish a track in one day, if I can.
I love to do that, but it requires a clear schedule.
So I want to have some time off at the weekend, which isn't always the case.
When I can't have time off...
This is sort of a bad habit as well.
...I'm a bit demotivated to start a track.
Sometimes I look at my watch and see that only have 2 hours to start a track.
Then I decide not to start, because I want to finish it in one day.
So that is a sort of bad habit.
And that is also because of the time pressure?
Yes, exactly!
I really want to go on and get it largely done.
But I should and will improve on that.
It's good to be self-critical.
Everybody heard it.
You also master tracks for others.
Yes.
Why do you do that and why is it positive for you and for others?
First of all, nowadays mastering is about making a track sound as good as possible on
all devices in every scenario.
So the track is pretty much done, but you try to make it sound good on everything.
Yes, that is the idea.
To make it transparent in a way I think it's important to let other people
do your mastering...
...If possible.
There are a lot of people who don't do that these days.
Including myself, because it isn't a priority anymore.
It is more the idea that you do it yourself: being your own marketing manager, making videos,
... So it makes sense that mastering has become a part of that.
I think that it is very healthy for your tracks to be mastered by others.
Like that, you get a new view on the track.
And that person, me in this case, can hopefully improve that.
Sometimes it is not possible and you have to tell the artist that you adjusted something.
I do that as well and I love it.
I like helping and working with other producers.
It's a great way to have a nice relationship.
I try to be personal and not be some business guy.
You never hear me say: "This is wrong, this is wrong and this is wrong."
No, I try to give my own opinion and it's fine if they don't agree.
They most important thing is that they are happy with the track.
That's why I do it.
I have mastered hardstyle and ambient music.
They all have different style elements that you also have to get used to.
All in all, I think mastering is important and you should ask me to master your tracks.
Send me all of your money.
Give him something to do.
We are talking about all these different genres and styles.
Would you recommend other producers to experiment with that and go out of their small box?
Yes, most certainly.
I think you get burned out if you stick to one genre.
That is my opnion, of course.
I have already seen it happen with hardstyle producers.
Three years later, they don't feel hardstyle anymore.
And I think that this is often because they were focusing too much on just one style.
It is healthy to mix and blend in.
I know a lot of guys who do that I really recommend it, because you will get more ideas
and maybe improve your taste.
At least you broaden your horizon.
It's also good to listen to different styles as an audience, so you don't get tired of
the style.
If you listen to twenty hardcore tracks in a row and everyday, you will lose interest.
I feels so good to come back to something and remember why you loved it.
It is healthy to have that mentality I definitely recommend it.
Having an open mind to other styles.
The hardcore scene is growing a lot right now.
Not only in terms of different styles and genres and experimenting, but also in terms
of new and young producers.
Do you think that this has an influences on you?
It's not something I worry about.
When I see new artists, I check them out.
If the artist suits me, I want to contact them.
If he/she doesn't suit me, I'll leave him/her.
I also check if I the artist is evolving.
Often I see the artist evolving and I love that.
I like to get in touch with new hardcore artists.
New hardcore artists making the exact hardcore that I love, doesn't happen that often.
Because it is not that popular right now.
I still like to see what other people are doing.
It is not a competition for me.
I admire Sefa a lot, but his style is definitely not my style.
I still think that it's great what he is doing and have got a lot of respect for him.
I really see a future there.
So it rather has a positive influence on you...
To get inspired and maybe collaborate.
There is also stuff that I find bad, especially when I'm in the best mood.
Sometimes I open a track and think "Holy sh*t, this is bad."
Sometimes this really is the case and I don't deny it.
But I attempt to ignore it.
I just focus on what I like, make the music that I like and get in contact with those
that I like.
Luckily, a lot of artists also like me.
I'm blessed for that.
We also have an awesome small community.
You definitely like to collaborate with others?
Let's talk a bit about The Funky Cat.
I have to admit that I know you because of The Funky Cat.
Of course, I was there last week.
How did The Funky Cat happen for you?
Maybe because you have known Rik for a long time now...?
Yeah, almost ten years now.
You probably know him from Theracords...?
Yes, back when we both made our weird dark hardstyle music.
We stayed in touch for so long and became best buddies, so it was kind of natural that
I ended up playing at his party.
I played at the first edition.
There was a nice Cross Genre Set and not just hardcore.
That is the whole concept, right?
The Funky Cat is about change, different styles, weird and deep experiences.
I was really into that from the beginning.
I think it was just natural for me to be there and to return.
I also helped me.
It really gave me a lot of inspiration for music, style changes and possibilities.
Also seeing this great open-minded crowd at The Funky Cat...
The energy they gave you...
Usually there is a lot of energy going on, but this was very different and special.
Go to The Funky Cat next time everybody!
Number 9 next year.
I don't know the date...
Number 9.
Number 9 already...
Yeah I think so, this was 8 right?
In a new location and everything.
Yeah, it's growing.
I'm actually sort of proud.
It's an amazing concept and I think that it is an amazing experience for people
who like it a bit different.
So you fit right in there.
We were talking about The Funky Cat, but you are part of The Third Movement.
How did that happen?
Since that happened when you switched from hardstyle to hardcore...
Tell me a bit more about it.
It was part of the switch back then.
We approached the Third Movement and I sent them three tracks.
Luckily, Sebastian (DJ Promo) really liked them and thought "Hey, this is something unusual
and something we can work with."
It is not usual that a hardstyle artist switches to hardcore.
Usually it's the other way around.
He saw potential and helped me to improve a bit, because I think that my sound was unpolished
and soft at that time.
He helped me to push it more to hardcore.
It made sense for me to join The Third Movement, because it was the hardcore platform for what
I wanted to make.
I mostly wanted to make dark stuff and more accessible music.
The Third Movement currently is about mainstream music, but also underground.
It still has a lot of that "f*ck off" attitude, which I also kind of like.
Although I am peaceful.
I think it was definitely the best fit for me.
So I am very happy that I could join that.
I have been with them for almost four years now as well.
I have a great relationship with The Third Movement.
All the artists are so nice.
We talk a lot in Whatsapp, groupchat or when we see each other at the parties.
Just awesome.
It is also very global.
We have producers in the UK, Belgium, Spain and me in Denmark.
It is the best label.
So you get a lot of support from your fellow artists?
Yes.
That must be really nice.
Do you also work together with them a lot?
Not as much as I would like to.
For the album I did a collaboration with Mindustries.
I once did attend a collaboration with Penta, but that did not lead to anything.
We should try a new one eventually.
I think I want to make more tracks with people, me
but because I am in Denmark that limits me a little bit.
You can do tracks together over the internet, but it is not as fun as when you sit together.
There is a magic there: So you do this and you do that.
Oh, that is funny I like that.
You are in the zone.
When you do it over the internet it is like: you start something, send it to the other
guy and if he likes it he can continue or change it.
It goes back and forth.
That can work.
I did it for the album with three of the tracks.
It worked out fine.
The tracks were very awesome.
But it is a lot more fun being in the studio.
So maybe I should travel more to other artists.
You should.
Perhaps this is a future goal.
Good excuse to travel, right?
Yeah.
Let us talk about the album.
It has been out for more than one year now, if I am right.
Yeah.
Are you planning on doing another album?
Or are you like: this is it.
I would love to, but it is not really doable right now.
It takes so much time to make that one.
It took more than one year.
These days, you have to be active all the time.
You would also have to put out singles along the way to stay active or people will think you are gone.
Unless you announce it, but still people will expect a lot.
I am making an album.
I will see you in one year.
That is not so good.
Right now, I do not have any plans for albums.
Maybe in the future.
I would love to make a D00d album.
That might happen eventually.
When the time is right.
I got some other projects pending as well.
We will see what will happen.
For now, I will do a lot of nice different styles.
I am very curious about that.
What about your future plans?
We are going into indoor season right now...
Parties, things coming out...?
There is something coming out in the winter that I cannot announce yet.
That will be fun, if it goes through.
I think it will.
Okay, let's hope.
Apart from that, indoor season is usually a little more quiet for me.
I am less booked for whatever reasons.
That is just what happens.
I did a new track last month: Wavolizer EP.
I did a new D00d, I did a Wavolizer remix of old DJ Promo last week.
I do not have any plans right now.
I have two remixes coming out, but I do not know when yet.
And I have a lot of ideas in my head.
I have a completely new idea for a new Wavelizor EP, the theme for it.
I also want to make a lot of new D00d stuff, I want to improve on the drum and bass
and make new ones.
I do not know when this will happen, when I have the time for it.
Let us get back into the Denmark-Dutch thing.
Do you ever think about moving to the Netherlands?
I considered it a lot in the past and I realized that was not what I really wanted to do.
My life, my family and my friends are here.
I do have a lot of Dutch friends as well.
It is still kind of pulling me in.
I might go live there for a short period of time to see if something would change something.
It would be nice.
I have considered it, but I am also not that young and adventurous anymore.
I am a comfort guy: I feel at ease here, the studio is great, I know what I want to do.
The future is open though.
You never know.
We will see.
I am very curious about your studio.
Shall we have a look?
It is up to you.
We can do that.
Yes, let's do this.
Can you first tell us what we are going to see today?
I will show you an exclusive unreleased track: Defqon Silver V.I.P. of a D00d track.
It is a hardcore remix of a D00d track, which is not released yet.
I got a few tracks for it.
I do not know what will happen, but let us listen to it.
Let us listen to some parts.
Then it goes to the breakdown.
We can listen to that later.
If we look into what is happening here: First of all, I took the original D00d track
and cranked up the bpm.
I distorted the kicks, changed the bit and made the climax a bit more Industrial.
It is pretty much the old track, but just a bit faster.
I also created these kind of nerofunkish sounds.
I got this whole thing: these automations.
It's basically Serum, instant here is being modulated.
I think I am doing it here and do it in here: in Petrol
This is Petrol, where you can do all sorts of stuff.
I just mess around with a lot of parameters and get the sound.
If you do not have these on, it just sounds very static; very nothing.
It is fun.
By enabling these you get fun stuff.
This track was originally inspired by my schoolmate, who is very classical.
One time, he played the piano and did this whole-tone scale.
That is why this pattern right here is called whole-tone notes.
That is what it is all about.
It is this kind of mysterious spacy scale.
It just sounds funny.
This is where it began.
I started with that.
This vocal is from a TV show.
I will not say the name, because they would sue me.
It is just a fun kind of psychedelic-ish vocal that just fits the whole feel.
Then I pushed it beyond.
It had to sound over the top with these kicks.
Very crunchy.
The way I have done them in this track is: First the actual punch.
Apparently, a lot reverb.
I have a punch here that I sent to a reverb.
I do pre-delay.
I have LFO tool here.
So it becomes this tail element and by adding extra ducking, it gets chopped off.
You still have the impact, but you want that room sound.
At least I want to.
The tail is pretty straightforward.
I wonder how I did this.
I usually do a lot of kicks.
As I mentioned, it is a part of making the sound.
I had these and kept tweaking them like distorting and other weird stuff.
You get this and I added this.
It changes to a different channel.
I do a lot of stuff spontaneously, not always making sense.
I like that, because it feels the best.
I do not want to stub up.
I have sorted it nicely (sort of).
This project is a little older.
Nowadays, I have a template, which is a bit different.
What I do here is, I have a side chain channel and I send everything I want to duck through there.
Ducking means... let's see if I can show that...
If you disable it:
It feels like it is pumping.
It gives it energy and drive.
I love doing that with a lot of elements.
It can also be too much of course.
You have to find the balance for it to sound pumping.
It should be upfront.
This music is very upfront.
What else is interesting to look at...
The snares maybe?
I love adding snares.
I know some people have complained to me that I use too many tonal snares.
I love tuning them to the track.
It just adds something awesome.
It may have become my signature sound.
This is a kind of weird sound, but I loved it.
I wonder what I did.
I think it originally was a softer sound.
Ah, I did this: extreme EQ-ing.
It is always fun.
Then the LFO tool doing lots of weird stuff.
Crushing it a bit.
Distorting more.
Cutting the low end.
On almost all my channels, I love to put waveshaper on.
Just to crank it up.
It is good to be loud.
Loud still wins .
This year as well.
Hammond is FL Studio's native plug-in thing.
It looks really weird to many, but you got all these nice options for twisting
and making different sounds.
Let's see...
If we disable this...
There are so many options.
EQ is also fun to mess with.
It has a very different approach compared to the normal synth.
I love using Serum, Spire, Hammond and sometimes just this for white noise.
White noise is a nice trick to make something sound bigger and louder.
Just adding what is missing.
When you blend it in like this:
You can barely hear it, but it just there to give it something extra.
A boost in sound.
It is something that got famous in EDM seven years ago.
Where they use it maybe a bit too much.
This is more subtle.
I like subtle white noise.
We have this lead:
Organ sound.
Another Hammond.
Fun stuff.
I do not have much to say about it.
I think it was also based on that whole-tone scale.
Although I do something that is not on scale, because f*ck the rules.
I copied these from earlier.
I could actually just do this, but I am too lazy.
I will tell you a little about why I use FL.
I have been using FL Studio for 12-14 years.
It just stuck with me.
I have tried Ableton Live and I think it is really great.
I just never got into it and got the hang of it.
I know all the shortcuts of FL Studio.
It goes faster this way.
It has its hiccups of course.
There are certain things that I really want them to fix.
For example, when I do the ducking this way.
Sometimes it happens too soon, because of latency issues.
I hope they will fix it.
That was a lot of technical talk.
That is fine.
It is a very basic track.
It doesn't have too many elements.
- How many tracks does it have?
These are not actual tracks.
In FL you can just put them...
It is more in the mixer.
I think they call them inserts now.
Okay.
I think I use up to 35 inserts...
That is not too bad.
These days, I have a habit of getting up to 50.
Mostly because I like to put a small element on its own channel.
Even though it fills it up completely and you sometimes lose oversight.
I want the control.
I need the control to be able to tweak the sound.
It is just the best way to do it.
I discussed this a lot with Rik, when I made a track with him.
He has this old tendency to put some of the elements on the same channel.
Then when I want to tweak it.
I accidently mess up the other sound.
I tell him every time not to do that.
It will fuck me up and I am right.
When you want to sketch something, it is a lot faster.
You have great overview.
So I understand why he does that.
That is his preference.
He also doesn't label or name any of his work.
I really need to see what is going on.
I cannot remember.
- You need the control.
Yeah, I also love colours now.
This is nice and colourful.
- It looks cute.
I usually put my keys in red, but I do not really have a colourpalette.
It is mostly random.
- It looks nice.
It is a nice way to get a system.
FL Studio allows you to make a track in 10 different ways.
That is great, but it also means that you easily mess up the whole structure.
When you make a track with somebody, they will not understand what you did.
Just because you have a completely different setup.
That is the downside.
In Ableton, you just have what you have: the playlist, the browser and the synthesizers.
That is the lay-out.
In FL Studio, you can mess it up.
- So you have both more freedom and more chance to mess it up.
That is FL Studio in a nutshell.
I want to thank you all so much for watching.
I want to thank you for having us.
It was so much fun to see your little studio.
I love it and it just looks great.
If you liked this, you know who to follow.
I will link everything below and of course subscribe to my channel for more episodes
of The Producer's Loft, more vlogs...
I see you next time.
Give it a like.
Give Wavelizor a follow and we will see you next time.
Bye bye!
Subtitles by Rein van Sloun & Sofie Swistek
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