dig dis!cover with Arley

Nice to see you. I can see a keyboard in the background. Do you also produce at home?
I have a big studio here in Cologne. That's where all my equipment is, as well as all the cables that have accumulated over the last 15 years. I also have a home setup so that I can get things done quickly and be creative. I now do almost everything at home, as it simply integrates better into my everyday life.

What is essential when producing and where do you get your inspiration from?
I always need at least one big synthesizer that sounds good. That's also my source of inspiration, at least as far as the technical aspects are concerned. When I want to get inspired, it often helps to just click through Spotify and listen to the tracks that are working well at the moment. Then I start with a few sketches. Both Spotify and Instagram are important sources for me to discover new artists and music. For me, it's not just the sound that's important, but the visuals too.

How does it fit together for you that as a producer you also have to be active on social media?
I believe that artists today, at least in my genre, don't necessarily have to post content every day like influencers in the commercial sector. Nevertheless, it is important to do something regularly and to invest a lot of energy in quality. You should think carefully about what you can implement and be prepared to take paths that are unpleasant. This often means jumping over your own shadow. With my old project, for example, I didn't do all this social media stuff at all and, looking back, that was definitely a mistake.
Nowadays, anyone can buy a camera, learn more about the subject matter or simply record content on their cell phone. It's important to produce visual content that shows what you're doing. There are so many musicians on the market and you have to stand out. Visual content is still a very effective way to generate attention.

 

Let's move on to the music. How would you describe your music?
I like to work in minor keys, which you can hear in my music. The pieces are rather melancholic, but with a beat that works on the dancefloor. Lately I've been working with vocals more often and trying to incorporate a more commercial element, which I then define through the vocals. Collaborations are also very important to me; I work a lot with singers. I usually use Instagram to find people for such projects. Since my project started about three years ago, I've invested a lot in Instagram, created a lot of videos and tried to promote my music through it.
If you have a solid profile, it's pretty easy to get in touch with other artists. They then look around your page with curiosity and that's how an initial exchange happens. I really see Instagram as a kind of "dating platform" for musicians. It works amazingly well, as many singers are looking for producers and vice versa. Connections are often made via Instagram.

How does such a collaboration work? Do the singers simply send you their vocal tracks, or do you discuss everything beforehand?
That depends entirely on the singer. If I notice that someone is professional and has a strong, creative touch, I give him or her a free hand. Then you simply send the files to each other online. If the artist is less experienced and needs more support, I give more feedback and we send versions back and forth. Since my collaborations are often scattered around the world, we rarely meet in the studio. Sometimes there are calls to clarify details, but mostly everything happens via WhatsApp or Instagram.

Your music is internationally successful, for example in Istanbul. Do you see differences in interest in your music depending on the country?
Yes, definitely. In Germany, my type of music is not as popular as techno, for example. Many of my listeners therefore come from southern countries like South America, where people are more open to my style. I also notice that in advertisements. The music simply works better there and there is a greater interest in this genre.

Success can be measured in different ways. What does musical success mean to you?
For me, success is a combination of several factors: lots of listeners on Spotify, high engagement on Instagram and the ability to perform live. Individually, these points are not enough. A high number of monthly listeners doesn't automatically mean that someone is really successful, just like regular DJ bookings in clubs. The combination of reach, commitment and live presence is what makes success for me.

Is there one of these things that is particularly important to you or that you find difficult?
I used to play live a lot, also internationally, and that was a great time. But now I'm more in the studio and enjoy producing. I still play festivals from time to time, but I have no ambitions to do it as intensively as I used to. It was great to have those experiences, but now I'm happy working in the studio.

How did you come to dig dis! and how have we been able to support you with your label work so far?
I started my project two and a half years ago and wanted to be independent of other labels. It always frustrated me to wait for feedback when I sent out demos. That's why it was important for me to find a distributor who was competent and offered personal contact. I came across dig dis! through friends (polaroit) and I am very satisfied. The communication is approachable and the support is always fast and competent. I really appreciate that.

That sounds great. What do you decide on when you sign new artists?
I make sure that the music has something of its own and that the artist isn't just copying existing trends. It's important to me that artists think outside the box. Together with my label partner Tom, I listen to the demos and we decide together. I'm glad that there are two of us doing this because we complement each other well.

That's a big advantage. Music is also very subjective. What tips would you give to someone just starting out in music production?
My tip is not to rely too much on ready-made sound kits. Many beginners use ready-made loops and samples, and you can quickly hear that. It's better to work intensively on sound design and create your own sounds. It also helps to isolate yourself from external influences for a while. I used to go months without listening to music by other artists in order to develop my own ideas. It's important not just to chase trends, but to create something of your own.

What do you think of AI in music production? Do you see more opportunities or risks?
I think AI is not yet far enough along in music production to really be a threat. It can serve as a tool and generate simple ideas, but the creative decision is still up to the artist. I use AI tools like ChatGPT for various things, but I don't think AI will revolutionize the music industry anytime soon. AI is already further along in the field of image generation, and I understand that many graphic designers feel threatened. In music, however, it's about breaking new, creative ground, and I'm not sure that AI can do that so well.

Thank you very much for the exciting interview! It was very inspiring to hear about your creative approach and the challenges of music production. We look forward to following your next steps!