Name: Dirk Leyers
Nationality: German
Occupation: Producer, improviser
Current release: Dirk Leyers teams up with Hans Raabe aka Nomad for a new album of their A08 (formerly Africaine 808) project. Waiting For Zion is out October 20th 2023 via Compost.

[Read our Nomad interview]

For the thoughts of two of his collaborators, visit our Matias Aguayo interview and our Nerk interview.



Do you think that some of your earliest musical experiences planted a seed for your interest in production and technology? What were your very first active steps with music technology and how would you rate the gains made through experience - can one train/learn being an artist/producer?

When I was young I started with two boomboxes which had a record function to record with the internal microphone. My eldest brother recorded these mega mixes being broadcasted by Dutch radiostations at that time. I didn't have a clue what music it was but I liked most of the stuff and needed a copy of his cassettes to be able to listen to them without his permission.

At the age of 8 I started to take lessons on accustic guitar and piano. 1987 I got in touch with an Commodore Amiga 500. Besides jump and run games I came across music programs, tracker or score editors with a pretty basic synth and drum option. I loved it and remembered it in the late nineties.

Amigas were super cheap at that time so I bought two and borrowed a small 2 channel DJ mixer from a friend to be able to mix both together. I got pretty good at writing scores with the help of one particular program called Aegis Sonix. I am still using it and I still love the 8bit sound of it.

I synced both computers with the mouse by hand. Because of the slight delay it had some nice groove to it. This was basically the birth and basic foundation for the sound of Closer Musik.



Were/are you interested in the history of production and recording? If so, which events, albums, artists, or insights stand out for you?

In the 90ties I played electric guitar. We had a small rehearsal room at school and played covers of all kind of songs. How to use microphones, amps and effects became interesting to me to be able to achieve certain sounds. At one point Andre, who is also playing drums on the album and another friend on bass only jammed, improvised and experimented together.

I got more and more interested in improvised music and had the pleasure to play in a jazz ensemble directed by an upright bassplayer by the name of Ali Haurand. I had the pleasure to meet outstanding jazz musicians and had the possibility to observe what they were doing at an early age, when they met to rehearse for their upcoming tours.

Thanks Ali! Rest in Peace.

Making music, in the beginning, is often playful and about discovery. How do you retain a sense of playfulness as things become more professionalised and how do you still draw surprises from equipment you may be very familiar with?

It depends on how you look at it. I am still having fun creating music. I like to record atmospheres, instruments, toys basically any objects that you can get a cool sound out of. But I am also recording musicians who wake up with their instrument and go to bed with it. Sometimes you need to find a direction with the people you work with and it is hard work, sometimes it is one take and thats it. It is about catching this magical moment.

The track will tell you, what it needs, or in most cases what it doesn't need. I am getting better at not being attatched to certain ideas, sounds, or recordings. The delete button has become my best friend.

Regarding equipment I think of it as a tool box. Analog gear has the beautiful side effect that you play with it while you record instead of painting automation with your mouse and being able to change it whenever you want to.

Both worlds have their advantages and disadvantages. At the end of the day you still have to make music.

For your own creativity, what is the balance and relative importance between what you learned from teachers, tutorials and other producers on the one hand – and what you discovered, understood, and achieved yourself? What are examples for both of these?

Sometimes it is good to know what you are going to do next and how to achieve a certain sound, sometimes it is great to explore new territory.

I have the pleasure of beta testing software for different companies, mixing material of other producers and trying to bring the sound closer to their vision. Trial and error works, but writing and reading score, or being able to play certain instruments helps you to be able to express yourself or understand the approach of other artists too.

The lesson never ends if you are open and respectful with your people and the artform itself.

How and for what reasons has your music set-up evolved over the years and what are currently some of the most important pieces of gear and software for you?

The feel and musical idea is more important than any piece of gear. But I try to record in the best way I can. It saves time and working hours in the end.

Have there been technologies which have profoundly influenced, changed or questioned the way you make music?

I look at it from a different angle. Your toolbox is getting bigger over time, but the task is the same. Create good music.

Yann Tiersen, in a surprising statement, told me: "I feel more sincere with electronic instruments [than acoustic ones]." Is that something you can relate to?

I love both worlds.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that and the relevance of limitations in your set-up and process?

Everything is possible, you just have to catch the right feel and moment. Doesn't matter if it is electronic or acoustic ...

From the earliest sketches to the finished piece, what does your current production workflow/process look like?

Waking up! Coffee! Work!

Rhythm, sound design, melody/harmony, something else – when do the different elements of a piece come into play for you?

There is no particular formula for it.

It is similar to architecture. But why not starting with the roof first ...? You never know.

In relation to sound, one often reads words like “material”, “sculpting”, and “design”. How does your own way of working with sound look like? Do you find using presets lazy?

Creating my own presets, sound archives or instruments is keeping me busy.

What, to you, are the respective benefits of solo work and collaborations and do you often feel lonely in the studio? Can machines act as collaborators to you?

Playing in a band and interacting with people or nerding alone in the studio can be both satisfying.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations and possible concrete plans in this regard?

Artificial Intelligence or intelligent composing tools for machines as you say are just another piece in the music producer's tool box.

If you could make a wish for the future directly to a product developer at a Hard- or Software company – what are developments in tools/instruments you would like to see and hear?  

New tools, new hopes ...! There is so much great stuff out there already, but sometimes it is great to have restrictions or small set ups to be able to discover something new.