"Normally I had to wait for a show to test a track and analyze how it sounds and feels on a bigger sound system. Now the fact that I can do that directly while composing the track is saving so much time. Exciting! MERCI!"
Q&A with CloZee about the SUBPAC:
What role does “feeling” play in the music you make and love?
To me, that’s what procure goosebumps when I listen to a tune. It makes me feel like the music is perceptible all other my body.
Has the SUBPAC changed the way you create, produce or mix music? How could “physical audio” change our relationship to sound and music in the future? What excited you about the Feel SUBPAC project?
It definitely changed the way I create music. When I compose, my main volume is lower. Before, I had to put it high level to be able to “feel” a little bit of bass. The people around me in the house weren’t so happy about that. My mixdowns are less ‘muddy’ in the low / sub sections compared to when I only had my monitors and headphones to work on those frequencies. Read More...
I’d say thank to this, the bass itself becomes more essential into the composition of a song. It almost becomes as important as the main melody. I think the music in the future will go more and more into the physical audio because it’s just so good to be able to feel it, instead of only listening to it. It solicits the whole body to react to the music, instead of only the ears.
I’m really excited to hear what other people create with the SUBPAC. I’m sure some new music genres and ideas will be generated with this new community. It’s crazy how it became so big and appreciated by all kind of music listeners and professionals (in the sound, games, VR…). Can’t wait to see this growing and see what all those creative people will come out with!
How could “physical audio” change our relationship to sound and music in the future?
What excited you about the Feel SUBPAC project?
Hailing from Toulouse (France), CloZee is Chloé, a young music producer who seamlessly combines technical precision with a wild imagination. An accomplished instrumentalist, she began playing the classical guitar at 11. Influenced by edIT, Bonobo, The Widdler and Amon Tobin, she started producing electronic music at the age of 16.
In 2014, she won the ‘Best International Newcomer of 2013’ at the UK Glitch-Hop Award. Read More...
Her tracks defy genres, oscillating between Glitch-Hop, Trip-Hop, Future Bass and World Bass. She created her own place in the glitch community, thanks to a unique, highly surprising style mixing powerful basslines, funky off beat percussion, world instruments and emotional cinematic sounds.
‘Flow Like Water’ is the result of my first experience working with the SUBPAC in my home studio, and it was so amazing! Working on the low ranges became fun instead of being a pain in the arse. It was literally the first time i was able to really feel and ‘hear’ the sub bass in my room while composing. I don’t have any sub-woofer so it’s a game-changer. I’m so happy to finally be able to feel the hardness of a kick and the deepness of the sub in my little room without having to put my headphones on or turn up my monitors.