“There’s constant hype about the instruments, synths, speakers and computers that producers use - but will your music sound better because of that?”: Gábor Lázár on sound design, generative techniques and designing his own instruments in Max

Gabor lazar.

With such a diverse array of sophisticated sound design tools available, you’d think that forging a unique tonal palette would never have been easier for electronic producers.

But with more artists experimenting than ever before, it’s becoming increasingly difficult to carve out your own space in electronic music. Hungarian artist Gábor Lázár, however, is perhaps a rare example of a modern-day sound designer that has shaped his own instantly identifiable aesthetic.

Between his debut album I.L.S. (2014) and latest body of work, Reflex, Lázár has spent over a decade using Max to build his own compositional interfaces. Designed to create micro-variations that emit immersive, unique-sounding properties, Reflex finds Lázár’s bizarre chromatic-sounding compositions evolving from the experiential to a more rapid, techno-oriented sound.