Log In
In Conversation with Polymath Producer and DJ Ariel Zetina
Chicago-based producer, DJ and dramatic writer Ariel Zetina is a force to be reckoned with. In her music, she manipulates percussion, vocal repetition, and theatrics, taking inspiration from everything from techno to musical theatre to the worldwide queer club scene.
Speaking of the worldwide club scene, Zetina holds a residency at the legendary Smartbar in Chicago, and Carly Zeng’s party Dissident in Berlin, and has opened for huge names like Beyoncé, James Blake and Caroline Polachek.
Her work is deeply informed by her experience as a transgender woman of colour, growing up outside of Jacksonville, Florida, the history of Chicago house music, and the secret oral history of trans women in America.
Now based in Chicago, Zetina was named one of 2023’s Chicagoans of the year by the Chicago Tribune.
We sat down with her to talk about the influence of the 303 and 808 on her music, and why acid basslines still sound like the future.
Which classic sounds that were staples of the early dance scene are essential parts of your workflow today?
This is such a hard question, but I would have to say the Roland TB-303 because of its role in the creation of acid house. Great acid basslines still feel futuristic in 2026. Honourable mention to the percussion on the Roland TR-808!
How do you use the historic sounds of the 303 and 808 to bridge the gap between the original warehouse spirit and your own modern productions?
The 303 has such an organic texture that functions like a language – it’s more than just a collection of differently pitched noises. This acts as a portal to a time when the only way to synthesise electronic music was with hardware. I like to experiment with the sound of the 303 and the 808 to transport the listener to two (or more) places and time periods at once.
When using classic sounds, do you prefer to closely emulate how it was used in classic tracks of the 80s and 90s, or use those tracks as inspiration, while pushing the instrument to someplace new?
I like to push it someplace new! But with a caveat. I love thinking about how each element of a track could be played or programmed by a musician in real life. I think this grounds the sound in reality while letting it soar to new places.
With instruments moving from rare hardware to accessible software, how do you think this helps more diverse voices get involved in production?
I’m a huge fan of the accessibility of software, and I’m not a purist about hardware. Many of my favourite artists started producing on a computer.
Electronic music is valid whether it's made with physical or software synthesisers. Production exists on the border of live instruments and computer programming, which allows all kinds of people to become electronic musicians. I’m glad accessibility is becoming a bigger part of the conversation.
How are you using classic instrument sounds to push boundaries in your current tracks while still nodding to the queer electronic pioneers of the past?
I’ve always been a fan of how so many genres use 808 percussion, whether it’s Chicago and Detroit house, electroclash, or even hyperpop. I love playing with these already-created sounds and seeing if I can come up with something new.
I always find I create something new, while still commenting on the history of synthesis!
Other articles
The Best Music Software Deals This Week [Live List]
As the music production landscape evolves week by week, so does the opportunity to save on powerful creative tools. New plugin releases, flash sales on VSTs and limited-time deals on music software can appear from any angle, making it harder than ever to keep track of what’s worth your attention. Whether you're looking for the latest bundles on offer, or even deals on exciting virtual instruments, it's as important as ever to stay up to date on what we have to offer. That’s where our live g
How Queer Ballroom Influenced House Music – A Collaborative Event
In a one-of-a-kind event in LA, we rejoiced in the name of house music and its queer origins by taking part in a community vogue ball (presented by Banjee Ball Foundation) after our Roland 909 product demo and giveaway, which followed our initial conference-style panel. It sure was an evening to be remembered with smiles and delight shared all around. Yet, we’re here to dissect the panel discussion, to dig into the real substance of what was discussed. We’ll be covering the main discussion po
Helping You Make It: Seven UK Organisations Creating Change Through Music
Make Music Day celebrates everyone who creates. Meet seven UK organisations helping people find the tools and communities they need to make music and be heard. Music is a universal connector. It’s always there, comforting us through our headphones or uniting a thousand of us on a dark club floor. It rushes in to fill the spaces between us and reminds us of why we are here. But before any of that, it needs to be made. That might mean opening a blank session, recording an idea before it disappe
From Tracks to Traktion - Plugin Boutique X pointblank Event
Our most recent event came in the form of a collaboration with pointblank. This time around, the focus was on the overlap between music creation and content marketing. Nowadays, being a musician kind of goes hand in hand with learning to market yourself in the digital/online sphere, so we thought it was worthwhile to give this topic the due diligence it deserves at a dedicated event. As usual, our event took place as a conference-panel-style discussion, with some interesting and successful vo
