Piet Kämpfer: Protonica and Deep Roots in Trance
Piet Kämpfer is an international DJ, producer, and sound designer based in Berlin who has been active in the progressive trance/psytrance scene for over 20 years. He is best known as the creative force behind Protonica, a German progressive psytrance project that he co-founded with Ralf Dietze in 2003, and which Piet now runs solo. Protonica first gained recognition with the debut album “Search” on AP Records in 2007. Since then, the project has become a respected name in the psytrance scene and has performed at festivals all over the world.
From his teenage years, Piet developed a passion for synthesizers, grooveboxes, and computers, soon realizing his dream of making music into a full-time career. He began composing electronic music at just 14, inspired by the earliest forms of trance music. He usually mentions that the release of Atmos’s epic “The Only Process” in 1999 solidified his love for the genre.
Having established himself as progressive trance producer, Piet is now exploring a new contemporary direction in melodic techno. Because of his roots in Berlin, techno is and has long been part of his life and a source of inspiration. Now, he uses his experience in writing melodies, leads and sequences for Protonica to shape his new style, a fusion of techno and elements of trance.
In addition to his work as a producer, Piet puts his sound design skills to use by regularly releasing new sample and preset packs under his label Kämpfer Audio.
👉 Piet is also using our Waldorf Iridium Keyboard, a powerful machine for creating the craziest sounds. We had the great possibility to also speak to him about it. Continue reading!
How did you start making music?
I started playing music on my grandma’s piano when I was around six years old. In the ’90s, radio was the main source for discovering new music. Every weekend I would tape rave shows like Rave Satellite and Soundgarden, which had a huge influence on me. One show in particular stood out — a broadcast by Marcos Lopez (known for the trance hit Marmion – Schöneberg).
He played a wide range of electronic music, including Goa Trance. These tapes blew my mind, and I listened to them over and over again. Eventually, I bought turntables, a mixer, and a CD player and started DJing. At the same time, I began producing music on a Roland MC-303 and Synapse Audio Orion. One thing led to another: more productions, more gigs — and the wheel started turning.
I started playing music on my grandma’s piano when I was around six years old. In the ’90s, radio was the main source for discovering new music. Every weekend I would tape rave shows like Rave Satellite and Soundgarden, which had a huge influence on me. One show in particular stood out — a broadcast by Marcos Lopez (known for the trance hit Marmion – Schöneberg).
He played a wide range of electronic music, including Goa Trance. These tapes blew my mind, and I listened to them over and over again. Eventually, I bought turntables, a mixer, and a CD player and started DJing. At the same time, I began producing music on a Roland MC-303 and Synapse Audio Orion. One thing led to another: more productions, more gigs — and the wheel started turning.
How did Protonica start?
I started the project with Ralf in the early 2000s. We parted ways about two years ago and now each focus on our own projects. It was a long journey with ups and downs — much like a marriage. Sometimes it lasts forever, and sometimes it doesn’t.
What inspires your music?
Happy accidents in the studio. It’s really that simple. Inspiration usually comes during the production process. I wish I were the type to wake up with a melody in my head — but that just never happens. It’s more about trial and error. Some things stick and become part of the final track, others change completely or get trashed.
Happy accidents in the studio. It’s really that simple. Inspiration usually comes during the production process. I wish I were the type to wake up with a melody in my head — but that just never happens. It’s more about trial and error. Some things stick and become part of the final track, others change completely or get trashed.
The Psytrance scene is connected to a spiritual and psychedelic culture. Does that influence you?
To be honest — not really. I’ve always been more drawn to the sounds, the tracks, and the production itself rather than the spiritual or psychedelic culture around it. Don’t get me wrong — I love performing for the psychedelic community, but I’m not particularly spiritual, nor a hippie.
Producing Psytrance, what defines its sound?
Kick and bass are key. A good combination of the two gets you halfway there. Working in the Phrygian scale helps create those typical Goa-style sequences and melodies. And of course, any kind of wild modulation — like FM — really adds to the sound.
Kick and bass are key. A good combination of the two gets you halfway there. Working in the Phrygian scale helps create those typical Goa-style sequences and melodies. And of course, any kind of wild modulation — like FM — really adds to the sound.
How do you balance personal expression and dancefloor functionality in your music?
Great question! There’s always a bit of a battle between “flow” and “function.” I like to incorporate both in my productions. Too much of one can be boring. In the end, I look for that moment in the studio when something gives me goosebumps — or at least a good gut feeling. And if it makes my head nod and feet move — even better.
You’re now also exploring Melodic Techno. What inspired you?
I’ve always loved both trance and techno. Combining them felt refreshing. Artists like Stephan Bodzin, Boris Brejcha, and Ben Böhmer inspired me. When producing Melodic House/Techno, the approach is different. I focus a lot on chord progressions and finding good harmonies and minimal melodies. The process is also much faster. In Psytrance, you can get lost in the details and complexity, whereas in Melodic Techno, I try to work with as few elements as possible. Handling 20 channels instead of 80 is just more intuitive. I wish I had more time for my Piet Kämpfer project, but for now I have to prioritize Protonica and Kämpfer Audio since they’re my main sources of income. Piet Kämpfer is more of a passion project — and a very competitive market.
I’ve always loved both trance and techno. Combining them felt refreshing. Artists like Stephan Bodzin, Boris Brejcha, and Ben Böhmer inspired me. When producing Melodic House/Techno, the approach is different. I focus a lot on chord progressions and finding good harmonies and minimal melodies. The process is also much faster. In Psytrance, you can get lost in the details and complexity, whereas in Melodic Techno, I try to work with as few elements as possible. Handling 20 channels instead of 80 is just more intuitive. I wish I had more time for my Piet Kämpfer project, but for now I have to prioritize Protonica and Kämpfer Audio since they’re my main sources of income. Piet Kämpfer is more of a passion project — and a very competitive market.
What was your first synth?
The Roland MC-303 Groovebox. God, I loved and hated that thing! But that’s where it all started in my teenage years — learning that box inside out.
What do you appreciate most in a synth?
Excellent filters. They can make or break a sound.
What is the first thing you do when approaching a new synth?
I initialize the sound and just let myself get carried away. I usually start by testing the filters and oscillators.
Using presets or patching your own sounds?
I use about 90% of my own presets. That way, I know exactly what’s going on and can develop a signature sound. But I’m not against factory presets — they can be great starting points. I just don’t like oversized factory banks with thousands of patches. I follow Dieter Rams’ philosophy: less, but better.
I use about 90% of my own presets. That way, I know exactly what’s going on and can develop a signature sound. But I’m not against factory presets — they can be great starting points. I just don’t like oversized factory banks with thousands of patches. I follow Dieter Rams’ philosophy: less, but better.
What are your must-have tools in your studio?
Acoustics — hands down. If your room sounds bad, you won’t make good mixing decisions. I use ADAM Audio speakers because they sound great and help me find sweet spots quickly. Also, a silent MacBook Air — no more fan noise! And of course, Ableton Live and Push.
Acoustics — hands down. If your room sounds bad, you won’t make good mixing decisions. I use ADAM Audio speakers because they sound great and help me find sweet spots quickly. Also, a silent MacBook Air — no more fan noise! And of course, Ableton Live and Push.
What role do Waldorf synths play in your music?
I started with the Blofeld when it came out — loved the design and sound. A friend had a Microwave XT, and I was always jealous! When the Iridium was released, it was love at first sight. The design is so logical and clean — it really feels like a perfectly thought-out instrument.
I started with the Blofeld when it came out — loved the design and sound. A friend had a Microwave XT, and I was always jealous! When the Iridium was released, it was love at first sight. The design is so logical and clean — it really feels like a perfectly thought-out instrument.
Are there specific patches or techniques on the Iridium that became part of your recent productions?
I mainly use the Iridium for creating new patches. Its sound design capabilities are so wide that I can realize 90% of what I imagine. I have a solid reference soundbank now that I also use for creating soundsets for other plugins. And yes, you’ll hear Iridium sounds in many of my tracks. I often prefer simple but effective patches over complex ones. If I want complexity, I build it through layering. The FM engine sounds incredibly clean — much better than older synths like the Nord Lead or Virus. Also, the top end is very pleasant, which I rarely find in other synths. One tip: deactivate the bass boost in the master section. It’s too much in the low end for my taste — and you’d cut it in the mix anyway.
What time will we most likely find you in the studio?
Since becoming a father six years ago, my schedule has changed completely. I’m usually most creative between 11am and 4pm, and sometimes again from 8pm to 10pm after my daughter is asleep. I used to work late at night, but now it makes more sense to use the day.
Since becoming a father six years ago, my schedule has changed completely. I’m usually most creative between 11am and 4pm, and sometimes again from 8pm to 10pm after my daughter is asleep. I used to work late at night, but now it makes more sense to use the day.
Do you follow a specific workflow when starting a new project?
I usually start with drums and bass (which I refine later), followed by groove elements like percussions, crashes, and FX. Once I get a basic beat going that makes my head nod a bit, I move on to leads and sequences — and finally to pads, atmospheres, and voices. “Ordnung muss sein” — I try to focus on fewer elements but to a very high degree. I use a color-coding system in my DAW: kick and bass are red, drums are orange, and so on. It helps me keep track, especially in large projects with up to 100 channels. I’m very meticulous with that — I’m a visual type and it helps me concentrate better. Psytrance tracks can get very complex.
What are you working on?
A new breakbeat track — maybe for an album intro, we’ll see. Also working on new sample and preset packs for Kämpfer Audio.
What advice would you give to new producers?
Be brave and take risks. Don’t make decisions out of fear — go with what you want and believe in. Be patient. Follow your heart more than trends. Spend more time experimenting on your own rather than just watching YouTube tutorials. Your happy accidents will make you unique.
Be brave and take risks. Don’t make decisions out of fear — go with what you want and believe in. Be patient. Follow your heart more than trends. Spend more time experimenting on your own rather than just watching YouTube tutorials. Your happy accidents will make you unique.
