by Native Instruments

Sketching with Cazal Organism

Watch Cazal Organism deconstruct his contribution to Native Sketches.

Native Sketches is the result of a simple challenge, posed to 25 producers and beat-making talents from around the world: Create a new musical idea using Native Instruments software and hardware. In this video, LA-based producer Cazal Organism retraces the process behind his sketch – from iMASCHINE improv, to finished product.


Ulpiano Cuba Reyes, son of Mellow Man Ace and nephew of Cypress Hill’s Sen Dog, has music in his veins. As Cazal Organism, he creates his own brand of free-form hip hop, fused with jazz, funk, and afro-Cuban influences. His sketch grew from iMASCHINE 2 chords – taken from the Helios Ray expansion – to include MASCHINE drums, MONARK bass, and an FM8 lead.

Watch the video to find out how Cazal Organism’s sketch came together, then read on to learn about the intentions behind it.

What does sketching mean to you?

All my tracks start as sketches – it’s literally the origin for a lot of my work. For me, to sketch is just to jot down an idea. Literally, taking an idea, and putting it down without worrying about logistics or what I’m going to do with it. I get my idea across, then I put it aside and save it for myself to come back to and finish later.


What did you want to achieve with your sketch?

With this sketch, in particular, I wanted to do something that I’d want to release myself. Like, “Okay, this isn’t for any project. This is just for me to while out how I normally do.” In a sense, that’s exactly how I create a lot of tracks – and with these sounds too. Especially the drums – I’m always using drums from the original Maschine library, though I’ve tweaked them through the years. I just wanted to do something really casual. I didn’t want to force myself to think too much about it – just be very relaxed and feel at home.


How did you find the Native Sketches challenge?

It actually came very naturally, since I use so much of the Native ]catalog in everything I do – from the synths to samples, to Maschine. Initially, I couldn’t stop making sketches; I think I had like five in total. It was just very normal, very typical of how I work.


What’s the best production advice you’ve ever been given?

Not to force anything – just to let things happen naturally. There’s a lot of pressure, I think, especially on younger kids who get into production, to always be working on something. But that’s not always helpful. I think letting things be natural and fluid is really important.

Click below to hear 24 other works-in-progress from 2018’s brightest beat-making talents.

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