We had her on Plazmatic Sessions a while back, and now we’re counting down to her performance at Minimal Mondays Zurich. But we couldn’t stop there. We had to go deeper—into the nitty-gritty, the raw and unfiltered, with an exclusive interview

Introducing, once again, Sophia Duvoy, better known as Sophia Sigma, who brings a fusion of Parisian edge and Armenian-Russian roots to to our community and the electronic music scene at large. Bold, authentic, and impossible to ignore.

Sophia Sigma doesn’t just make music—she lives it. Techno became her lifeline and a refuge during a time of major life shifts, fueling a sound that is immersive, raw, and unapologetically real.

Her productions are rich with bold synths, evocative vocals, and the signature grit of the Behringer 303. But what truly sets her apart is the clash of influences that shaped her—classical training, punk defiance, and rock’s untamed energy—all colliding to create tracks that are both intense and deeply emotional.

Her path hasn’t been without obstacles. In an industry still plagued by bias, she has faced stalking, creative theft, and the uphill battle of being a woman in electronic music. Yet, these experiences have only strengthened her resolve, reinforcing her dedication to integrity, artistic independence, and building meaningful connections within the techno community.

Today, Sophia keeps pushing forward, striving for consistent live performances, festival appearances, and game-changing collaborations. Her resilience, emotional depth, and fearless artistic exploration place her among the defining voices in contemporary electronic music—one who doesn’t just create sound but sparks conversations about authenticity, perseverance, and the essence of true artistry.

What are you waiting for?? Read on and step inside Sophia Sigma’s world—we promise you a story worth telling.

To begin with, what is your full name, age, and where are you from?

Sophia Duvoy, 38. I was born in Armenia, spent my childhood in Russia, and grew up mostly in France.

What initially sparked your interest in music?

I was born into music—everyone in my family is musical, but I mainly got it from my dad, who is a professional musician.

Is music your sole occupation, or do you engage in another profession or career alongside it? Furthermore, how do you prefer to unwind and enjoy your free time outside of work commitments?

I’ve been working in tech for over 14 years, so I’m very curious and passionate about fintech, startups, and business scaling and development. My free time mainly goes to music, cooking, lots of walking, painting, reading whenever I feel inspired, and of course, writing music.

Sophia, in one interview you mentioned that music saved your life. Could you share more about that turning point? What was happening at the time, and how has that life-changing experience influenced the emotional depth and authenticity of your music today?

I hit rock bottom, experiencing losses in my life and finding myself in an abusive relationship. After losing everything, music was essentially all I had left. I also had major health issues, which left me unable to get out of bed—I physically couldn’t move. At that point, I decided to refocus on music again, mainly to keep my mind busy.

Before techno and DJing, I was a vocalist and songwriter in alternative rock, punk, and metal bands. I couldn’t go back to that, but DJing was definitely something I could do. That’s how it all started.

You’ve also mentioned music was always a part of your life, but it was only recently that you fully committed to it professionally. What triggered this ‘wake-up call’? Could you share what you were doing before music became your main focus, and describe the specific moment or realization that convinced you it was time to fully embrace your music career?

Love this question. I was born into music and attended a conservatory for four years to learn violin, but I didn’t enjoy it. Instead, I began teaching myself piano, and my dad taught me guitar. However, music was always supposed to remain a “hobby.” In my culture—of Kurdish-Yezidi origins—it’s considered unacceptable for a woman to pursue music as a career, so I was only allowed to have it as a hobby. I really hate this word. I prefer talking about passion because “hobby” suggests a failed career—it’s quite telling. So, I decided either you fully commit or you don’t do it at all.

As I grew older, I decided to pursue my passion again and started singing in rock bands while performing theater at Cours Clément in Paris for three years, but still just as a “hobby”. Ten years ago, I attended my first techno gig, and it resonated deeply with me, prompting me to start DJing privately—a “bedroom DJ”, as people like to call it—though again, still considered a hobby.

Long story short, in 2022 I hit that rock bottom. I hated what I was doing with my life, the personal situation I was in, and the toxic people around me. That’s when I decided to change everything and fully focus on what I love. Since then, I haven’t stopped, and I began taking music more seriously.

The real turning point came in April 2023 when I traveled to Tulum and found opportunities to DJ at underground techno clubs and beach parties. That feeling was incredible—it was a pivotal moment. It also made me realize that rock bottom can actually be beneficial. When you have nothing to lose, you no longer worry about other people’s opinions. You just tell yourself there’s no way back to the life you had before. My new life had to cost me my previous one.

Having started as a singer in rock bands, how did that chapter of your journey in music shape your approach to vocals in your electronic productions? What elements from the raw energy and storytelling of rock do you still incorporate into your tracks today?

I’ve always used my vocal and writing skills as an advantage, especially when approaching other artists for collaborations or offering my services. It also shaped my approach to production and songwriting. When I start producing, I already have an idea of where I want the track to go. Often, the production evolves and adds something new, but my vocals usually help emphasize the genre. This flexibility also gives me options to explore multiple genres. I don’t like limiting myself—I believe we are artists at our core, and authenticity is what truly defines us. My vocal and writing skills are the most authentic part of me.

Another element I carry from the raw energy of rock is the rebellious spirit. Techno artists are essentially punks at heart—rebellious lovers—and I carry this in my blood, education, and everything that shaped me. It helps me sense people and truly see what’s beneath the surface, allowing me to create music that’s deeply intense. My aim is for listeners to experience emotions they weren’t even aware they had.

For example, I produced a track for the film When The Music Ends by the amazing Rebekkah. One of the actresses reached out to me afterward because, during a particular scene, you can hear my track building tension—escalating almost like a heartbeat. She told me the music made her feel fully immersed in her role, and everyone on set noticed it. This is exactly what I want. It’s a special, intimate connection I now have forever with that person through my music.

All of this stems from my rock background and punk spirit. I’ll continue to channel that into my music because light cannot exist without darkness.

The electronic music industry remains predominantly male. Sophia, what has your personal experience been like navigating this space—have you encountered specific biases, obstacles, or moments that stood out to you as particularly challenging?

Love this question. I had a negative experience once last year in Ibiza, mainly with two artists. One is quite well-known in the scene, but to be honest, I felt like it was more a case of miscommunication. The other person, who was there to learn just like myself, was very mean and kept provoking me—calling female DJs “peroxide blondes with big tits and fake eyelashes“, or “spoiled twats who can’t DJ“. When I called him out, he became angry and started bullying me in the organization’s WhatsApp group, which was full of men. He asked them, “Am I being misogynistic?” Like, huh? He was an awful, extremely misogynistic person, accusing me of having an attitude just because I stood up for myself when he insulted me.

Aside from this, I’ve also had terrible experiences through DMs with some male artists I actually supported. They were insulting and condescending. At certain points, I even exposed them publicly by sharing their messages and voice notes, and I’ll continue doing so—I’m not scared of anybody.

On the other hand, I’ve experienced the total opposite—amazing male artists who’ve not only supported me but defended me when these things happened. My mentor Robert Babicz, my tutor Jeffrey Deplaag, Stimming, Benny Benassi, who communicates so kindly, Alex LND, and many, many others. My point isn’t to name-drop but to show there are genuinely amazing artists out there supporting female talent in techno. They did everything to encourage, push, and motivate me.

These negative incidents do happen, but thankfully, they’re quite rare, and those who behave like this don’t generally have a good reputation. When you think about it, if you’re a genuinely happy, accomplished artist, you don’t need to put anyone else down, whether they’re women or men. Those who do behave this way usually aren’t even respected by other men, so they project their anger onto female artists.

 What is the most significant sacrifice you’ve had to make or continue to make in pursuing your passion for music?

I almost never travel for fun. I rarely go shopping. It all costs money. I also decided to get sober, which in this scene is much better anyway, since most of my friends here are sober as well. It cost me my social life, but I don’t mind, including losing all the so-called fake friends who simply disappeared. You also become more paranoid and careful with people because you never know if they like you for who you are or if they want something from you, making you more selective and isolated. All the money I save by not traveling, shopping, or drinking goes into expensive music gear, training, learning, and producing.

What’s your creative approach in the studio? Are you highly structured and organized, or do you lean towards spontaneity and improvisation? How do you find a balance between planning and creative freedom in your production workflow?

I am the most chaotic person. 🙂 I completely go into improvisation mode, even though I might already have some lyrics or a melody in mind that I’ve started writing. Usually, I first dig around for some new ideas, even if I already have something planned, and then fully dive into improvisation. My co-producer Mau Montekio helped me a lot—especially at the beginning when my production wasn’t quite there yet—and we still work together closely. So yes, I’d say spontaneous and totally improvised.

Could you walk us through how you typically begin working on a new track, and what signals or feelings tell you that it’s truly finished and ready for release?

First, I need to find the general idea—or let’s say, the message. Once I have that, I start with the synth, lead synth, bass sound—all the melodic parts. Then I move on to the kick. I usually produce in two or three segments: I create the first one to two minutes, then move forward section by section. Once the instrumental is done, I record the vocals at the end and might make further adjustments afterward. Then I send it to a couple of friends who give me their feedback, saying yes or no.

I usually let the track rest for two or three weeks, and when I return to it, I listen again and might make additional changes. Sometimes I realize it’s not good enough, and I start over completely. But if my initial impression still holds, then I know it’s ready for release.

A while back, you spent a week under the mentorship of Robert Babicz and Stimming. Could you describe that experience? What specific lessons or insights did you gain from their coaching, and how has it influenced your approach to music production and performance?

They are both so amazing. They taught me a lot about production, and since they both perform live, it was valuable to see what it’s like being a live techno artist. Stimming was very encouraging and motivating—he’s precise and emphasizes the importance of confidence, character, and personality in the industry. I remember he pulled me aside the day before he left and told me, “There’s something you have—character, drive, and personality. You need to hold onto that and build on it, because you’ll need it in this scene“. That was especially meaningful coming from him.

Robert is a very empathetic and intuitive artist. He has such a deep perception of music and creativity and taught me a lot about mixing, producing, intuition in music, and creativity itself. We’re still in touch, and he’s always very supportive. I really look up to him—not just because he’s an inspiring artist, but also as a human being. Many times, whenever I felt down or doubted myself, I would chat with him, and suddenly things would make more sense. He’s been in the scene for so long that his advice always provides clarity and direction.

It was truly an amazing experience, and I’m deeply grateful to both of them.

You’ve spoken about both talent and hard work. In your experience, what’s the balance between natural ability and the persistent effort required—like practice, experimentation, and overcoming industry obstacles?

This is very interesting. I think passion or talent combined with perseverance creates something called “GRIT”. You need to have GRIT and undeniable faith in yourself, believing this is truly what you want, and then you have to put in the hard work. Artists and professional athletes are very similar in this way—they sacrifice everything for their passion, dedicating themselves without even knowing if they’ll achieve their professional goals. Music works exactly the same way.

Those who persist might indeed be talented, but I’m sure there are even more talented people out there who either didn’t want to put in the work or simply didn’t get the chances I’ve had, which is understandable. Believing talent alone is enough is an urban legend. Doing this in my thirties is an advantage—I would probably have broken down multiple times if I started in my twenties, so maturity definitely helps.

The right balance is knowing your passion and purpose clearly, and saying NO to anything and everything that doesn’t lead you toward that. If you do that, you’re at least on the right track.

Many artists actively emulate others—either consciously or subconsciously—as part of their creative growth. Do you find yourself doing this, and if so, how exactly do you integrate those influences into your own music?

My biggest influences are punk and rock bands from the ’90s or even earlier—Prodigy, Metallica, Deep Purple, Queen, AC/DC, Evanescence. I always try to channel their energy, which might seem chaotic but is still artistic. I don’t even do it consciously; it comes naturally. My other major inspirations in techno are Kevin Saunderson, Nina Kraviz, K-Hand—all those Detroit techno artists. I discovered them through my dad, who used to listen to and mix their vinyl records. It’s like a heritage that continuously inspires my own music creation.

What are some of the key messages or themes you aim to convey through your music?

I feel like we live in a world where having emotions isn’t okay anymore. Social media teaches us to act like we don’t care, live as if nothing matters, to see ourselves as the main character—all of this delusional thinking only leads to greater isolation. I want the opposite in my music. When you listen, I want you to experience raw, deep, intense emotions that make you feel almost monstrous, unrecognizable to yourself.

I also want to show that techno is about passion, not fashion. It’s very sad and uncomfortable to see artists stealing music from others, which has happened to me as well. For instance, there’s this female Ukrainian artist who has been copying my music, art, style, branding—essentially my entire personality—for over a year now, maybe even two. It’s genuinely sad because, ultimately, you can’t steal someone’s soul or essence. People have noticed this and keep reaching out to tell me. This is why I encourage artists to embrace their own personalities, to sacrifice trends in favor of authenticity, and to return the scene to real artists. Techno is a movement, a community, a space where outcasts can feel seen again. Through my music and art, I want to make the invisible meaningful and visible.

There are also certain choices I’ve made—though these might change someday, who knows—but for now, I try to stick to them. For example, I limit my social media presence exclusively to Instagram. I’m intentionally not on TikTok as a kind of self-test to see if an artist can succeed without it. The more we depend on social media, the riskier it becomes for artists. I’d love it if we could focus more on music and less on creating content—this is another important message for me, and you can even see it when I’m venting on Threads or Instagram. (Haha!)

If your music were a visual art piece, what would it look like, and what emotions would it evoke?

I’d probably say Melancholy by Edvard Munch. It evokes a kind of Slavic sadness. When I look at that piece, I feel sad but also at peace—a feeling of déjà vu. I also have certain imagery in my mind: cassette tapes from the ’90s, Polaroids, the sound of kids playing loudly while you watch from your window, wondering who’s there so you can go and join. It’s a blend of past, present, and future combined into one type of art. Not sure if that makes sense, but that’s the feeling.

With increased visibility comes challenges. Have you had to deal with issues like stalkers or invasive fans? How do you maintain your personal boundaries while staying connected with your audience?

Oh yes, absolutely—especially with so-called “new friends”, who have mainly been women. Unfortunately, when it comes to stalking, I’ve only had female stalkers. They quickly objectify you, fantasize about your life, and become very intrusive about everything—what you do, where you go, who you date. Friendships I tried to build sometimes ended badly because I felt almost like their boyfriend trying to end a romantic relationship. That’s usually when the stalking begins.

Recently, I had a stalker like this. I had to end the relationship because she was literally keeping tabs on who I followed, asking me questions so she could then go check that information online or find out even more details. It’s quite scary, but fortunately, it doesn’t happen often.

What are your go-to music production tools and instruments?

Ableton, piano, occasionally guitar, my voice (of course), and the Behringer 303.

Whether it’s remixes or original collaborations, how do you approach working with other artists? What do you value most in a collaborative process?

I really value professional chemistry. It’s important that we’re on the same page, and I appreciate humility. I don’t like working with people who act as if they’re doing me a favor when we’re in this together—usually, I just stop. I enjoy collaborations that are intuitive and truly collaborative. Empathy is especially important to me; everything else tends to flow naturally from there.

Are there any artists or producers you dream of collaborating with in the future, and if so, what do you hope to achieve through these collaborations?

Absolutely—Benny Benassi, David Guetta, Kevin Saunderson, Robert Babicz, Stimming, Jeff Mills, and many others.

Can you tell us about your DJ debut? Where did it happen and how did it unfold?

I started in Paris around 2017, just for fun at a studio, and then stopped. During COVID, I bought myself a small controller to casually play at home, and that’s how it all began.

How do you usually prepare before a gig? How much space do you leave for improvisation in your sets?

I carefully curate my tracklist and test it out in a studio, making sure the tracks are in the right order. Building a story is very important to me. Usually, the first 20 minutes of my set are carefully planned, and after that, I go fully into improvisation. For example, I played a set of almost four hours at ADE in 2023, where only the first 30 minutes were prepared—the rest was completely improvised, and it was quite fun.

You’re set to perform at Minimal Mondays Zurich on March 24, 2025. How are you preparing for this debut, and what can attendees expect from your set? ​

I’m so happy and excited—I’m really looking forward to playing for you guys! Thanks for having me. At first, I prepared a playlist and tested it at the studio, but I wasn’t happy with the curation and track order. So I went back home and curated another set of 25 tracks, which I’ll be testing again this week. After that, we’re good to go!

What is your standard or most preferred technical setup for the performance?

The Pioneer RX3 or classic DJM mixers along with the CDJ 2000 Nexus are my preferred setups—they’re good to go.

In your opinion, what are some key elements that make a DJ set memorable and leave a lasting impact on the audience?

I think the tracks you select are extremely important, along with smooth transitions. A set should be an immersive experience—building and creating tension is essential for leaving a lasting impact.