There's something about catching a vibe quickly and then moving on which has always appealed to me.” Sometimes they come out quickly though, and they're always the ones I won’t touch afterwards. “It'd be much better to walk away from a track for a breather, when I think I'm done with it and go back the next day with fresh ears because I often end up with about 50 mixes of a track. What ends up happening is, I'll listen back to what I've done the next day and realise there's elements that could be better, then go back in and alter whatever it is that stuck out to me. “I guess I'm quite an impatient person so I always want to finish the track and move on to something new. I often fall into the trap of finishing a track, exporting it and thinking I'm done with it only to then listen back the next day and realise there's slight tweaks needed - or sometimes whole changes! “The track is finished when I can listen to it without wanting to change anything. How do you know when a track is finished or what advice do you have to complete a track? It's just getting to that starting point that can be tricky.” "Like, if I have some nice chords, I find it so easy to come up with the rest from there. I definitely feel like my major strength as an artist is the ability to respond to quite small or basic elements. “I'll chuck in a random drum break to guide all this usually and gradually build it up from there. Like, if I have some nice chords, I find it so easy to come up with the rest from there My major strength as an artist is the ability to respond to quite small or basic elements. Usually melodies will spring to mind from there and I'll start to jam those over the top. I'll try and lay down a progression that moves me and then let my brain respond to whatever the chords tell it to. “Over the years it's changed so much, and will change generally from track to track these days, but I'd say that generally I'll start with chords.
How does a track typically start structure wise and then progress? I've always kept it incredibly basic and those limitations have pushed me to be more and more creative over the years.” Sure there are tons of endlessly fancier plugins you could use but I really just want to stress that it's not what you use but how you use it. “EQ and reverb are by far my most used and I just know this stuff like the back of my hand. “Honestly, I'd really rather prefer to keep specific plugins to myself as not to give TOO much away but I would say that a great deal of what I always use when I'm working on tunes are the FL stock plugins! oh, and boxes of crappy little percussion instruments, shakers and bits of homemade things I can bash to make noise out of.” " M-Audio controller keyboard, two Adam A7X monitors going into a Focusrite Scarlett 18i20 interface. A couple of Rode NT1A mics which I've used for literally every found sound / percussion or vocal recording on any of my tracks. “Two Technics SL-1210MK7 turntables, two Pioneer 2000NXS2 CDJs going into a Pioneer DJM-850.
Novation Ultra Nova which has been good for live stuff, an old Akai MPC2000XL, Akai APC40, Akai MPX16, a battered Roland SP404 not used since the 'Lemurian' days, though, I do often think about bringing that back. " Roland SH-01A, as I couldn't justify spending the money trying to get an original 101, but wanted to get those glorious lead sounds down.
PIONEER DJM 2000 NXS2 MOVIE
“I'm looking around now though and amidst the absolute mess that is my studio I can see an old Yamaha DX7, mainly used for the Rhodes preset for when I've been trying to capture that ‘80s movie / Spielbergian vibe in my tracks. There is no greater feeling in my life than when a piece of music I'm working on starts to take shape so it's tons of plugins that I've collected for the best part of 20 years, and FL Studio. “To be honest, I've always kinda come from the laptop musician school of keeping it mostly in the box. Tell us about the rest of the gear in your studio. I think the key to proper longevity seems to be: make the music that moves you most and all the other shit will follow.” If you're trying to make music for other people or to try and follow trends, I honestly don't think it lasts. “For me, I have to be totally moved by what I'm working on long before anyone else in the world hears it. There is no greater feeling in my life than when a piece of music I'm working on starts to take shape.
“It's incredibly simple to be honest with you: just make the music you want to hear. What is your overall philosophy or approach when it comes to music (playing, recording, production)?
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