Interviews

TF: How did you get involved in electronic music?

I discovered synthesizers by way of Depeche Mode and New Order, after moving and living in the US for a couple of years. I had already been playing piano since the age of four, and had already been composing. I got heavily involved with synthesis after that. I started DJing when I was about 13, after seeing a couple of my Uncles mix at a family reunion. It all just kind of came together into one big musical pot for me. As far as house and techno, my older cousin Wayne, was DJing in college in New York and sent me a mix tape one summer. It was him DJing at a college radio station, with early house and techno; Todd Terry, Transmat stuff, etc… I was hooked.

TF: Can we look for any new projects or remixes coming from you soon?

Absolutely! I’ve just finished remixes for Tom Budden on his Alive label, 3 guest vocals (2 of which I co-wrote) on the latest Oscar G album, as well as a remix for his first single “Back To You”. I also just did a remix for the latest Lobotomy record called “The Vessel” by an artist named Danny Bonnici. Also, I started a new label project with my good friend Oscar G, called Three-O-Five Digital. The first EP entitled the “Made In Miami EP” features stuff from myself, Oscar, as well as Lazaro Casanova and Noise Artistry. Oscar and I will be doing more stuff for the label ourselves soon, as well as remixing some of the projects we sign. Hopefully, after the summer, I’ll get to writing and pre-production of my album followup to last year’s “The Narrowest of Paths”.

TF: How has producing music changed for you since you first started?

The landscape has changed quite a bit. When I started, I was still using tape and all analogue sources. My studio is now 100 % digital. But, I’m still able to use any of my old classic gear I want to. It’s crazy how a studio really now is honed down to what computer and software you’re using, as well as the controllers you use to find your way around your D.A.W. and V.I.s. And, of course your monitors. It’s pretty nuts. Some of the best music I’m hearing lately has been made on a basic laptop, a basic D.A.W. and a whole lotta heart and soul!

TF: Lets get inside your studio a bit. Can you tell us what products you are using on a daily basis and what that process looks like?

I’m probably going to sound like a company man here, as I’m officially endorsed by Avid (Digidesign/M-Audio/Sibelius). But, I won’t talk about, use, or promote something I’m not a firm believer in and user of. So, let’s see…

TF: There seems to be a trend with a lot of high profile artists having other people mix and produce there material. How do you feel about that and do you do all your own productions?

If you’re not a medical doctor, don’t walk into a hospital and say that you’re ready to see patients. I abhor the idea of someone having another person create a song for them. It’s unreal. Picasso didn’t outsource his stuff. That whole thing needs to stop. Producing an artist is one thing. But, having someone else just do all the work is just…I don’t even have a word for it. If you can’t create, write, or produce music, go and do something else. If you have to use a sync button to DJ, go do something else. I don’t mean to sound mean. But, I think it’s a total spit in the face to those of us who have worked so hard on our art.

TF: Is there any one piece of equipment or software that you can not live without?

My Brita water filter! Oh, you mean in the studio? I can’t see myself living without Pro Tools. It’s become this really amazing creative juggernaut. I’m proud to have had something to do with some of the “stuff” in version 8. And, of course, the conversion and audio quality is unmatched.

TF: Do you have a crew of people that you bounce material off of before you release it to the public?

Sure. My 12 year old Dalmatian, Jak, hears everything first. Actually, he’s with me in the studio at conception. If he leaves the room, I know I must be doing something right, because he seems to hate Techno. He does love when I play classical piano though. I’ll run stuff by Oscar G quite a bit. I trust his ears almost more than mine. And, it’s really convenient that he lives down the street. I can pop over to his place and listen on his club system in his studio. Also, my good friend Santos, in Puerto Rico. But, for the most part, I trust my gut, instincts, heart, soul, and ears. At the end of the day, it’s what I’m trying to express and communicate. No one else can do that for me.

TF: Mastering has become more sought after for many artists, especially with more and more digital tracks being released. Do you send your material out to be mastered or do you do it yourself.

I’ve been mastering my own stuff now for a couple of years. I started mastering about 8 years ago by accident. I started learning the craft, and over the years have become comfortable mastering my own stuff. I also master stuff for a few other people. There are times with my own stuff that I just don’t feel like I can do it justice. For those times, I trust 2 different people/companies: Oliver Lieb or Time Tools (who also master stuff for Depeche Mode).

TF: If you could offer any advice for up and coming producers what would it be?

Just about anything I’d say here is going to sound cliché’. But, I’d say #1 is to stay humble. Listen. There’s a lot to learn from those who know what they’re doing, and from those who have no clue what they’re doing. Learn from everyone and everything. Practice, practice, practice. And pray…a lot…seriously. Prayer and faith has gotten me through every difficult situation I find myself in within this crazy industry.

TF:Thanks for your time Greg!

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