Techno Producer / Mix Master

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I don't regret doing any of my projects so far and I'm really lucky to have worked with musicians and producers in many different situations, which ultimately brought more knowledge to the matter. Nevertheless my last piece "Alchemist EP" does include Samuel L Session remix, an artist I'm admiring ever since I'm into techno, since maybe 20 years or my first vinyl that I bought. I can't say about feeling proud but it really feels like a divine gift every time I'm working with such legends on a project.

Q: What are you working on at the moment?

A: Working on migrating my sound from tech- and deep house into acid and techno.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I'm new to SoundBetter, so I'm looking to get to know other people that share similar values.

Q: Analog or digital and why?

A: Analog all the way. It is present, it is characteristic and musical. Although for some areas you need the digital accuracy to make up for the analog imperfections. In the end 99,9% of the recording is done on a digital machine nowadays, even if say warmed up with a tape or similar. So we have to get real the only way to securely control this digital sound is by means of using digital algorithms correctly.

Q: What's your 'promise' to your clients?

A: If we get down to making a project together we will have a lot of fun and get onto a creative journey towards unique music.

Q: What do you like most about your job?

A: The music is not a "job" for me. I've had bad experience in the past when it comes to making a living out of music. It can lead to loss of inspiration and destroy the life out of your sound. That's why I'm trying to keep my work as clean as possible from the business side. Any business relationships I'm holding still are a process of mutual goals and respect for the music. That's how I'm always staying motivated and happy with what I do and can enjoy also the monetary fruits of my achievements.

Q: What questions do customers most commonly ask you? What's your answer?

A: The people are always looking for assurances and guarantees as if music is a physical product. Most of my references in ghost production are obviously kept secret because of terms. In all cases it depends on the artist/performer what he will achieve with the music after it's cooked ready. What matters to me is that the sound will fit both my client's portfolio and we will be enjoying the sound in the end.

Q: What's the biggest misconception about what you do?

A: That a good music track definitely makes it to the charts. Nowadays there are over 100 mio tracks on Apple music isolated. It's really easy to get your music out there and expecting that anyone would hear it because it's been released is going to be disappointing. Music career is something that one has to plan from every perspective and do genuinely and differently than everyone else to ensure good impact. Therefore the whole process of successful music making is in the organization and planning, of course quality of execution is decisive, but before making a track - ask yourself - does your target match your resources and readiness?

Q: What questions do you ask prospective clients?

A: First and most important what's the goal. Is it something that would be released or something that they are doing for fun. Is it a piece that would mostly be performed or rather created for listening purposes. Not unimportant is the story of the track and the performer/group. I would not work with "can you make a track like ****" if it's the only information I've got on the table. Music making is a creative process, so if the client is willing to spend some time in specifying what they want it's surely more targeted process and chances something good will happen to the production increase with this level of passion.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Be honest with yourself - are you looking for someone to do the job or rather someone to understand your musical interest, desire and feelings? If you are looking for the first one - there are tons of producers that wouldn't turn you back. I'm not always agreeing upon working with everyone for the reason I have to be on the same page with them. But there's no risk of asking and discussing before going into production together.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Solar panel, battery, Macbook, my RME Soundcard and a good pair of studio headphones. I can't image anything else would work in these conditions.

Q: What was your career path? How long have you been doing this?

A: I've started doing parties at the age of 14, as it was still possible in my country. It's been almost 20 years from that point that I'm still doing it. At the beginning it was more about the mixing and playing at events whereas now I'm more focused on production and sound design. However I'm always looking at taking part for a good party.

Q: How would you describe your style?

A: I'm mostly roaming between electronic and acoustic, organic and synthetic, yet danceful and uplifting, but serious and deep.

Q: Which artist would you like to work with and why?

A: I won't hide I always adored Trentemoller, he really proves that music is what drives your career and not trends or money. I never get disappointed with any piece he released, mainly because he feels what he does.

Q: Can you share one music production tip?

A: Always ask yourself is this really how I want it to sound, instead of reaching for an industry standard or comparing to other pieces.

Q: What type of music do you usually work on?

A: Electronic. Techno, tech-house and dub. There are times where I need something more acoustic and soulful like reggae or RnB soul (guitars, bass, rhodes etc..), where I refill and recharge my desire to listen to electronic sound again. There were times when I was doing very diverse music and could even go to metal, space rock, jazz or even movie soundscapes. Whatever needed to inspire myself.

Q: What's your strongest skill?

A: Patience. Even the worst sounding materials I've worked with could sound decent in the end, just because I'm not lazy or cutting quality for the purpose of releasing quantity.

Q: What do you bring to a song?

A: My heart.. I'd lie if I say music is done by writing scores and playing on patterns. I avoid using any kind of premade loops, chords or ready made sample banks. My biggest nightmare when I was starting with music production was to release a song, that actually contained samples that you can hear in many other tracks thereafter. That's why I'm trying always to tweak and generate and record my sounds separately for each individual track. I know it's a slow process but it's like cooking pasta. You can get a frozen one and put it in the microwave or actually pick the individual products carefully, take your time to get the sauce right and enjoy it to the fullest.

Q: What's your typical work process?

A: I'd always start from the feeling. If my inspiration hits I'm always writing down a rough sketch of the music buzzing between my ears. Mostly it happens directly in my DAW using software synths to ensure I am quick before I forget or wash out the details inside my imagination. At later point I can always exchange synths and add hardware/acoustic factors in the track. Once I've got a good skeleton I'd approach exact arrangement, go for details, add effects, automations and go the extra mile for the detail. The rest is a careful listening process where mixing meets mastering to make sure it sounds equal to all sonic output sources.

Q: Tell us about your studio setup.

A: I'm using Mac for basis and relying on minimalistic, but not minimal setup. I rely on RME/Adam Audio for my end sound, although I'm also using calibration system to make up for the acoustic imperfections for the process of mixing.mastering. Nevertheless combining a good amount of hardware synths/drums with software such, carefully selected from years of filthering plungin vendors, wherever the hardware cannot deliver upon the creative process. The same goes for the mixing/mastering process, where I mostly rely on my hardware EQ/1176 Compression as well as other analog gate or limiting devices and reach for the digital ones for finalization or little details, that require powerful digital algorithms, such as spectral analysis and editing, mastering finalization and fine tuning. I'm also big fan of electric and acoustic guitars, also guitar pedals inbetween all the electronic equipment, which I also happen to possess and implement whenever I feel like.

Q: What other musicians or music production professionals inspire you?

A: It depends on my current mood, however there are icons like Jeff Mills, Jichael Mackson, Trentemoller or even John Digweed, that would always give me boost when i think of. There are literally hundreds of great producers I'm listening to, mainly because I also DJ, so being specific in this area is difficult as the music industry always moves.

Q: Describe the most common type of work you do for your clients.

A: - Music production - Mixing - Mastering