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A live show for me always had to be set up to let people participate in the process of creating music in real-time, which means it was always also about displaying everything I’m doing live in the best way. Please welcome (high)Please welcome (normal)WelcomeThis isAre you readyYou are now in sessionYou are listening to the best music in the universe.This is the What made you want to develop a live show beyond just DJing?Fully produced and mastered, just as you hear them 47 DJ Drop Samples fully mastered with voice effects, delivered in 320 mp3 format and includes royalty free.“I was never a good DJ I guess, so right after getting into that touring business in 2005, I started developing something that fits more to my needs and qualities. Radio quality DJ drop to your emailCustom Professional Audio Have your custom DJ Intro or drop.DJ Drop Samples Fully produced and mastered, just as you hear them 47 DJ Drop Samples fully mastered with voice effects, delivered in 320 mp3 format and includes royalty free commercial license. His contagious energy paired with his custom setup means he’s developed a unique approach to live electronic music that sees him constantly tweaking both his tech and approach, 16 years after his first live shows. We caught up with him on the verge of his new album, ‘Boavista’, to find out how he re-developed his set during lockdown, why he’s not a DJ, and the importance of improvisation.You read it right, our first Free DJ Drops Samples Pack.
There is not any other instrument out there which I'd rather use to bring those instant feelings you get when playing live on tape, on stage.“For the ‘Boavista’ tour, and from now on, I added two more buddies. I've had my hands on a Moog for more than 40 years now and still can't get enough of its raw power and unique and alive attitude. I'm still in love with it and can't imagine any better weapon on stage.“Then I have the Moog Sub37 of course, which is the backbone of my music and my live set. I developed it in 2015 with the album ‘Powers of Ten’ and improved it step-by-step to what it is now: it's probably the only MIDI controller that makes the laptop become a real and very intuitive instrument and allows me to access more parameters than I ever used since back then. Trying to put ear and eye in sync has always been the main challenge when it came to creating a concept, new gear and visuals.”“The main gear is that custom MIDI controller most of you know by now.
I also have the Moog Matriarch semi-modular synthesizer. It'll help me top up those pre-produced beats coming from the laptop with some real dirty and loud, or very fragile and digital bits. It’s a digital-based drum computer with very intuitive parameter access and such a wide range of sounds. You hear something by witnessing visually that I’m processing it at that moment.“Since I worked a lot with it on the ‘Boavista’ album, I added a Modor DR-2 drum machine. The crowd immediately gets how ‘live’ my live set is. I love the fact those LEDs are reactive to when I'm turning knobs and stuff.
The workflow of this controller is so much above anything out there on the controller market — as far as I know — and makes me just do what I want at any time. This naturally resulted in creating not only music but gear too. This will lead to random results, random errors and random highlights too, I assume.”Why did you feel you needed a custom mixer?“I was never happy with standard gear, general setups or producing with factory presets. That means I have to create any sound from scratch and very much live. For me what’s very important is that this synth doesn't save any presets. Its character is so different to the Sub37 and it also played an important role in producing the ‘Boavista’ album.
In general, I prepare scenes on Ableton for each track, which lead me through the main parts of it and help me mix to any track I want to jump to. It's the control of the drops first of all, when and how intense they go up and/or down, how much I support them with drumming or live playing on the outboard. The improvisational part of the show is very important. It’s improving and changing from show to show and there’s always something I'm not happy with.
A perfect fit!”Do you think about playing live when you’re making tracks in the studio?“Sure I do here and there. He's the main man behind the scenes and taking care of everything around my tour. Big up to my main tour manager Christoph Gerstner here. It’s around 100kg of gear including the superheavy cases that ensure nothing breaks at the airport after a nice three-metre drop from the belt. I own two-and-a-half full setups and up to three tour managers — OK, I don't really own them — to keep up with the sometimes super-tight schedule. Smaller ones can be solved on stage, others have to be replaced on the next show by backup equipment.
Try being you as much as you can and clearly show that people are witnessing a live show, not any DJ playing records. Don’t go for what you’ve seen already. But I love them all and couldn't manage to choose between them.”What advice would you give to someone who wanted to take their studio on the road but didn’t know where to start?“How can I say it? Just bring your studio on the road and start!“Seriously, being unique, being authentic, being creative at any time will lead to interesting results.
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