record -- all of this wild shit that is so normal now for a D.J. They were the first I heard doing it, and they were also doing it so well. That really changed a lot of views, and also the energy was incredible.album around that time, and he would play tribal techno stuff, then Nitzer Ebb, then a really hard, bass-y DJ Koze record, which was just noise basically. That was a different context, but powerful energy.This E-mu ESI-4000 sampler. It's a big rack and you had these zip disks.
So I asked him, and he's like, “Yeah, it's going to be expensive, because these are all small mirrors." But we did it, and it's been sitting in my home. I took it with me on tour one time. I took it to I Love Techno, the festival in Montpellier, France. I put it up on on this big stage, but it looked so tiny. It was hanging above my decks and it just looked minuscule from the stage. Now it's just a piece of art.
I'm constantly looking for new ways to create sounds and even compose. A few years back, it would just be buying a new drum machine or buying a few new plugins. Now it's gone way more extreme, into even how I sequence stuff and building my own instrument with the modular system. Sometimes, I wish I had more an idea about what I want to do in the studio -- but I'll just make something, and go from there.
There's a difference between being in the producer role and or being the musician, because sometimes I'm just the producer. When I sit in that seat, I try to do the best for the artist and that sound. I put my touch on it, but I'm trying to get where the other the musician or artist wants to go.
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