Upcoming Guests – Taking Interview Questions for the Following Acts:
Kyle Geiger, Esther Duijn, Gabriella Vergilov, Eric Cloutier, Drumcell
General Questions/Topics: Submit anything at any time. Need music or studio advice? Curious about our thoughts on something? Have a guest request? Need help with your failing relationship? The boys will solve everything!
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Who is the greatest action star from Hollywood in the 1980s?
I live on the East Coast and my city has a small, but steadily growing Techno, Deep-Tech, etc. scene coming up through both raves and club environments. Having experienced clubbing experiences in Europe and comparing them with American clubs makes me super sad and is something I miss dearly, but my question is what American clubs need to translate Techno and alike-music genres to have something cool? Thanks for the podcast!-
How many of your guests skate or did skate? In there opinion, is there a connection between techno and skating?
What cities in the United States surprised you for the quality of their shows, and enthusiasm of the attendees?
Question for Truncate: How much time do you put into your beer brewing passion as seen on the Slices feature?
Question for Cosmin TRG: How many times have you been asked what the “TRG” stands for in your name, roughly? And see you at Berghain in June,happy to share a booth with you
See you guys!
Hello Guys, questions for who wants to answer (differents points of view could be better), it’s about the relativity of social and talents/work in production to “sucess” (i mean get released and booked). I often had the impression that to get signed on a label or get some interest from promoters is a question of contacts more than the respect you deserve by your work. You know what i mea,. that there’s many cases where the talent and respect by hardworking is in the background even it shouldn’t be.
Is there a better way than licking asses or wait 6years to get signed and released after you sent demos? be patient and proud without to be unproductive for your artistic project.. that sounds pessimist but you know it’s a reality, i’m sure about it.
And to add another question from my precedent, do you think it’s a good idea today to be self released on your label, pressed vinyls without having a huge contactsbook in the industry ?
greetings from belgium !
How to keep your songs exciting and interesting for the dance floor. Also how do you know if something is going to take off or is just a trend?
Process for taking sick sounds from analog equipment and turn them into a track. I think I remember that you mentioned you have an eventide space, do you use that when producing or only live? If I have a blofeld Waldorf, eventide space and a tr8, what would be the next piece of equipment you would be. I was thinking an octatrack but was also thinking the analog4. Question4all. Love you all
Zahn jovi tell the clr cock towel story!
What is your go to source for drum sounds?
Nice job with this – entertaining to listen to and from work. Hope you’re well and give me a shout the next time you’re in town.
Question: Are you in Germany for the long-haul or do you see yourself back in the states ultimately? Where would you land – urban areas like Minneapolis, or back to middle-of-nowhere Wisconsin?
Question for Dustin: Do you remember the time Derek Plaslaiko was talking big shit on your podcast about giving away free records? I sure remember. All joking aside, know that people do listen to this shit. Also, question for anyone: Besides the obvious dance capital of Europe, Berlin, what are the most liveable cities in Europe for producers/djs trying to get a foothold over there. It seems like moving to Berlin as a 27 year old whit guy is a pretty played out idea. Where else to go with a smaller, friendlier local scene? Cologne? Frankfurt? Bristol? What advice do you have for anyone tired of being small shit in North America? Thnks… – Josh from Chicago
Really enjoying the podcast so far, keep up the great work!
Question for Dustin and any/all guests regarding self-promotion; as a DJ, is it tacky to ask a promoter for a gig? Is there a right or wrong way to ask? What are your thoughts on the approach of simply playing a great set and waiting for recognition via word-of-mouth? What’s your reaction to being solicited with demos or requests for gigs?
Can you talk a little about your experience playing at the Snax party in Berlin?
Any thoughts on the Rane MP2015? Or rotary mixers in general?
Favorite city to play in the States?
Question for Dustin or whoever else: was there ever a time when you thought you would never make it?
Hello Mr. Zahn,
I really like your podcasts!
I have a few general questions, not related to a specific guest.
How does remixing work? Who approaches who? Is the remixer just sampling parts of the track or is the producer sending the “stems” to the remixer? How do remixers get paid?
Also I am always interested in general talks about production (how to get a clean/crisp mix, how to develope a unique sound,…)
Zahn – our little man is growing quickly. What would be your suggestion for a fun, relatively inexpensive, sturdy, all-in-one sequencer / drum machine synth. Bells and whistles aren’t needed, I’m just thinking something to move him past his snare drum and xylophone, both of which he’s mastered.
See you this summer – gang wars erupt! Josh
Okay, if rotary is a no go, what do you recommend instead? Looking for something relatively affordable but industry standard.
Question for Ryan Elliott: Can you talk a bit about the process of compiling your recent fabric mix? Also, are there any mix cd’s which influenced you in the past?
What’s good with outboard fx?
Do you clear your samples?
hi first of all, love your podcast … it comes across real and direct and in some odd way because of that reminds me of the older community feel i got when just entering in to this crazy techno world ( 18 yrs ago ) … i also enjoy your american ( and frankly midwest ) perspective on the german techno scene … im a german american who expated to the us and am about to move back to berlin in a few months so commentary on the live in berlin is welcome !
n e ways my suggestion, if you need to interview a female dj or “newcomer” dr rubenstein would be my suggestion … also if you could get some artists from the eastern blocks …
just listened to this mix https://www.residentadvisor.net/podcast-episode.aspx?id=525
i ve been curious about the east techno scene a lot … i like the trip label for instance especially the artists that are from russia, … this dj from isreal/russia evokes in a hazier more technoid way a similar vibe in her sets … i ve digged a bit in the russian soundcloud profiles and found some very raw and potent stuff …
Question for Ryan and Dustin: Discuss the prevalence of door policies in Europe vs. the absence of them in the States. What are the benefits of having a door policy? Why are they so common in Europe but almost unheard of in the US (outside of LA)? Does racism have anything to do with the fact that Americans seem to shun the idea of door policies? – Josh from Chicago
I’d like to know what Kyuss song is Patrik Skoogs favorite. Thank you.
I have just had some helpful and informative dj promo feedback for my latest release.
“Will try/test”, “Thx”, “Thanks”, “downloading for (insert name of …….), etc.
Time to let DJs buy their own music instead of getting it free or are promo mailouts great value (for money)? Discuss.
A question for Radio Slave: How do you structure your tracks so it seems like everything is coming in at exactly the right time while also managing to keep it exciting?
I understand that this is a bit of a weird question to answer so maybe you could just talk a bit about how your go about arranging your tracks?
Question for radioslave…. What did he use to make the bass in secret base? It’s soooo damn deep?
How do you feel about masked performers in dance music?
360 kickflips. Who has them on lock?
Would love to hear Pacou on the show
What is your opinion about people in the DJ booth?
Are you going to do another drunk-cast? That was the best, for real.
Can you speak on you’re even furthur experience? What did you throw down in the sets? How was the crowd? Best moments? All that shit. (I wanted to go, but started a new job on Monday, would have been disasterous).
– Jace from Omaha
Love to the podcast, listened to all of them at work. Keep it up
Mathieu – question for Bas Mooy – Are the hooded sweatshirts ever coming back to the Bandcamp site?
Do you believe children should be introduced to dance music at an early age?
Will you have my baby?
What is the next trend in techno?
This is for the Function interview:
Role of MDMA and other drugs in our culture, and how that’s creating weird cognitive dissonance in countries with OTT laws – like in London, with Fabric. Just that whole thing. What are we going to do about the Elephant in the room (the ubiquitous use of drugs in our culture, the role they have in facilitating the enjoyment/understanding of the actual music) and what responsibility our scene has about getting involved in activism to change the outdated laws etc.
Also, sleep patterns – how to manage that when on tour all the time!
Love the podcast, keep up the good work 🙂
Hey Dustin I wanted to ask about Ghost Producing. Without giving any names whatsoever I want to know how common it is in the techno scene and how do you think it affects it. Do you agree on it or disagree?
Hi Dustin, really enjoy the podcast. Just wondering what your thoughts are on the importance of correct use of marketing and social media in the contemporary dance music scene, as well as how the process has changed since the 90’s and 00’s. I know that you have touched on Facbook and Twitter briefly on previous episodes but was wondering if you could elaborate on marketing as a whole. Cheers
What do you think about the new roland boutique models? More specifically, how do you feel about the the TR-8 vs the TR-09 in a studio/production context? I’m looking to move into production here soon and need a solid piece of intro gear I can build my set up around. Any suggestions?
What advice do you give to DJ’s/Producers wanting to make the move to Berlin?
I am from Sydney and the scene is FUCKED. It used to be ok…
The right wing of politics has made damn sure that the nightlife is killed. Google “Sydney Lockout Laws” so you can start yelling at your computer at the stupidity of some narrow-minded politicians.
I want to have a real go at this music thing. Ive been producing for around 10 years with a few releases under my belt.
Sub question; My productions seem to always be a step behind what I’m enjoying playing at the time. Do you find this?
Anyway man, I’ve just discovered your podcasts and I’m really enjoying them!
Peace and g’day from Aus! (Do you ever come to Aus?)
Dustin, how did you manage to make the kick in against the grain sound so huge? Great album btw
For Hyperactive (although relevant to Cari too): Why is Techno so slow right now and when will it get fast again? Is it the drugs? – Josh from Chicago
General: Is it really necessary to be on the promo game in electronic music these days? Isn’t it enough to dig for great old records that are new to most current clubbers? – Josh from Chi
Any details on a Hyperactive live set? Possibly any releases from the way, way, back catalogue?
For Function. Why do New York skaters have mad style?
Function.- Props on making the track that uses “O Fortuna” hot again. Haven’t heard it in 20 years. . Any chance of some future Portion Reform release? Clear it up for everyone, who is User?
i love these podcasts. Well done keep them coming! i loo forward to all of them! I had a few questions –
any tips for producers/djs trying to lock in more gigs i.e.: how does one go about securing a booking agent? If possible could you speak about your experience with this, meaning what your path was and stuff?
also – could you touch base on some production stuff here and there? i know you always talk to the guests and ask them what they did and where they are from etc but could you ask them about the creative process? I have my own way of doing things but i love new ideas and shit so — help a brother out..
thanks man and feel better!
Klienfeld from Brooklyn
How important is the actual studio or room where an artist makes their music?
What do you define as an underground label and a more mainstream one?
Are labels like Drumcode & Truesoul mainstream? And why?
Just wondering what are your thoughts on outdoor festivals such as Dekmantel & Dimensions. Do you like events like that? What is cool or annoying about playing them? and is there any smaller or maybe unknown festivals you’d like to give a shout out to.
Hey hello! Shoutout to Charlie and Sam. I have some questions for producers invited to the show:
1. When producing: sometimes the arrangements just aren’t coming. What do you do to get out of a creative block, get out of “the never-ending loop” so to speak?
2. What is your favorite/most-useful plugin or outboard processor? Why?
My current favorite is the Native Instruments Passive EQ. Perfect for high-end shimmer, mid-range clarity, and low-end power on the final mixdown.
Matrixxman: how old are all the Matrix references and jokes that come your way every weekend?
Hey guys, this is probably the most fun and interesting podcast about techno out there, thank you and keep it fun please.
I have a question about the renaissance of the live hardware techno (or analog) acts out there and whats your position and point of view about taking techno or electronic music to a more purist stage of actually delivering a live act. I’m interested on knowing your thoughts as a DJ and producer and maybe some personal experiences in this matter.
Hey Dustin, Rich J (Operator) here, this is a question for the Function episode, but I guess you could ask any guest – how do you and your guest (s) deal with jetlag? Tips for sorting sleep patterns out? I feel like being well rested is often important to DJing well, and also studio productivity, yet in our game everyone’s sleep deprived-as-fuck. Wondering how people manage, touring all the time. I find it very difficult, as I’m a shitty sleeper anyway.
Would of liked to of asked this to Dave Flores and Moe when they were on, as they fly back and forth from the States. Seems crazy!
Enjoying the podcast, keep it up 🙂
What are your thoughts on drug-use within the techno scene? Are they an integral part of techno music and culture or not?
Bonus follow up question: Thoughts on playing for a really druggy crowd, is it really annoying, fun or something you don’t even notice?
What’s the deal with booking a DJ/getting booked. Does the promoter pay for the hotel and transport or is this just included in a DJ’s fee? Also I’m sure you don’t want to discuss your fee but what kind of fee would a beginning DJ playing smaller sized clubs be expecting?
I recently heard from a pretty legitimate source that a certain techno duo that have been around for over 2 decades use a ghost producer. They’ve played and still play very credible parties at places like Berghain and run an established label. What’s your thoughts on ghost producing and artistic integrity? I understand in the current DJ climate it’s hard to get gigs without having your own releases but surely this undermines the truly honest and hardworking producers and DJs that exist?
What’s your thoughts on people like Patrick Topping playing Techno? He was originally a house DJ with releases from Hot Creations do you feel a lot of DJ’s are buying into the Techno scene?
Dustin, what is your definition of ‘rough and ready’ techno that you often reference?
Do you classify doing one take with a Prophet 08 ‘rough and ready’? Or is it one take with all the machines running? Using soft synths or hardware?
Is your techno ‘rough and ready’? or is someone like Tensel a ‘rough and ready’ producer?
Have a talk about playdifferently Model 1.What du you think? What do you think the ambassadors think? Just pushing Richie? Why are Friends of him like Sven, not using it?
Get Chris Liebing to the Show, pleeeease 🙂
I’ve been producing for a few years and find it really frustrating…the stuff I make is just not good enough. I keep trying because I have such a strong desire to make something that sounds as good as the stuff I love, but I often just want to give up. If I believed that I could make a Frozen Border record by keeping my nose to the grindstone for another 5 years, I would think that it was all worth it. But I normally feel like I just don’t have the magic and that, no matter how hard I try, it will just never completely click. So the questions are: how common is it for successful producers, when they are learning the ropes, to think that they’re never going to make anything that doesn’t completely suck? And is it common for that discouraging feeling to last a long time (like years)?
Whats are some stories of yours or your guests that you hope don’t end up in the “Secret DJ” book ?
How do you find “your sound/style/stamp to make something different?
What’s your strategy to getting gigs in a new environment (e.g. after moving to a new city) ? Are there any tips for DJ’s/producers who are not established enough to rely on their name to get gigs? For example, after you moved to Berlin, did you put effort into finding gigs there or did you just produce music and wait for calls? 😀
How about some real insider stuff, like, for example – Berghain DJ fees? :)))) At least tell us if gigs in popular Berlin clubs are paid well or whether they serve mostly as a promotional platform for DJs? Cheerio
Was there a big difference between the house scene and techno scenes in NYC back in the day? Where did you fit in?
~Xan Bishop from Detroit
That last question about NYC scenes was for Adam X btw!
~Xan Bishop from Detroit
For Cassegrain: What do promoters always forget to consider when you’re playing live? also describe how your livesets with Tin Man work.
whats your cheapest or worst piece of gear that always gives good results?
Before I ask my question:
A. I wanted to thank you. Thank you for doing such a good job showing the world what techno is. Your attitude/productions are the ethos we truly represent. Thank you.
B. Thank you also for helping my locals-only (ish) promotional company “Primeval” be such a success for 8 months in Denver, CO. It wouldn’t have happened with out the use of Darren Bartons 4 sub looneybin system. I know he is in your circle – so wanted to thank you for being part of such a tight/cool network.
“I just buy the 320’s” – D.Zahn.
I’m a former car sound system guy – turned techno head in the 90’s. I DJ’d vinyl and currently use .wav files exclusively for Traktor/Controllers. I’m forced with considering using CDJ’s to perform and I’m finding out that DJs use 320 MP3 for CDJ’s. My question is WHY are they not using WAV files?
The reason I ask, is because a WAV file contains much more data, has more range between notes (as its not AS compressed) and the bass is more dynamic and does NOT distort at higher gain ranges. I understand avoiding the “redline” is basic, but still – WHY use mp3s to DJ?
Example: I play a 320 MP3 VS. WAV file on a crappy sound system. The difference is plainly obvious. The WAV file is “stronger/deeper/low end more dynamic (lower sub basses can be heard).
Adam Weber – Denver, CO
friends with Mike Parker, Adam Curtis, Pete Board, Darren Barton.
former record picker for Drool Records, Buffalo NY
former co-owner of Strange Allure (buffalo, ny) and Primeval Events (Denver,CO)
current owner / co-owner of 2 techno promotional companies in Denver
Artist, DJ, Aspiring producer, wage slave.
Are the days of Traktor gone? What is the next big DJ gear revolution?
opinion about this trend of Berlin promoters on doing all these fetish/sex techno parties, does “techno” means more a fashion hype than actual music genre?
Where do you see techno going in the next year or so? It seems like if we were to repeat what happened in the later 90’s(since we have redone the early to mid 90’s presently, but with all the new production tricks and flare) then I feel like tribal would be before minimal, Do you see this trending, or as people tire of the harder sound this time are they migrating to minimal faster? Generally do you think that the music will always cycle in known patterns because of generations of younger people getting into the scene, where old sounds, sound new to new ears, or do you see this latest cycle as the last because of the new distribution methods of the music getting out to people(i.e vinyl and cassette mixtapes, vs mp3 and streaming)?
On a side… Best SHOW! keep it up!!!!!
How’s the leg since the screws were removed? (Dee Washington – Wiggle Factor, ATL USA)
For Drumcell – From one Dad to another, have you mastered the art of diaper changing yet? – Dee Washington (Wiggle Factor, ATL)
big fan of the show here. Amazing job. I want to know how you DJs deal with the no sleep after playing 2 or 3 times a weekend playing at 4am and then taking the plane/train to play next day (same day) at 4am again in a different country. I’ve always wondered how the hell you guys keep it up.
Will the podcast ever return? I miss it!