The Grid gives you the opportunity to question some of drum & bass production's most prominent figureheads.

This Q&A will consist of a moderated open thread in which you can ask production related questions to the
interrogated. For this twenty-second edition we happily invite Teebee!

how / what do you use to distort your mid-range bass noises? How many iterations of processing
would you say each hit gets on average? Do you use old hits as a starting point or work from
synths/waveforms every time? what kind of source sounds? How do make sure they sound bright
and grimey whilst ensuring they don't sound 'nasal'?

OK,here we go... The most common soft applications are guitar rigs 1,2 and 3. I´ll use these as a starting
point,sometimes flicking through the presets to find one that sound somewhat OK,then start going deeper into
the plug in to see if I can get anywhere. Guitar Rig 3 has an endless amount of possibilities,and it´s really
worth taking your time to get to know it. Great distortion,great LFO´s,great flangers/phacers and just overall
really warm and gritty sounding. There are a whole range of great distortion units out there so its all in finding
what suits you the best and get your own take on it. Ohmicide and Trash are 2 other fav´s of mine. Try
bleeding the wet level of Trash automated,so your sound don´t get a constant amount of distortion,but a little
bit of movement. Add a compressor and limit it slightly to make up for the volume difference and with some
careful EQ you should be able to get somewhere decent pretty quick. Just know its nice to know what you are
looking for the sound to do before you start... As with everything music related its all in an trial/error context .
Sometimes you get there quick,other times it takes forever. I have this one saying that seems to help me when
I struggle the most,and never have I heard anything more accurate because it comes true every time! ¨
--Ìf you keep banging your head against the wall,eventually there´ll be a hole!¨
Nearly forgot about Amplitube 1 & 2. Amazing stuff.
--As far as how much processing on each section it varies a lot. All depending on how deep I want to go or what
I´m after. Sometimes it can be 2 hours ,other times it will be months of subtlety added until the movement and
character hits the spot. I have a system that I go through and it´s quite lengthy and complex . I´ll leave it at
that. I don´t want to give away too much!:) I always reverse everything just to try it out tho, top tip...
--My sources of sounds are very varied . Having made music for 17 years I have built up a big sound library
and yes,I have a few favorite sounds. But lately its all in drawing out wave forms and using oscillators to
generate sound. I am also in love with my Virus TI snow. There is nothing more satisfying than knowing you
made something by yourself from scratch!! As time go by you learn what character in a sound will produce a
good final product as well. I tend to use string sounds a lot for the character part of my mids.
Filtered,sometime´s combined with LFO and flangers/phacers. One thing tho.. There is nothing more ´cheap
´sounding to me than a Reece or a riff sound that has a flanger stuck on the whole channel for constant
movement. That is not control to me,that is random.. If you do decide to use a flanger/phaser ,bounce down
the individual hit on repeat for 5 min with your other applications repeating and the flanger/phaser slowly
moving to get the ´sweet´ones . Then take the best 8-16 hits and process them again...:) Always try to be
original in your sound selection. Avoid the obvious and get your own feel inside the sound. God I sound like
such a nerd...
--Notching is the key to get unwanted frequencies away. Be careful tho,as sometimes you´ll end up taking
away all the character of the sound that made you like it in the first place. Just because a sound is excellent on
it´s own,don´t necessary mean it´ll fit your track... There will always be a frequency fight in your tunes. Good
engineering is knowing how to create space and pick your battles:)

if, how, where and why do you use reverb on your breaks? how do you get your drums to sound so
clinical, clear and tight?

I´d tell you,but I´d have to kill you..lol. I´ll give a few pointers tho! As far as reverb on the whole break
bus,that is something I´ll use to tie the gaps together and give it a ´whole´feel. To get a good sounding
break,its all in the individual hits you choose. Pick a turd,end up with a turd.. Individual compression and
notching on each hit,loads of reversing,pitching re sampling. The list is endless. I also compress the beat as a
whole once I´Ive got the individual hits sounding nice and the break is good as an entity. I do this to get a
consistency feel and general character spread over all the hits to make it sound like one break instead of tons
of 1 shots. Remember your break has a key as well.. If your tune is in G and your kit is in G sharp,you may
have some difficulty making it sound good. I have a few compressors I always reach for and loads of track/bus
chains that I´Ive made over the years. Tape saturation on the whole beat is nice in some cases 2... I´ll leave it
at that:)

how do you deal with drum edits? it can seem quite a formidable task to go into a tune and make
the number of edits you seem to!

Every time I know I´m about to start an edits´tune I feel physically ill...Not to blow my own horn ,but my tunes
will always be measured up to ´The Claw´,´Ni ten rmx´and other edit fests every time i do one like that! That
is partially why I´Ive avoided them like the plague the past few years... But! I am now back in on it with a new
mentality to breakwork. Yes,it takes forever.. Think like a drummer. That´s what I´m trying to do. Surprise the
listener ,but avoid getting overly complex as you´ll lose the listener. Tasteful control is again the key. Not
always go for edits at the end of a bar. Get some randomness in there,but always make sure it fits the context.
I usually let the whole tune undergo an edit when the beats do. Make your whole tune play like a single
instrument with full control. I´l sometimes work an edit for a day to get it right. No joke! Calyx is just as
bad..:)

what are you into outside of dnb at the moment?

Trentemøller, old Jazz, Nils Petter molvær , Jan Gartbarek. Røyksopp , Dr. Dre .Dj Premier , Timbaland, Brian
Eno, Boars of Canada, Plaid , Darkchild ,.
Loads of labels. Pokerflat recordings, Warp, etc. Could go on for days. I listen to everything. I have Spotify,so I
do random searches and make massive playlists for the background when I do boring office stuff.

What DAW do you currently use ? Have you ever used FL Studio and if so what do you think of it ? I
´m in logic and partially in cubase. I LOVE logic despite all its flaws.. I HATE the way Cubase look but the audio
editing is amazing. Never used FL Studio I´m afraid..

What equipment would you recommend for a person wanting to get into DJing, CDJ's or Vinyl ?
depends what you´re after. In an ideal world I´d say vinyl,or tractor scratch. But the cdj 1000´s are amazing
and I´m currently only using turntables for scratching.

What Synths/VST Plugins do you use ?

I use AU´s as I´m on a mac...;)

How do you go about doing a remix?

(Where to start, how far to make it your own and how much of the original you use etc)

Remixing is such an individual task,so there is no rules. I like to retain the key elements of the original,but add
some depth and substance and try to put my trademark sound around it all... If I don´t like a track,I´ll never
remix it. Simple as that really. I don´t really like to do them,as I tend to put in as much work as an original
track for less money. So my price is very high,hence me not getting many offers!lol
One of the best things about your music, in my opinion, is the "bounce". The dynamics in your
tracks are very funky. Any tips on how you can get a track sounding big and detailed without
removing too much dynamics?

Again,pick your battles,create space,know what you look for and always keep an outside´perspective of your
tracks. Meaning try and observe them as a listener,not the creator. Sometimes its easy to get lost in the tune
and the work and forget that it is after all a piece of music to be consumed,understood and appreciated by
other people . Dynamix are so important Try avoiding brick walling your mix too much on the master. Nothing
wrong with pushing the individual hits to fuck,but keep the master limiter to a minimum. In order to get a loud
mix you have to think loud from the very start. A-B ing is essential. When starting a drum loop,get a track in
your arrangement that is at a loudness level you want to achieve and A-B with the level of the drums until you
match it. :) Sidechaining is good to get events to pop in and demand its space in the tune. Not just talking
about kick and snare bass sidechaining here,but hi hats to kick/snare, stabs to strings etc. The list is endless.
Also don´t start off the tune at the highest volume. Make the intro an event that leads the listener into the
drop. To get an impact,if that is what you´re after,make the drop the loudest part of your tune and your mix.
And please,listen to Quincy Jones.. The man is a master of Dynamix:)

do you use much sidechaining when you make dnb?

Depends..Not necessary in dnb but a lot in house..

What are your thoughts on chopping per-recorded breaks vs. Working with hardware Drum
machines, Workstations like the Fantom G that has dozens of great velocity triggered kits on board
to software programs like Stylus RMX, Kontakt, Battery, ect...

I use some drum machines,but only if I am after that specific synthetic sound. i like breaks to sound ¨real¨but
done in a way that gives them the right amount of flare and substance. I am partial to using whole classic
breakloops as it´s done to fuck. All about one hits from different sources to make up your own identity. Love
recording the drum kit from the start ,take the stems to the control room and start processing. So satisfying to
sit there with a kit you´Ive made from nothing!:)

Stylus remix is pretty cool actually,but a little too messy for me. Overall not too fond of Drum machines I´m
afraid:)

How do you stop yourself getting bored of a tune?

I don´t! By the time it is done I hate it.. But then when I let it rest for a few days and get back again with fresh
ears its very satisfying:)

When you get sent demos what qualities are you usually looking for? and whats the best way to
send you unsigned stuff?

I´m looking for something besides the norm. If you copy Spor or TeeBee you´re not gonna get signed.
Originality,depth,effort,substance and good production.
Aim is the best way to send stuff.

do you still use you're e-mu and hardware synths, or do you have any special hardware
eq/compression/distortion? or do you think they aren't necessary anymore since software is so
powerful these days ? basically what are your opinions on hardware vs. software?

Really high end Hardware will forever be the best. But a very very good alternative are the really high end
expensive plug ins. Get the UAD2 card. The compressor and EQ emulations,not forgetting about the reverb
emulations are as close to the original as I´Ive ever heard. It´s the choice of the pro´s and the new industry
standard. A good synth is always special too. there are tons of soft synths but I find the majority to lack any
soul whatsoever,and the sound selection and filters are way 2 plastic sounding. I use the emu´s from time to
time,but it´s becoming more and more a pain to use them,mainly because the new DAW´s are shitty on back
midi support. If you are recording vocals you need a very good mic and a good per amp. Half the sound is in
the actual recording. Not forgetting the room! Get a Mic Thing (Portable mini vocal booth ) They´re amazing.
Don´t be fooled. A cheap shareware plug in can be amazing but will never match the engineering of
professionals for decades

how often do you become completely uninspired and stuck loopmonging

quite often. But all i need is a break of a couple of hours then I´m back inspired.
where do you draw inspiration from

Anywhere really. Films quite a bit,but everyday life and feelings are maybe my biggest inspirations. Oh and my
Lovely wife! :)

do you plan your tunes before you start? or do you just sit down and jam out some stuff and see
where it takes you? and do you often scrap tunes if you can't get anything out of them? i have a few
tunes recently that i feel could be really great, but i am totally stuck as to what to add to take them
to the next level. does that happen to you?

I have a rough idea of what I want to make,but more so than never do I end up with something completely
different! I scrap A LOT of tunes. Sometimes I´ll ditch things that have been worked for months! This is part of
the reason this next album has taken us so fucking long. We´re never happy! and it HAS to be sick! All is not
lost in that tho,because if you´re good @ bouncing down your stems as audio,there will always be something
that ´ll fit another tune! And also,every minute spend working is bettering yourself...No kidding,a tune is
usually at least 3 tunes before it gets finished..

The bassline you and calyx did on The Divide is fucking big. How you usually go about doing your
automation, do you prefer drawing it in in cubase/logic, or do you use a midi controller?

all about drawing modulation. I´m all about control down to the waveform. I hate randomness Makes me feel
cheap and used... No midi controller. Everything by hand and mouse!

Do you typically start with your drums? Or perhaps a melodic element? Also, it seems very common
to get a 16 bar loop going that has all the elements of the track, and then start cutting and pasting
to create the arrangement. Do you work this way? Or do you usually start with the "beginning" of
the tune, and work from there? Basically, could you tell us a bit about your "process"? Thanks for
taking the time to answer these questions

I always start with the beat element. Whatever it is. Then if its dnb I´ll do some bass ,mainly subs to make
sure they sit right with the beat. In doing so I also make sure the overall loudness of my mix is where I want it
to be . Mastering your track AFTER you have made it is a bitch. Get right in there from the start and get
everything as good as you can from the get go. There is no such thing as I´ll do it later.... I do not get a 16 bar
loop going. I like my music to constantly evolve,yet have a repeating ¨ ghost loop ¨. I get the drop somewhat
right,then move on to the intro. I never start with the beginning of a tune,ever. That´s pretty much it right
there..

is it general practice for you to get your sub rolling how you want it with the beat, mainly the kick
and THEN start adding your mid range? / Could you please elaborate on your work flow? think some
one has just asked this..

I do sub first,then mids yes. Sometimes make the mid out of the sub . I already have elaborated on this.

what has been the most important/interesting tips you've learned from another producer?

Notching.

what would you say is the most important/interesting tip you've learned yourself?
If you never give up,failure is not an option....

What about the frequency splitting in the mid and high ranges - do you use the same frequency
ranges most of the time or does it vary a lot (e.g. sometimes wide bands, sometimes arrow bands
depending on the sound)? Do you use filters or EQs (and which of them)? How many times do you
split a signal in general?

always hi and lo cut,that´s the essentials in getting the frequencies under control. everything gets eq éd
separately as well . The array of filters are very variable and depending on what I want to achieve . There is no
telling how many times I´ll split. until it´s right,however long that takes:)

Do you arrange your bass samples as audio tracks or do use a sampler (and which)?

both,plus synhs, real bass guitars recorded etc.

How many hours do you spend everyday for producing music.?

when I´m actively working about 16-18 hours a day,no kidding. On the road I don´t work at all. Can´t do the
laptop in hotel room thing. Need a studio .

How do you go about tuning drums and how do you know what key they're in? Do you find the key
by ear or use an analyzer?

By ear. but it´s easy to do it.. just play a sine wave until it harmonizes with your drum kits root note :)

My next question is about how you and Calyx work in the studio together. Do you share a studio or
use different studios? Do you work on stuff together at the same time or 'take it in turns' (passing
the project back and forward).

--We both have separate studio´s ,but somewhat identical setup . The way we work is pretty straight forward
actually. Sometimes we´ll start things together,get a vibe going by taking turns on the controls. We both have a
shared understanding that sometimes it takes a lot of trial and error before something good comes ,so while
one is working,the other is listening and coming with input. *We NEVER tell the other person ¨that´s shit,fix
up! ¨ because we respect each other and we´re both very confident in the other persons capabilities .
Sometimes it takes a while to get the vision out and we allow each other that . We both had prominent solo
careers before we teamed up,and admired each others work,so being in the studio with Calyx is an absolute
dream. Our taste is also very similar and we both always want to better ourselves.

--On Anatomy we pretty much started every single project together and worked it for the most part as a team .
The downside to that sometimes is that time can be limited , so there was always pressure on us when we
where together to deliver. A few of the projects got passed back and forth individually but it was overall a a
start to finish type deal. On this new album we´Ive taken a totally different approach. We´Ive been working
hard individually,trying to get some of the individual essence out of both of us before the other person even
gets to hear it. Then we swap and let the other person have his take on the work that is there.. Then as we
finish the track we come together .

Who generally starts the tunes? and do you feel you each have your own strengths/weaknesses or
any specialties? (eg - prefer to work on the drums, whilst calyx spends more time on the leads? or
vice versa)

-We both do everything. there are no set rules as to who does what . I´d say that Calyx is better than me
musically due to his extensive training and jazz guitar background. He also play´s piano ,sax ,bass you name it!
So yeah i feel a little inferior in the music department. But then on the other side,I´Ive spent years perfecting
the art of subtle substance in binding sections together with sounds and vibes that are more cinematic and
subtle,sometimes spending days just to tie the transfers of sections together with the most out-there stuff I can
come up with,so all in all we both have our place:) The only difference between us is that I like things to be a
little bit more understated and Calyx is more about the big moments. I´m saying that,but i think that has
changed a lot as well. Our vision for this album has never been more together I think . On this album I´Ive re-
discovered real music as well,so I´m trying to give my music snob-the-notes-played-are-too-bluesy partner a
run for his money..;) he he,I´m partially joking,I love you like a brother Larry!!

Which Monitor Speaker do you recommend or better - which ones do you use in your studio ?

Dynaudio is great,so are Quest, Adam and the new Yamaha HS80M. i can not praise the Yamaha enough,and
they are very affordable too!
We use Dynaudo,Yamaha,Roland and Event between us.

Is using Frequency Analyzers a good idea or do you like to judge by ear when monitoring
frequencies of single tracks or whole finished tracks ?

they are good to get an idea where your spikes might be unless you can not find them by ear. I´Ive never used
one religiously ,as I think you tend to be a slave to it and remove all character from your mix.

How do you get the sub right under 100 Hz to go together with the beat - by feeling/hearing only or
using spectrum analyzers also ?

-It seems to me from your questions that you might be a little hung up on the analyzers... Let it go:) Use your
ears. they are the most valued piece of equipment you got. Sometimes spikes are good! Sub is the hardest part
to get to sit right in the mix. Try side chaining your sub hits to the kick if you have a kick that goes all the way
down in the 50-60 Hz . Touch the speaker cone,and feel how the weight of the kick gives away for the release
of the sub.. Top tip:
Compression on the whole track when finished or leave that to the mastering engineer ?

Slight limiting,but no compression. All of the compression are taken care of before the master. Depends. This
album will be nothing at all on the masters before mastering. We want Dynamix!!:)

Just wondering you have written about how time consuming writing some of your elements can be,
and that you don't like to move on until that bit is right.
Did you always have this work ethic or were you writing things faster in your earlier days?

It takes me a lot longer now than when I first started out. That is a natural progression because the elements
worked with becomes smaller and smaller and I´d like to get to the inside of each sound. Also the creative
process is more or less sample free now,so coming up with good stuff isn't always a given... What you´re
experiencing is a good thing. It means you´re getting more critical and you´re progressing as an
artist/producer. Always quality over quantity...

I hate to ask, but I gotta know...which filter(s) are you referring to? So many people rave about the
emu filters, and I've always wondered how certain filter plug-ins compared to the Z-planes.

Z-plane will never be replaced. It sounded so unique and fat at the time. I just think the sound of it got
outdated. i prefer OHM boys plugs now for that extreme modulation. They can come pretty close to the Z.

My question is on your rolls in your techy breaks. I have begun to get good results sound wise by
sampling tails, middle bits, etc of snares and hats and layering them over the primary hats, etc I
have made. However, I am having trouble getting the feel I want in the arrangement. Any pro tips
on ways you go about getting the flow of your rolls working right within the break once you have
the sounds sorted, general comp settings/sidechaining x>y, etc?

-I´Ive already mentioned this earlier. It´s all in picking the right sounds together with the right EQ and
compression. all about layering the shuffles and make each hit slightly different from the next so there is a
gradual evolving feel to each shuffle. Think like a drummer,but bang on time (for Dnb anyway) ,static plastic
breaks sound horrible to me,but that´s just taste:) Also,if you have percussive bits its very nice to chop them
up and reverse little sections of them,retaining the spikes in them but pitch them to the key of the tune,have
them drop down from a hi-pass filter gradually as the shuffle progresses. Combine that by letting them come
up from a lo-pass filter as well to make it ¨ gel ¨ more. Also bounce down your shuffles and reverse 1 hit..
Always worth trying.

do you every make dnb without a sampler? why?

I don´t make music without a sampler. Doesn´t necessary mean i use samples from other tunes...

If your using a lot of one shots for your breaks what do you do for the patterns? IE using midi from
classic breaks to trigger your samples or playing them yourself?
On cleaning up old breaks, do you split each hit to its own channel and process them separately or
group each part(Kicks, Hats ect) and process this way? any other tips for cleaning classic breaks
would be helpful as I find this really frustrating!

--I create all my drum patterns by programming each hit. I do not use loops,ever.

--As far as cleaning up , I´ll start by roughly doing the whole break,then when I´Ive gotten the main dirt out I
separate each hit individually . It´s all in doing the right amount of Notching,not remove too much character
but at the same time create space in the mix. I think the old funk breaks should be left alone now.. there are so
many proper sick drum kits and sample CD´s out there,so why not be original?!

You mentioned you spend a lot of time shaping kicks and snares (single-hits). Once you have a kit
and have built a break, do you always re sample the break for final use or do you keep the individual
hits as such in the final track arrangement for more flexibility (reordering notes, etc)?
Also, do you do a lot of break layering? and if so, how do you keep good control over the procedure?
IE process breaks so that they will work well together.

-i always bounce my break down once it´s done. It´s a comfort thing . i still retain every original part in its
entirety tho,for future possible use...

--I do not do too much layering. Very rarely more than 3 hits at least. It all depends where the break is going. I
usually get one main snare from my library that i know has decent punch and layer that with a dedicated snap
snare,usually compressed for the right amount of pop. then I´ll get another one for the very high end of the
frequency range,bus them all together and put a slight limiting on it all,sometimes even another step of
compression. Bear in mind that this is the final stage. all hits have been pitched , notched and eq éd before this
process even becomes relevant.

--About breakwork I´Ive already given away a whole bunch. You´re referring to older trax and back then it was
a lot of internal EMU distortion (actually gaining the sample,not using a dedicated distortion fx) There are also
some very sick eq rendering options inside the EMU Ultra that I used quite a lot. Overloading the desk for
natural compression,compensating for the lack of compressor units. I only had once compressor back then . the
Behringer MDX 2000 . The same Photek used for all of his breaks from 94-99 . That was my main source for ¨
snap ¨ . Back then I never notched anything because I didn´t have a dedicated outboard EQ unit. i just
carefully layered in the different parts using hipass/lo pass/Bandpass filters in the EMU .

--All about the virus for Bleepy sounds. Vanguard is good 2 so is Blue .. I am very partial to soft synths,but that
´s just personal preference :)

How in-depth do you go when creating bass tones from scratch on synths? do you spend ages on
routing and modulation with in the synths? or is it more a basic detuned sound re sampled with
more of the modulation going on in the sampler and with inserts? i know this probably varies but is
there a general approach.

-I´Ive got about 17 years of sample library. I never have to create a new dedicated Sub for as long as I live! I
think what you are referring to is a Mid sound. It is very basic from the synth. I use 3rd party plugs and eq´s to
get the sound i want. I dump the sound when i have a rough idea of it into a sampler and start processing it
again from there. There are no rules and no blueprint. Just experimentation. Yeah,I have a fe shortcuts and
such,but that is my individual flow and I´d like to keep that to myself!:)

How do you approach grooves do you have any groove quantization going on or are most elements
tight to the mark?

-Dnb I keep spot on the groove. Besides that,whatever sounds good. I love the sloppy J´-Dilla stuff :)

Speaking of approach is there any story behind the sly vocal samples in the edits in unknown
approach?
-- Unknown approach,wow,that´s a loong time ago.. I´ll reveal as much as one of the samples say ¨Suicide
Squad ¨. I was on a deep space mission doing that track,at least I thought i was... .... ;)

What software do you use for pitch-shifting drums?

Melodyne is the best tool for pitching breaks. I do however never use it. I Rex everything and pitch the hits
individually in the sampler. Much better that way.

Your thoughts on linear phase eq? Is it generally better than 'minimal phase' for notching
drumsounds?

Whatever eq works! I know what I want and i have what i need to achieve it!

What's your opinion on the Logic built-in eqs and the Cubase eq?
The built in DAW eq´s are usually quite decent :9 I use the logic one a lot myself.

In some eq comparison tests the tester makes insane boosts and then picks the least bad sounding
one as winner. Does that method make sense? How to properly test the sound quality of an eq?

Never ¨tested ¨an EQ myself....

What would you like to see more or less of in dnb production or the scene as a whole?

Less Clones of other DnB ,more originality. i wish the loudness race would slow down a little too,as the Dynamix
have been close to lost in parts of our music. More music created as a whole instead of 5 min repetitive DJ-
tools. More effort and depth. I want to be taken out and be challenged by other producers... So bring it on !!

do you produce on headphones ever? if so what have you found to be good?

I do ,but I´d rather not .. Only if it is a last resort. I hate it. I´ll get u the name of the new industry standard.
Forgot what they where but they are supposed to be out of this world. Like working on speakers as they are
off-set.
how do you have your sample library organized?

All over the place!! All my projects has the samples and bounces from each tune in them of course,and i got a
dedicated HD for Sample CD´s and one for apple loops. Rarely use Apple loops but they are great for getting a
vibe going. Besides that it pretty much goes around with me knowing where everything roughly is.

have you ever made a sound/bassline out of an unlikely source, like from something recorded or
from a film, anything like that?

I´Ive made several sounds with my mouth! Even doing modulations into the Mic. Great result! :) Back in the
day I never left the house without a mini disc recorder with a really decent mic. I got quite a few sounds out of
that as well. Maybe I should dig it back out..Hmm.

ever had any issues with sample clearance or complaints of use?

None whatsoever . I´Ive cleared most of the stuff I´Ive used,and in most cases when the majors find out how
many copies you might sell they won´t even come back to you.. Anything less than 20k for them is a waste of
time. Might have changed now but at least a few years ago that was the case.

drugs/weed when ever producing or not for you?

Never smoke a joint in my life. Never even a cigarette. Absolutely hate it. I could be the front runner for a
smoke free earth!! I don´t drink either. I´Ive probably been intoxicated on alcohol between 4-6 times in my life
total. Did my fair share of Albert Hoffman before and during BSL

How do you get the sound to pitch beyond a few steps without sounding washed out. Maybe you do
not want to answer this and fair play.

By bouncing the processed 1 hit down as audio and putting it in a sampler and play it like it is a synth sound.

u said about leaving the drums light for the sub bass to be more prominent
In what way do u mean keeping them light? i.e the volume of the break, frequency of the hits etc.
Frequency. Not too much weight,especially in the Kick. Snap and pop,but leave the 25-70 Hz relatively
untouched. Unless you want the bass to be released from the kick via side chaining,then it´s nice to let it drop
all the way down. Also if the pop is calculated,the beats can punch through your mix even in the lightest of
forms. All in what u want to achieve really.

When you start writing a sketch from scratch, do you have the final end product in your mind from
the start or does it gradually evolve during the process?

Either or really. Sometimes I have an idea,other times I take a whole different route once the sounds start
coming together. As I´Ive mentioned earlier,a tune will more than likely have been 3 different tunes before it
gets finished.

What kind of sounds you usually use as input for the distortion/filtering that'll become the bassline?

Also explained previous:) Anything and everything. I generate AL lot from oscillating different waves and
generating sound through dedicated distortion units. then bounce down the first raw stems and start again with
the ¨new ¨ sound and repeat the process. Loads of notching and reversing,pitching and resampling. Always No
such thing as an easy way to make a twisted bassline. The more fucked up it is,the longer it took

Do you work on several projects at a time, and go between them?

Yes,as of late and with this album that has been the case. I do not like it. I like dedicating myself to an idea and
work it and live it for weeks at a time. It has it´s advantages to work on several different ones,but it is too easy
to just move on to something else when you hit a rough patch,rather than grinding it out.

are there at all times where you feel really de-motivated in the studio. any sort of techniques or
practices you have to help you get on through it ?

Take a break. Do something else and re-set your ears and mind. I play ps3 for a minute. always works,or go to
the gym :) Watch a movie even,as a single sound you hear can open up a whole new take on what you´Ive
been doing
What reverb plug ins or units do you fancy for use with drum related work? Any specific ones you
find yourself going to often?

--For Drums,the sonox reveerb is decent. Altiverb is another . I only use reverb on drums subtle tho,unless its
for a drastic effect. Space designer is amazing. Still draw for that quite abit even tho it's old...

You mentioned the UAD's earlier. I have one and couldn't agree more about how spectacular they
are. Any favorite UAD plugins?

---Roland RE-201,LA-2A,Precision Multi band

you listed 'notching' as the most important tip you've gotten from another producer... could you
expand on this please? You've touched on it wrt just a drum beat, but presumably you use it to
create space in the entire mix? What is you approach? eg Bass + Drums first, notching to create
space, then adding elements progressively from there etc etc. Any overall tips on creating space
while keeping things from sounding thin?

The principle of notching applies to everything sound related.. If you have a massive frequency clash in any
area of your mix that part will sound cluttered. There is no right or wrong way of doing it,it's all by ear,and in
what you want to achieve . I usually have to re-eq a few things every time I add to the track. Not always but if
I have a busy mix,I usually have to do both more notching and also volume adjustments of the different layers.
Sidechaining is good to make things ' crave ' their room ,and not just the standard sub-to-kick drum-and-snare
but stabs to strings,to vocals..Experiment:)

are you ever happy with your work? does the end result meet the vision you had/have? do you feel
artistically limited by the 'confines' of drum and bass (when producing dnb that is!)

--I'm happy yeah. Not always 100% but that's just how it is. And no,sometimes along the track takes a total
turn into something completely different. As I said before. A tune will probably become 3 tunes before it is
finished..I very often feel limited by the DnB norm,but lately I've said fuck it,I'm going to do what I want and
don't care so much about the initial floor reaction. It's safe to say I'm enjoying making DnB again because of
that:)

do you believe that someone can write "good" music without any tuition or direct contact with more
experienced musicians? and do you find INTERNET based production communities to be useful or
misleading for aspiring producers?

-- I believe anyone with a slight musical understanding can write the most amazing thing given the right
opportunity and the right idea.. The rules of popular music has changed so much. There is no need for a fancy
million pound music establishment in order to be creative. This is a very good thing:) Sometimes the random
treatment of harmonies by an untrained engineer also create the most wonderful 'mistakes' . As far as the
INTERNET goes,use it for what you need and leave it at that. It's great to get input and direction from others
,especially in the specifics of engineering,but please,remember your own creativity. I think the biggest problem
is everyone trying to sound like everyone else.... Another thing is sample packs. They are great for what they
are,but the creativity itself lies not in the samples you've got,it's what you transform them into. Too many
people slack off and take easy street. If you like a specific sound,find out why,and try and understand the
sound so you can somewhat re-create it:)

Ever had the feeling that you've seriously thought "fuck it, I've had enough" and almost quit
completely?

--Many many times.... And I've actually quit once!! It was in 94,and my parents gave me soo much shit.. I
decided to go back to school ,then the phone call came that changed it all and I was back in!:)

Probably everyone in the dance music who have released music or played gigs have had bad
experience in business either with shady and unprofessional promoters and/or labels. Any hot tips
how to survive other than getting a haircut and a proper job and forget about all this shit :D

--I think when people sign to a label they expect money and fame quickly. That is not at all how it
works,especially not these days... Building your profile takes time and effort on both parts. I think the one thing
that has ruined the industry more than anything is the lack of loyalty to the labels. there are artists out there
who probably has featured on more than 50 labels!!! If you show loyalty,you get it back,in most cases that is.
Yes,this industry is shady,and I'll be honest with you,there have been artists on Subtitles that could have been
treated better... All in all,I had 6 releases before i even saw a penny. And since then,countless experiences with
even close friends that have ended in feuds because of misunderstandings or lack of business sense. I went to
see a movie once and boom,there it was .. A track I forgot about signing years earlier appeared in a key scene
of the movie! Was I credited at the end?? Nope...... The party involved probably made at least 25 000 pounds
of that alone. Yeah,that made me cynical,but music is what i do.. I can not stop. It is my calling ,be it rich or
poor. Without sounding too emotional,music is such a big part of me I don't know how to function without it.
It's the ultimate escape,the realest friend,and always there :) OK DOA,that last sentence qualify for The Gay
Award 09!!!:)
Do you mix in the box or out of the box or use a summing box or some alternative? Could you
recommend a mix down solution for those of us that have small bedroom studios spaces?

Inside the box,but there will be parts of that mix that have undergone analogue treatment. I've touched on
mixing earlier in the thread and those rules apply regardless of where and how your studio is:)