April 29, 2011 at 6:20 pm
Interview with LA Producer / DJ Dan Gobiadmin / HouseTrance / no comments
Precious Thing by DAN GOBI
It’s been a while since we have had the opportunity to interview a SoCal based Producer / DJ that is passionately shaking up the waters. It is our pleasure to introduce to you guys, Dan Gobi, a house / trance producer that resides in LA, CA, that has spent a large portion of his life involved in music engineering. He donated a moment from his busy schedule, to give us a bit of insight into the world of being a producer.
PTJ: First and foremost, thank you for taking the time out of your schedule to talk with us. With the new recent release of your progressive house / trance mix, Precious Thing, we would like to ask you some questions.
PTJ:We understand that you have a couple projects going right now, one that includes yourself and bandmate Eliah Mountjoy, as Main Chain. I’m wondering did you have any musical experience prior to producing EDM (i.e, bands, choir, instruments, etc.)? How would you compare writing music for a band with producing your own EDM track?
DG: My musical experience started with piano lessons as a young kid, but my ADD got the best of me and I couldn’t pay attention long enough to learn a song. I was more into improvising songs and just playing what came through my fingers without thinking about it. For a couple years I wrote and recorded my own songs (along with Eliah actually) when I was 12 years old, using casio keyboards and an old Roland TR-505 beat machine. That progressed into DJing and sampling when I was 14. I made hundreds of beats for local hip-hop artists throughout my teens. For the second question, I enjoy writing with a partner because you can bounce ideas off eachother. But it is a much slower process, and I usually want fast results.
PTJ: What initially inspired you to start getting involved in electronic music? Any specific songs, artists, or events that peaked your interests or motivated you to start producing?
DG: I was into dance music before anything else really. Besides Michael Jackson, in the 80′s I was listening to Duran Duran and Herbie Hancock’s Rockit. Then I got into New Order and Depeche Mode who are pretty much the Gods of electronic music. After that I deviated into the world of hip-hop around 1992-93 when it was at it’s best and most exciting. DJ Premier, Tribe Called Quest, RZA were huge influences on my production techniques at the time.
PTJ: I know it’s a tough and very generic question, but I’m curious, who in the EDM scene is your biggest influence at the moment?
DG: Right now, it’s tough to say because it’s all about one-offs and barely known producers that make a couple sick tracks on some compilation. But as far as big names I really like Kaskade, ATB, Tiesto, Armin Van Buuren. I really like anything on the Anjunadeep label also. There is a really fresh trance movement happening in LA that I’m excited to be a part of. Artists like Matt Cerf and Jaren, Amurai, Space Rockerz, Norin and Rad, Engineer Of Sound, and Clybourne are really doing great things.
PTJ: How would you describe the final expected outcome you would want the listener to feel, after travelling through the new mix?
DG: First of all, tired from dancing their ass off or working out. Secondly, focused and ready to conquer the world with positive creative energy.
PTJ: Do you normally have to set aside time to produce, or are you more of an “in-the-moment” artist?
DG: Between the hours of 12am and 6am seem to be the ripe hours to create.
PTJ: What advice do you have for beginning producers and DJs? Any tips on organizing time and staying motivated?
DG: Don’t get caught up in what everyone else is doing. Too much dance music lacks originality. Copying and stealing seem to be the accepted norm. Of course for DJ purposes you need to work within specific boundaries, but try to bend those as best as possible and be creative!
PTJ: How has production changed for you over the years?? What did you start producing with//what do you currently use to produce??
DG: In early years it was a roland MS-1 phrase sampler, a Juno-106 and an Alesis SR-16 drum machine, all MIDI’d together, and recording to 4-track tape. Then I got an MPC-2000 and a digital 4 track and that changed everything! Haha. Those were some tough years! Now, I primarily use Ableton Live as the foundation with a Virus Polar, UAD cards, loads of plug-ins, still got the Juno-106, a few pieces of hardware pre-amps and compressors, and a couple midi controllers.
PTJ: Having been involved in the industry for quite some time now, what are your thoughts on the current state of electronic dance music, and with the constant advancement of production technology, how do you see it changing in the next 5 years?
DG: Well, my theory is that value of an individual song is depleting for the most part, because it is only an aural experience. Fans want much more than that now. To be a successful musician or DJ, you’ll have to provide the visual experience as well, and on a larger scale. This means much more emphasis on video DJing, advanced web content, live theatrics, and motion graphic design. Deadmau5 really set the stage for what is now required to be a successful EDM artist. You have to be a pro at graphic design, web design, video production and editing, social media marketing, and app design. Or at least have the resources to hire a team of pros to do these things for you.
Well there you have it guys, words from a extremely passionate and versatile producer. Thanks so much for taking the time with us, we are looking forward to raging out to some of the sick work you will be putting out this year!