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DJ3D Interview Mod: What's the most important thing to know about DJ3D? I spin the latest, newest material. Most of the DJs aren't close to where I'm at. In London, crowds are smarter about the tracks. Here it's the exception...that ten people in a club know what's spinning. Promoters don't have a clue either. They know I play rougher styles but they book me cuz the hype - not cuz they understand what I play. With small weeklies run by DnB DJs - ya need to be on your toes playin' tracks....whereas at a big rave, Aphrodite records would work cuz people are in a different frame of mind. Mod: Challenges? It's been such a challenge since I first started spinning I went looking for the roughest beats..., breakbeats were kicking my ass. I grew up as a percussionist. I think it's amazing, -- producing techniques are amazing. It takes a lot in drum programming using an ASR 10. Mod: What are the problems with US DnB producers? US mastering labs aren't cutting records loud enough. I took Krust's "Warhead" down to a Masterphonics in Nashville and they were surprised by how loud it was cut. Records here get cut at 0 db. cuz that's the way they are trained in America. My last record wasn't cut even at 0 db. I talked with the folks for an hour and a half, talking about cutting 5 db. over zero - the only way to cut DnB. They fear that the needle will jump out. Unless you sit down with them, they won't know, won't understand. Mod: What's up with 33 or 45? 33 or 45, I figure keep it under eight minutes and cut it as loud as possible just so the grooves won't overlap. The guys in Chicago screwed everything up so I had to go to a different studio - even if they are taking over a month to get it done. He'll (Tommy Dorsey @ Masterphonics) filter bass out just to cut plates louder! Mod: The future? The US scene is young as far as it hasn't peaked. I'm gonna keep pushing until we get there. I don't see how it can get rougher, it's hard to believer it gets darker. I want to develop new talent. The London crowd is more into it. I want to develop new talent, there needs to be a bunch of new DJs & producers. As for DnB DJs starting to produce, I would rather put out tracks by some kid who's living it. Give someone an outlet if they are working hard enough I want to be there for them. For the first couple of years it was hard to sell tracks. Stores and distributors are seriously slacking. I also deal with stores on consignment. If they sit in stores they will sell. I'm just gonna keep pushing my stuff on consignment. Right now I have thirty stores I deal with directly. Mod: Do you think domestically priced 12"s have an advantage being cheaper? DJs who've been around are really picky. Price is not a big issue except for the up 'n' comers. Chicago has over twenty up 'n' comers I haven't even heard yet. Mod: Is there a US stamp to be placed on DnB? I heard a new term, "slambient" - rough jungle but not formulaic...it's all over the place. America is on this tip - tracks that are all over the place. Tracks like Squarepusher trying to make dance tracks. Mod: How could it get more popular here? America needs radio stations to play stuff, it can only go so far with flyers. Busta Rhymes remixes with full vocals in it! LA radio was playing E-Sassin's remixes. I play on a commercial station. I make a mini mix, about 8 minutes on my digital multi-track and send 'em a DAT. People have said I'm selling out, the underground kids think I'm whack... Mod: What have you been listening to? Grooverider's upcoming album is fucking incredible. I have tapes from Radio One playing some of this tracks. Total dance floor tunes yet experimental enough to go "holy shit!" Optical is the man right now...
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