“Further down the road I’ll arrange the membership present to be extra off the cuff, however I haven’t reached a stage of confidence with it but. One factor I do get pleasure from is having channels and sampler devices arrange with all of the loops and sounds I’ve recorded from vinyl over time and attempting to work them into the present. Ableton’s time stretching engine is loopy so it’s fairly straightforward to only drop issues in as and when. To take it additional I would attempt bringing a turntable and stack of data with me as effectively, however I’ll cross that bridge later.
“Another actually thrilling idea I’ve obtained concerned with is Sebastian Mullaerts ‘Circle of Live’ venture. This is a totally improvised present, the place three or extra artists come collectively and carry out a stay jam all night time lengthy. For me it’s been nice to hone my expertise alongside extra skilled performers and principally try to carry my very own. A type of baptism of fireside I assume! The goal for me is to deliver these two kinds of efficiency collectively and discover my excellent steadiness level between a extra sequenced or extra improvised present.”
How has your stay present influenced your DJ units? Have you discovered your self craving extra hands-on FX models and so forth? “As I said, I see them as a separate art form so there hasn’t been much influence. I guess I have noticed I feel more confident in playing my own tracks, but no yearning for FX etc just yet. The records should hopefully speak for themselves.”
How does the setup differ out of your studio or is it an analogous sort of setup and ethos when making music? “The set-up is the same as my studio minus a turntable and records to sample! I spend a lot of time sampling vinyl and creating playable sampler instruments in Ableton, kind of like creating presets in a soft synth, but with sounds mapped to a keyboard – trumpets, piano samples, vocals, weird ambience etc. When I’m making music at home I’ll get an idea going and then start to audition these instruments over the top. I’m also doing this in the live show to an extent, but with pre-determined sets of sampler instruments.”
How would you alter the setup for those who might? “I feel there will be a constant process of adding and taking away of equipment. The main thing I’m going to focus on for now is the basic signal chain of the show. Having a great soundcard, a nice mixing desk etc. I want to make sure that my music doesn’t get lost in the club environment. Due to my music using a lot of ‘lofi’ samples, it can be a challenge to create a crisp sound on a big stage. I’m also excited to experiment with different pedals/outboard FX. There’s a few amazing second-hand guitar and synth shops near me where you can pick stuff up super cheap. I feel like I can ‘dig’ for weird equipment in the same way I would for records to sample and this is very exciting to me.”
What are the challenges of enjoying ‘live’ digital music in a membership surroundings? Do individuals on the dance flooring recognize the stay nature of the present? “I’m still very much at the start of my ‘live’ career so time will tell this for me. One thing I have noticed is that I’m consciously trying to stay out of my DJ mindset whilst playing live. When you’re DJing and you feel the crowd flagging it’s easy enough to just start playing bigger/harder records or to constantly try different styles until you get them back on side, but for me the purpose of a live set is more about presenting your own music and artistry and shouldn’t be so easily affected by what’s going on in front of you.”
Laurence Guy’s Australia tour begins January 24th 24th Jan – Colour / Dance Flaws – Melbourne (DJ) 25th Jan – Darklab / Altar – Hobart (LIVE) 26th Jan – Wildlife Victoria & Fire Relief Fund For Nations Communities Fundraiser – TBA (DJ) 31st Jan – Sugar / Housing Boom – Adelaide (DJ) 1st Feb – Si Paradiso / Turnt Tables – Perth (LIVE) seventh Feb – Fredas / Full House – Sydney (DJ)