Digital broadcast Meeting with Joss Moog – Paris-based House DJ and Maker
Transcript of Meeting:
I have the extraordinary joy to have Mr. Joss Moog with me today. The maker of one of my preferred tracks at any point called “Drumin’ it.” And this is Joss Moog.
Hello there everyone, pleasant to meet you, basically meet you!
You are talking from Paris at this moment, is it?
Better believe it, I’m in the east of Paris, 20 minutes from Paris. Not very far to go for booking and to play in Paris. With the goal that’s cool.
With the goal that’s the place you play for the most part? Paris? Europe? What is your visit plan nowadays?
It’s going better and better in Paris you know. The house music scene is becoming quick since 3 or 4 years now. Paris clearly an exceptionally wonderful city, yet in the past we used to have parcel of business parties you know, presently youngsters in Europe, particularly in Paris, the around 20 years of age are finding house music and underground music. It’s showing signs of improvement and better. Before I used to play more often than not in Europe, not in France, however now I get an ever increasing number of gigs in Paris, and its cool since I need them.
Better believe it. So Paris is turning into a house capital so to state.
Precisely, its becoming quicker and heaps of youngsters are hosting gatherings, making marks, purchasing vinyls… you know. It’s great for us, since 4 years back individuals used to state that I was playing music for elderly individuals, yet not any longer.
Is most of the house scene occurring in ordinary clubs and set up areas or is it progressively about private gatherings, one off areas?
You have both. I think it works this way: on the off chance that you have cash you can have extraordinary gatherings in normal clubs like “Rex” which is extremely costly. Just in the event that you are a decent advertiser or you have cash you can do that. Youngsters attempt to get it going in underground places in Paris, yet it isn’t so natural. You must be cautious in Paris, you know.
Better believe it, one thing I think about Paris: it is over the top expensive.
What I might want to ask you is, what is your story? How did your DJ bearer take off? What was your achievement experience?
As a kid my first thing is creation you know. I used to make out of control music and play the electric piano in a band, out of control disco style. My first love was the French touch particularly Ignorant Punk with “Schoolwork”. That is the point at which I got into house music and began to create a few tracks. At that point I met Phil Weeks. We turned out to be dear companions since we were doing sports together.
At the point when you DJ, you gain proficiency with a ton about how to create
Phil Weeks is the Robsoul originator right?
In 2006, I discharged my first EP on Robsoul and afterward I didn’t stop. We remained exceptionally near and I have a great deal of discharges from Robsoul. What’s more, that is the means by which I came to generation and DJing.
So your first access was creation and by having fruitful discharges you got into DJing.
Precisely! Also, presently I love both in light of the fact that when you DJ, you become familiar with a great deal about how to create. In the event that you are just working in your home or in your studio, it’s not something very similar. This music you need to play it in oder to get it.
I totally concur with that. I believe it’s an ideal mix to deliver and play. It both motivates one another. This is likewise my experience: when you simply sit at home and make tracks, they may sound great in your room. However, it tends to be an alternate story in the club.
Precisely! I gain proficiency with each time I play. I listen cautiously to each track I play or different DJs play. Each opportunity I return home I’m exceptionally inspired to do new creations. I need to do this, I need to do that… Each time I go to gigs I take my PC and when the gig I need to do creation you know.
Okay personality sharing what you use for creation? Which instruments you use? You use Ableton, Rationale or something different?
I used to chip away at Cubase for quite a long time. In any case, presently I have totally transformed: I purchased a MPC 3000 – equipment stuff – and I’m truly cherishing it. It made a huge difference. In any case, when you have MPC 3000 you need to make a huge difference in your studio. So now I’m fabricating another studio, since I need to sort out everything around the MPC.
That is your focal creation device? MPC? I used to have a MPC 2000 somewhere in the range of 15 years back and shockingly I sold it.
It’s the fundamental stuff in my studio now. What’s more, I’m purchasing everything to make the MPC sound better.
What programming do you use?
Presently with MPC, I just utilize Sound Manufacture. Since, the principle stuff is to import acceptable examples. I used to take tests from vinyl, from Compact discs, web, all over the place. Indeed, even from my amplifier. I like to record stuff, similar to my voice. Last time I did a video – you can discover it all over book page-with my Samsung telephone. I sampeled the “bip..bip..bip..” of the volume control, put it into my MPC and did a track on “bip..bip..bip..”( both snicker)
With the MPC now, I have the specific inclination I was searching for
Goodness my God! that is entertaining!! So you do your entire creation on the MPC – that is mind blowing!
Definitely, I ‘ m taking a shot at it. Since in programming (Cubase) I generally had that issue of sound. Not all that simple to sound extraordinary. To have the specific sound I’m searching for: harsh, solid. With the MPC now, I have the specific inclination I was searching for. You must have extraordinary examples from the start. The hints of the example is extremely significant. You can’t import something which sounds terrible. However, presently in the event that I import tests into the MPC, it sounds extremely tremendous.
I surmise that is the place the name of your track “Drumin’ it” originated from, in light of the fact that it’s made fundamentally on the drum machine right?
No, in certainty when I made “Drummin’ it” I was all the while utilizing the Cubase! The tale of “Drummin’ it”: it was the last track of the EP I was making for the Robsoul. I had a cutoff time. I don’t recall precisely yet it was the finish of October. I had just a couple of days left. So Phil Weeks let me know ” pick up the pace Joss! You need to give me the last track! We need to discharge it in two days”. So I made this track in 2 or 3 hours. From the start when I made it, I didn’t know of this track by any means. For me it was anything but a decent track, yet then I understood it might be the best track of the EP in light of the fact that, everybody let me know “Goodness!! It’s the best one!!”. So it’s a decent exercise. At times you imagine that your track isn’t cool and take care of it. You don’t utilize it. However, once in a while you don’t understand how solid that track can be. And afterward again once in a while you think “Ah! this track is truly cool!” Yet when you hear it out multi week later – it’s most certainly not. So this is the narrative of “Drummin’ it.” I did it incredibly quick, since I needed to do it quick. However, this track is the one that a great many people like. That is cool.
So I ‘m not by any means the only one who loves this track. To me it is extremely exceptional. The standard, the vibrato – it turns me on some how. You didn’t roll out any improvements? In the wake of tuning in to the last form, you despite everything didn’t generally like it?
Precisely! Be that as it may, with experience, I comprehend this sort of thing. I used to be delayed underway. Continually doing and doing, going through a long stretch of time on one track changing the alter. In any case, here and there when you accomplish something fast, it’s the best track or the best remix. So I attempt to figure along these lines: “don’t figure excessively, would what you like to do and keep it”.
No doubt! I believe it’s great counsel. I imagine that additionally go with some natural creation condition. May be something like your MPC 3000. Since, that is something that where you don’t play around an excess of in light of the fact that individuals will in general lose all sense of direction in all the modules and various things. You can go through months clicking around modules and presets. You will consistently discover something different and something else. The craft of impediment says: toning it down would be best. Picking a constrained generation condition and taking it from that point. I heard it commonly that individuals who explicitly restrict themselves concoct much preferred outcomes over individuals who have all the opportunity.
No doubt it’s hard to believe, but it’s true. Numerous makers ask me on face book: “What do you use? What counsel you can give me? What sort of machine would i be able to purchase?”. For me you can utilize any machine. You can utilize any product. Be that as it may, you need to discover what suits you. On the off chance that you utilize a MPC, don’t go from multiple points of view. Simply attempt to figure out how to utilize one thing great, at that point simply keep it. Since for instance, for MPC you need great pleasant examples. Nothing else. I truly don’t utilize pressure or whatever else.
However, you do the acing? Or on the other hand another person does the acing for you?
Obviously. Yet, I like t give the acing the most harsh, push, track. Nothing on it. Since I need the specialist who aces the track to have opportunity. To have space.
So you don’t pre-pack and attempt to make it uproarious and expand everything.
No. On the off chance that the examples are incredible toward the start, you don’t have to do this. For me, it’s my method for generation. I realize a few people do it any other way and I regard that. In any case, for me, I like to make it crude first and afterward acing.
Do you use test libraries?
No, that is the thing that I generally state to individuals who send me tracks. Ordinarily I hear Compact disc libraries, particularly on the beat. Furthermore, more often than not it sounds modest for me. That is the reason I state “don’t search for tests in an example library. Take them straightforwardly from tracks, Albums or vinyl. More often than not I take tests from out of control music, Disco music, jazz, hip-jump. Furthermore, for the beats I have my own libraries of Kicks, you know it’s the most significant, as 808 or 909 kicks. I ponder 100 kicks that sound extraordinary and I generally use them. At that point I go to Jazz music for HiHat circles since they have the first score.
It sounds progressively normal and increasingly human.
Precisely! That is the thing that I like, the human touch.
Where did the benchmark in “Drumin’ it” originate from? Is it the example?
Better believe it. It’s the example. I didn’t play it. Individuals think “Goodness, where does it originate from?” More often than not it’s more basic than you might suspect.