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I'm not even a trained producer. I just keep following my ear and working on stuff until it sounds the way I like it.

A-Trak

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A-Trak
Age: 42
Born: 1982
Born: March 30
Composer
Disc Jockey
Dj
Entrepreneur
Musician
Record Producer
Recording Artist
Singer
Montreal
Quebec
Alain Macklovitch
Way
Sounds
Like
Following
Ears
Working
Sound
Stuff
Producer
Keep
Trained
Even
Producers

More quotes by A-Trak

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I think that's becoming the key to where the whole idea of art and culture are going nowadays anyway, is the idea of curation. Knowing what you like. That's sort of the future right now. Molding something, whether it be a roster on a label, or your blog, or a song, or your DJ set.
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I like getting feedback from people who show a lot of potential, and it's exciting to witness to new talents developing and bourgeoning. I always try to stay around the newest stuff, I don't like to stay with something that's kind of old or approaching it.
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I'm still a hip-hop producer. I never put a label on what I can do as a producer or a DJ.
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I've been doing it since I was prepubescent when I loved to scratch records and play good music. As it happens, you know I sort of fell into the mix. I really feel like I played a role in bringing dance music to America years ago.
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It's always important to me to play something other DJs aren't playing.
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Now I'm able to play on the main stage and play my own tracks and the crowd likes them. I feel like a lot the other DJs play a lot of the same songs, and not to knock them, but it's important to me to go up there and sort of sneak in a bunch of stuff the other guys aren't playing.
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When you know what you like and what you want and you're able to nudge things in the right direction, that's more profitable than ever, because there's so much information out there. Everything's saturated. Tastemaker is probably the most overused word, but I still think it's important.
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A few guys will get up there with turntables as purists, to play vinyl or whatever.
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There's a ton of amazing music that's not getting heard.
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At the end of the day, Fool's Gold is a label that, when I hear something I like, I try to grab it for the label. There's a ton of great music coming out.
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I think whether dance music had exploded in America, I still would've been a DJ a long time. This is my first love.
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There are producers that have been my friends for many years that I'm still a big fan of, from Boyz Noize to solo acts. Justice. It really varies. All the way to like...sometimes I'll just find some dude out of Chicago that makes a great house song. I'm feeling a lot of the deep house stuff, Jamie Jones.
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There are things I like, there are things I strongly dislike. In my DJ sets and in my production I just gravitate towards what I like.
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I'm one of the few DJs who uses turntables. I'm the only DJ that's scratching.
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We have to wake up early and make songs everyday. I run my record label. You work at hours where your body isn't designed to work. But it's fun.
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The essential component of being a DJ is setting the mood it's playing to the context. So that if you're not able to adapt from one context to another, then you're not a DJ.
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At festivals you kind of have to play the game a bit and you have to play a lot of the big bangers but it's to me it's extra gratifying to be able to play the non-bangers and make it work. Because that's still the craft of the DJ, I think.
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I think one of the biggest things that's changed in terms of the rapport with the crowd is that now crowds come to hear our songs. We're getting closer and closer to an artist performance.
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I worked with him for years. I still think Kanye [West] is one of the most important people in music in the last ten years.
A-Trak
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There's a bit less elbow room and latitude to take it somewhere else, at least at festivals. In the club you can do whatever you want but at festivals, especially Ultra, nowadays the crowd wants to hear our songs.
A-Trak