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There's a lot of producers that are much more technical or gear-skilled than I am. But I have a pure idea of what I like and where I want to go and I follow that.

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
Much
Skilled
Like
Gears
Technical
Producers
Follow
Pure
Idea
Ideas
Gear

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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.
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What's amazing about a DJ set is when you're able to re-appropriate a song or give purpose to a song that people didn't really think it was supposed to have. Give it this sort of hidden power by playing it before this song and after that one. That it fits into this logic and it goes farther than you thought it could go.
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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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My ears are open to all sorts of stuff. I appreciate some of the big electro house guys.I love their music but I also like a lot of the stuff coming out of the U.K. Future garage stuff. A lot of stuff like that.
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It's always important to me to play something other DJs aren't playing.
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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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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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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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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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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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A few guys will get up there with turntables as purists, to play vinyl or whatever.
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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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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.
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It's a good feeling to have something to stand for in any part of your life. It's like personal integrity.
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One thing that I learned in recent years from working more with other people is this idea that part of a producer's job is to make people comfortable and confident.
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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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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.
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I love disco and we sample it a lot for Duck Sauce. For me, that sound is kind of a new manifestation.
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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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