S L O W P L A Y. If there is just one thing that Mr. Eric Carver is known for, it's bumping
[110 bpm]
and making you like it. Many DJ's have failed where Eric Carver makes his killing: being able to play such a broad spectrum of music (electronic or not), yet still get mad respect from even the toughest critics. Imagine getting props from Roger Sanchez in the flesh! You wouldn't catch him telling the story though, because he's just not the kind to boast.
Eric's style is the definition of old school: back to basics, fundamentals, no nonsense music. In fact, it wasn't very long ago that he switched from playing vinyl records to cds! With so much watered down new school going around, it's no wonder why his tried and tested talent is one of the most booked and sought after in this city.
: So Mr. Carver, if there is anyone in Vancouver that can be trusted to play genres ranging from old school hip hop to deep house, without cheapening their integrity, it is you.Others try to get more gigs by playing whatever the promoter wants, but then lose a sense of who they really are.What would you say is the trick to being able to play such a broad spectrum of music, while still maintaining respect from the underground house scene?
: You just gotta stay true to the music.Create a sound that will be your brand, what you stand for, what you believe in.If you love what you play, you’ll get into it, you’ll research it.If you’re playing music just to get paid, you just won’t care; that love won’t be there. It’s like cooking:When you make food in the morning before you go to work, you're just cooking to eat. When you’re cooking for someone, for example a girl you're interested in, there’s love in that food, and that person’s going to appreciate that; it’s just like DJ’ing.The crowd will appreciate it when they can see that you love what you’re doing.
: When did you get started and what kind of music did you play?First DJ setup?
: Not many people know that I started out playing progressive house and trance.But the moment I heard “Intro” by Fred Falke and Alan Braxe (funky house), it led me to what I felt was the right direction.As for my first setup, which I still actually own, is two tech 12’s and a Vestax PMC720A mixer, purchased in 2002.
: At which point did you discover your love for house music that you now play?
: That definition has kind of changed for me over time, but when I first saw Lisa Lashes and Anne Savage play at Plaza of Nations back in the day, that for me was when I started getting really into progressive house.As for proper house, it was after I picked up a cd from DJ Hadwin that I really got exposed to the sound.
: Did you have any mentors starting out?Who booked you your first big break?
: The person who gave me key tips and advice regarding beatmatching was Nancy Kid.She taught me straight up pitch control, without touching the record.I owe a lot of my style of mixing to her.As for my first big Vancouver break, Savio from Trust Entertainment booked me to open for Talvin Singh in November ’07. Lefty from Poolwest was also a huge influence on me in terms of how to handle and conduct myself in the industry.
: If you could lend any sort of advice for the aspiring DJ, what would it be?
: Learn the technical stuff before you learn the music; you can’t play hockey unless you know how to skate. Technical as in the non musical aspect of DJ’ing: beatmatching, timing, adjusting your lows/mids/highs, etc. Don’t try to rock crowds if you don’t have these fundamental skills. You can have the best track selection in the world, but if you don't have these basic skills down pat, your mixes will sound like two shoes in a dryer.
At the end of the day, we are doing a job just like anybody else. The only difference is the product we are selling is intangible. So treat it like a "real/normal" day job interview, approach the promoter/venue professionally. Don’t just walk in there like a kid with a CD; say why you think you should work there, then you will have a better chance of getting “hired” or booked.
: You’ve also played in Sri Lanka, can you tell us a bit about your trip?
: Sri Lanka was an exciting experience!They flew me out there, I was able to taste their culture and most especially their food .Hopefully I’ll be playing there again soon because it’s amazing, doing what you love and getting paid for it.
: How do you find balance between music and the rest of your life?
: It’s still just like any other job, whether you’re an accountant or a lawyer.It may not seem like it because it’s an art, a passion, but you have to focus on your work when you’re working.But when it’s your downtime, you turn off your phone and don’t read emails or check FB, especially when you’re with your friends or family.That definitely helps in maintaining balance, work is work and play is play.It’s hard for you to have downtime when you’re always thinking about work.
Thank you Mr. Carver! Now on to the promotional goodies :D
Take a peek into the mind and laboratory of this mad scientist. Robert Babicz (a.k.a. Rob Acid) sheds some light on the final Mastering process, and explains why it is an art form of its own.
Trial and error is all about making mistakes. You make the wrong decision, you try something else, rinse and repeat. But wouldn't it be nice to have some sort of a guideline for other, more delicate matters?
There is no "idiot's guide to the music industry," nor is there an "idiot's guide to nightlife etiquette." Although it would be a laugh to read about things some people should know, like the "no life stories on the dancefloor" policy.
Anyways, I came across an article someone wrote about how to properly put together a remix pack. One would be surprised to know that there are so, many seemingly insignificant factors that could affect the total outcome of your remixer's final product. Imagine that!
What should you add? How should you add it? What would be most convenient for the remixer and what would give them the most inspiration? Find out [HERE]
Pardon my recent absence ladies and gentlemen...I was digging in a mine and eventually found a treasure unmatched.
That's right, legally free VST's. This one website contains not only hundreds of direct downloads, but descriptions from the guy who personally tested these and thousands of others.
I want to share these with you because not everyone can afford the legit synths right away. We'd like to get there, but for now we're just people with big dreams and small pockets.
So check these out for yourself...what have you got to lose?
Most often the term "dead fish" is pretty self explanatory when it comes to the bedroom, so why would you want it in the form of a handshake?
First impressions are lasting ones, and many people fail to realize that the way you shake hands with someone leaves the biggest impact of what they initially think about you. A loose, lifeless handshake when only the tips of your fingers are given can easily overshadow a few of your best qualities, and will negatively affect your stature no matter who you're interacting with: a client, a potential boss, or even a hot date!
We all know what a proper handshake should feel like. Firm, confident, not too tight, not too loose...and not for too long. One or two shakes should suffice (wait, are we talking about the urinal?). It projects a strong personality, and that you actually respect the person you are shaking hands with.
So don't take your handshake for granted, because a little respect goes a long way.
Electro used to a surefire club banger, floor filler, and eyeball roller (yes, I said it). But nowadays it seems that producers are running out of new ideas, while the dubstep/nudisco scene is exploding faster than rabbits....eat. Will the crown be passed on to the nu kids on the block? We aren't completely sure yet, but Skrillex will definitely give those young punks a run for their money. Check out these head bangers below and be the judge.
BTW, he gave away these tracks for FREE!!!<--Click the red letters to download the whole EP ;)
I found this article fascinating. With the digital age in full effect, vinyl records are getting more and more scarce. How are they made and what makes them tickle your eardrums in a way mp3's just can't? Check out the Youtube videos below or click [here] to get the full scoop...and even learn how to copy records! Take that cd burners!
BOOM! Jamie Van Goulden has taken Vancouver by storm so quickly that before you can even finish saying his whole name...he’s already playing at your party! Not much longer than a year ago, I remember Jamie’s very first gig in Vancouver. It was at the old Stone Temple (now Joseph Richard) on a night hosted by DJ Slip, and Jamie had just moved in from his hometown in Manchester. How do I know this? Well I was playing there myself =P. Little did many of us know at the time, that our Brobot Jamie would end up becoming the event manager for the legendary Cecil nightclub, and then claiming the Clubvibes “Best Electronica DJ” this year in 2010! It’s crystal clear that talent and work ethic aside, Jamie’s kind and helpful character are what shot him to the top. Try finding a reason not to like the guy!
How did Jamie accomplish so much in such a short amount of time? And did you know how established he was before he even stepped foot in our country? Read on to the interview to be surprised by what kind of tricks are up his sleeve, and titles are under his belt.
Having already been established back home before you went to Vancouver, what exactly were you leaving behind? Why the move?
I felt like I needed a bit of change to be honest. I spent a lot of time DJ’ing in Europe and the UK and when the opportunity arose, I took it. One of my business partners from Sunglasses At Night, Rachel Sehl, was going over to Europe so we sort of swapped places. She went on to do Ibiza, UK, Amsterdam, and I came over to do Vancouver. Being an ambassador for Mad Hatter and Looking Glass Recordings, this seemed like a good venture for me to go to North America.
Can you tell us a bit about the gigs you played back home?
I started in 1997, DJ’ing at some of the underground clubs in Manchester. Over the years I progressed to London, and met Jimmy Bell (founder of Sunglasses at Night). We then started doing parties abroad: Amsterdam, Sweden, Ibiza.
We know the house scene is much bigger in Europe, but how is the competition? What makes it more difficult to be successful there, and here?
I think definitely at the moment over in Europe it’s very difficult to try and break in dance music. It’s the number one sound, everybody’s into dance music. You can be big, have a large following but still not break through. Whereas in North America, there are many other varying genres like country, and Hip Hop is still the top genre in the U.S. But the music scene is changing. People in North America and especially in Vancouver, are embracing dance music a lot more and the result is an increasingly strong electronic scene. It’s still got an edge.
Since you’ve only been here less than a year, can you describe to us your progression from arrival, to becoming the event manager for the Cecil and then winning the 2010 Clubvibes Best Electronica DJ of the year?
I was very surprised actually, I didn’t expect it at all. It was hard because when I first got here because obviously I’ve come from a place where nobody knows where I am. But it’s like anything, you gotta work hard and get yourself out there. If you help other DJ’s work, you might end up throwing some good parties and I’m glad I’ve been recognized. I would like to personally thank the following:
Jimmy Bell (owner of Sunglasses at Night), Rachel Sehl, Nick Hussey, Joe Luciak (owner of Cecil), Javi Tejada, Savio, Reza, Eric Carver, IMU (Rebecca Leigh) and most especially the whole Brobot Syndicate.
Can you share some advice in getting gigs for those who are just starting out, and would hope to progress as quickly as you?
The only thing I can say is basically to just get yourself out there. If you want something you have to keep pushing yourself. You gotta keep physically getting those mix cd’s to the club owners. Don’t send emails, go old school. Show your face and network, network, network! If you keep trying your break will come eventually.
In between all of this, you are banging out beats in the studio! How long have you been producing and which software do you use?
I’ve been producing for about 4-5 years now, and we’re using Cubase as a group (Jimmy Bell, Nick Hussey and Rachel Sehl). Cubase is still probably the best program to use.
What did you find was the toughest part of the learning curve?
Working out where everything is. The ideas are there, you just gotta sort out how to layer it. I’ve had a lot of help from Nick Hussey, he’s one of the best guys in the industry to work with. He’s been doing it since 1988 and has sold more than 6 million records. He’s the man you want!
Can you name some of your favourite synths and plugins, and why?
We only use the analog gear sent from Wonk Records but unfortunately we’re not allowed to share them with anybody ;).
What are some projects you’re working on at the moment?
We have just completed a small EP with local Vancouver singer IMU (Rebecca Leigh). Included is a remake of Reflekt’s “Need to Feel Loved” and an original track called “Work it Out (Brobots).” They’ll both be in Mad Hatter Records and Looking Glass Records. In fact “Work it Out” will be a part of the soundtrack of a new Indie movie based in Vancouver called “Ecstacy.” Nick is actually doing the whole soundtrack for the film and when the director was listening in on one of our studio sessions while making the track, he liked it so much that he decided to add it to the soundtrack. I’m really happy about that.
I’d also like to mention that I’m in the process of organizing a “Brobot Supperclub.” Back home in Manchester the DJ’s in the circuit would get together on an off night (maybe Monday or Tuesday) at a different venue every week. This time was spent catching up with each other (because we couldn’t all go to each other’s gigs), share stories, ideas, and even gigs! A lot of us are buddies anyways so this would be a good excuse to get together outside of a party environment and just be Brobots :).
Who were some of your early inspirations?
The American DJ’s in the disco house scene like Armand Van Helden, Roger Sanchez, DJ Sneak. Also in the UK clubbing scene like Graham Park and Tony Wilson back in the late 80’s and 90’s were a heavy influence on me.
Lastly, if you could open for anyone, who would it be?
Trios!
Hahaha very clever! But joking aside :P
After long thought, I would say the guys from Swedish House Mafia. They’re doing big things in the scene right now.
Thank you Jamie! We sure have learned a lot here. Ok folks you will find all the goodies below. Stay tuned because I will be playing with Jamie one last time before the Cecil closes for renovations. But not to worry, Jamie and the Cecil crew will continue to throw parties with the same Cecil atmosphere ;). BOOM!
For our debut showcase we bring to you the man behind the label Dot Dot Records and a resident at Vancouver’s internationally recognized after hours club Gorgomish, who recently went on tour in New Zealand to show them how we do! We take an inside look on the early stages of Joel Armstrong’s career, how he came about to getting where he is now, and fresh updates on his current projects.
If you haven’t heard of Joel, it’s because he is one of the most under rated producers here in Vancouver. If you are farmiliar, then you can already distringuish his pure, organic sound. Many industry heavyweights have noted Joel for his mad scientist-like knowledge of software synths, being able to pinpoint the sound that he imagines in his head.
To make this a bit more personal, Joel was actually one of the first to lend me his wisdom when I had told him I’d taken up producing. Probably sensing the same eagerness to work harder than the next guy, he sat me down in his studio and gave me an idiot’s guide to making things go boom! It is an honour now to return the favour and uncover to the local scene one of the surest underground movements.
Below is the entire interview, followed by some links for you to stay tuned on his music, gigs and projects. Weeeeeeee!
:So Joel, not very long ago you were on a tour in New Zealand.That must have been exciting!Can you tell us something you learned from your experience?
: Touring is not all it’s cracked up to be!Well, I shouldn’t say that...seeing as it was my first tour, there were a lot of things i didn’t expect; I didn’t know what to expect.You try to walk in with no expectations but hoping it will be amazing, but you might have a show that wasn’t awesome.Then the next show totally blows you away.
:How did you get the gig?Who was the promoter that hooked you up?
:My main contact down there is a guy named Tim Richards.He’s kind of a local hero who’s been DJ’ing since he was 15, and he’s younger than I am!He has his own label and runs a club night called “Signature Sounds” with a radio show under the same branding on George FM.I met him online, we’ve been friends for about 2-3 years now, I did a remix for him on Kinky Vynil and he is regularly played by people like Dubfire.
: You say he’s a bit younger, so how old does that make you?
: Twenty nine years old :P
: These days thirty is the new twenty!So it’s actually quite interesting where you were born and raised.Can you tell us a bit about it?
:I was born in Winnipeg, but when I was 6 months old my family moved to Indonesia and we lived in the jungle for almost 15 years.My parents were doing missionary social work and there was a time limit for expatriates to stay in Indonesia so we had to move away.
: And why Vancouver, not back to Winnipeg?
: I did go back to Winnipeg :P, well close to it.I did high school there and bounced around in places like Alberta, Vancouver, Malaysia, and Singapore.
: Were you always musically inclined?What kind of music did you listen to before electronica?
: I liked electronica fairly early on, because I came from a conservative Christian background.There was always tension between my parents and I about “lyrical content” in music, so my form of rebellion was listening to music without any words!
: Haha awesome!When did you start DJ’ing?
: In about 2005’ish.My first show playing at an actual club was Hush in Victoria.In Vancouver the first club I played at was called Cyber back in the day, I think it’s called Mint now.It was on a Thursday, so dead.
: At which point did you decide to progress from DJ’ing to producing?
: It was the complete opposite, I started producing first.That’s how I got my first shows because people already knew my music.In 2001 was when I began messing around with Fruity Loops, then got really serious about it in 2005.I had 3 official releases that year: one was on Proton Music, a track called “Serenity” that hit top 10 on Beatport under “Chillout/Breaks.”The other two were released on Vinyl under Babylon Reconds in France.
: Tell us about your label, Dot Dot Records.What made you decide to start such an ambitious project?
: Originally I started because I wanted it to just be music that I could release.I had a certain Idea of music I wanted to play out and music I listened to.Trying to marry those two together, not always successful.I wanted to have an outlet for music that might not fit with other labels that just want a club banger.Down the road I got a bit tired of running the label because of issues with management and distributors, so there was a bit of down time. Now I am totally rebranding the label completely, and it’s growing :).
: What kind of software do you use to produce?
: Cubase and Logic.
: So this begs the question, which do you prefer?
: Well the automation and midi control are much better with Logic because it’s more intuitive, but with Cubase the in-sequencer audio editing is much better.You can actually zoom into the audio file and edit it really quickly, making it easier to micro manage.
: Can you name some of your favourite VST’s?
Joel: The built in sampler in Logic is great.It’s fast and allows you to build your own libraries very quickly.My go to synth would be a little known VST (little known to me too :P) called Serge.Trillian is great for a bass synth.
: Working on a PC, I’ve tried to counter Logic’s sampler with Native Instruments: Kontakt.
: Kontakt is really good because you can set the sample start points and edit them quickly, whereas with Logic’s sampler you have to literally open the file and set the start point.
: If you could choose a motto that you live by in terms of music or life in general, what would it be?
: Just be honest.There isn’t much more to it.
: It is evident that what you see is what you get with Joel Armstrong, and it’s what sets you apart from the flakes in this industry.So what kind of projects are you working on at the moment?
: I just finished two remixes for a Label called Perceptive, a sub label of Nordic Records. Nordic records usually releases sort of pop music in full albums, and Perceptive releases electronic remixes of those tracks.They also run “Oslo Nights” on Di.FM and because of the remixes I’ve done for them (which will come out in the next 3 or so months) they have asked me to host that show every month with a new mix to promote their label.
: Thank you very much Joel, for sharing your experiences and wisdom.Lastly, would you be able to show us what your studio looks like?
S L O W P L A Y. If there is just one thing that Mr. Eric Carver is known for, it's bumping
: So Mr. Carver, if there is anyone in Vancouver that can be trusted to play genres ranging from old school hip hop to deep house, without cheapening their integrity, it is you. Others try to get more gigs by playing whatever the promoter wants, but then lose a sense of who they really are. What would you say is the trick to being able to play such a broad spectrum of music, while still maintaining respect from the underground house scene? 
I felt like I needed a bit of change to be honest. I spent a lot of time DJ’ing in Europe and the UK and when the opportunity arose, I took it. One of my business partners from 
