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10 questions with Angel Alanis
The S2S hotseat plays host to techno master Angel Alanis, who shares his thoughts on ghettoblaster monitoring, the lovely Moog Voyager and why originality trumps sound-a-likes every time.
Angel Alanis (aka A-squared, Subsonik) is one of Chicago’s most creatively diverse and consistent electronic music producers. With an uninterrupted flow of releases since 1997, Angel’s unique and distinct style has given him the opportunity to collaborate with and remix for artists such as DJ Dan, Robbie Rivera and a mix for Joey Negro that occupied the number one spot on Billboard’s Top 20.
After releasing his debut EP 'Advanced Therapy' in 1997 on Contact Records, Angel caught the attention of Bad Boy Bill's infamous label group, Mix Connection Multimedia (MCM). During the course of the next few years he went on to release numerous House classics through Contaminated and other MCM labels, such as International House Records and Moody. Inspired by the thriving techno scene in Chicago, Angel delivered his debut album 'The Subconscious State of Techno' in 1999, receiving acclaim from renowned artists including Judge Jules, Laidback Luke, and Armand Van Helden.
How do you see the dance music industry developing over the next two years?
I don't see it going anywhere terribly new. Sounds-wise it might go back to jackin' house and techno. I'm also loving fidget at the moment, but I hope that changes a bit soon as it's getting overdone.
What is the key ingredient to a great track? Breakdown? Style of production? Bassline?
For me it's about quality of production and a solid arrangement. I like some drama in the breakdown and - most of all - a little originality.
Do you use mainly analogue or digital soft synth sources? Do you think analogue really makes a difference?
I use mostly digital plugins, although I would recommend getting a Moog Voyager. It's the best sounding 'analogue' I've heard in a long time.
Any arrangement secrets you want to share?
Dont get lost in a.d.d. hell!
Have you got any advice for aspiring young producers out there?
Be yourself. At the moment there seems to be a need for producers to make the kind of sounds that are at number 1 in the Beatport charts, but that way of working is tired. If you strive to make the sound of the top spot, you'll never hit the top spot. Other than that it's about patience and long nights in the studio.
How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?
It can be important. It depends on how good you are at mixing down your music and what hardware and plugins you use. I do my own mastering, although I also master for many labels and artists as a business so I would always recommend using a good mastering house. I currently use an Avalon Setup, with Apogee Ensemble A/D. Izotope's Ozone is a good tool but you've got to be careful with the dynamics setup as it can easily ruin a mix. SSL's Duende and some of the PSP stuff is good as well.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
Actually, I try and use as many monitors and different level as possible - everything from a very 'flat' setup right through to a ghettoblaster and more besides. The more references you have, the best chance you have of getting the sound you're after.
Which sounds do you find are the hardest to create from scratch?
Basslines and clichéd Latin/ Banda samples.
What's your opinion on processing the mix buss? Leave it clean or drive it to the extreme?
Leave it clean. Get your records mastered professionally. God gave us volume knobs so you don't have to crank the mix up soooo loud it's distorted.
What is the secret to your success as a producer?
Right place at the right time. And working a ton!
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More from Angel Alanis at: http://www.myspace.com/angelalanis
(c) 2008 Sounds/To/Sample