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10 questions with Phatjak
Electro-prog sensations Phatjak share their thoughts on Timbaland, analogue synths and why the mastering engineer is as important as ever.
Step up to the plate Athens-born and based electro-prog sensations Phatjak. With more than 40 releases and remixes to their name, their productions have courted the attention of Steve Lawler, Nick Warren, Dave Seaman and Anthony Pappa. They've recently started their own Mokilok imprint and their DJ schedule includes Brazil, Mexico, Ukraine as well as their native Greece. One half of the dynamic duo, Angel Stoxx, takes five minutes out of his day to talk exclusively with Sounds/To/Sample.
Who's currently rocking your world as a producer and why?
I think Timbaland is the most hyped producer of the moment. The man has the Midas touch - everything he's part of becomes a hit.
What is the key ingredient to a great track? Breakdown? Style of production? Bassline?
I think the most important thing is the breakdown. A good psychoacoustic breakdown can drive the crowd wild when the track kicks back in - even if it breaks back with just a kick drum.
Do you mainly use analogue or digital soft synth sources? Do you think analogue really makes a difference?
I've experimented a lot with analogue synths and I think they are unbeatable. The difference in sound quality, frequency range, warmth, depth of sound and other parameters is huge. Digital only mimics.
How do you see the dance music industry developing over the next two years?
I can't make any rock solid predictions, but one thing's for sure - people need to start buying music again if we're to continue surviving.
When building a track, how do you normally work? Do you start with the drums and build your way up from there?
Most of the time I start with the drums. If you have a solid and tight rhythm you're half way there.
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?
I believe mastering is 50 per cent of the record. Of course you need to have a good mix, but mastering is a whole different science. In dance music I think mastering has the same complexities as in pop and rock so I prefer the hands and ears of a professional for the mastering process. Even if know as much about music technology and sound engineering as a mastering engineer, I don't have their experience.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
I use KRK's V6 which is a good, loud monitor. I mix at normal levels but when I want to feel the bass then the volume is hiked up. For good or bad, in dance music you need to listen that little bit louder in order to envisage how it's going to sound in a club environment.
Have you got any advice for aspiring producers out there?
Simple: study your craft hard if you want to make a living from it.
What's your opinion on processing the mix buss? Leave it clean or drive it to the extreme?
I always leave it clean. There are so many processors to mess around with on individual tracks; you don't need to mess with the buss.
What is the secret to being a successful producer?
Keep focused, inspire and above all be inspired. Be yourself, don't get big-headed and remember it takes constant hard work to reach the top. The fall from grace is so much easier than the ascension to the top.
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More from Phatjak at: www.phatjak.com
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