Part 2

How would you describe the relationship between technology and creativity for your work? Using a recent piece as an example, how do you work with your production tools to achieve specific artistic results?

I think here I need to talk about two Massis. (laughs)  

Massi the DJ: I started as a vinyl DJ and switched to digital only about 6 years ago. In this case, the new technology that led to the Pioneer CDJ era, was definitely life changing and took my DJing to another level. It became way more interesting and versatile. I am so thankful for these little beasts, because they really inspire me and allow for a more flexible performance. It almost feels like playing live, when you really get into the realms of Rekordbox and hot cues, there is so much you can do.

To me at least, this is way more interesting than beat-matching two vinyl and / or scratching for instance, which is pretty much all you can do if you play vinyl. Plus traveling has become such an hassle. So, it’s great that I no longer need to carry that heavy record bag with me.

Massi the producer: I still kill it the old way! I am very attached to my machines and the good old routines I have developed over the past 15 years of music production. Of course my knowledge and expertise levels have increased (I did learn more things and I feel more confident in the studio), but I usually stick to the same patterns, which means new technology and tools didn’t play much of a big role in this case.

I like simple and straightforward things, as limited as possible. Too many options and submenus, to be found more typically in Softwares, Plug-ins and new machines, are rather overwhelming and not so inspiring for me. But the good old Juno 106 and TR-808 still are for instance. And although I have made so many tracks with these two in particular, there is still some magic whenever I play them.

Yet, I am not a purist. I do use Ableton Live a lot as well and a few third-party plug-ins, mostly Native Instruments and Fab Filter. I actually love the combination of these two worlds: warm analogue sounds processed with modern digital tools.

Within a digital working environment, it is possible to compile huge archives of ideas for later use. Tell me a bit about your strategies of building such an archive and how you put these ideas and sketches to use.

Yes indeed, it is very easy to start a new track, create a few basic loops and then move on to the next one. Although you may then end up having a lot of sketches that never go anywhere. I usually try to avoid that. My goal is to finish every track I start. In fact, there are very few unfinished sketches on my hard drive.

This is the real job: make a track from start to finish. And I always do that with the same kind of passion, thinking that this is going to be released, and so I have to pay as much attention as possible to every detail. It’s not always easy or pleasant, I know, at times it can be very frustrating.

But then you know this is part of life, sometimes you have good days, sometimes you have bad ones. It’s important to keep on!

How do you retain an element of surprise for your own work – are there technologies which are particularly useful in this regard?

When I am making music I live in that moment. And when I really get into the flow of things, sometimes some unexpected things can happen. Like a combination of certain parameters that can lead to a new sound. That feels surprisingly good and refreshing, although I am still using the same old machines, and no new or special technologies.

It’s mostly just me tweaking knobs and pushing some buttons, and then suddenly something new happens again and I am impressed. (laughs)

Production tools can already suggest compositional ideas on their own. How much of your music is based on concepts and ideas you had before entering the studio, how much of it is triggered by equipment, software and apps?

Most of my music is based on things that I see / experience in my daily life: a talk with a friend, words, books, visual art, movies as well as music that I listen to that inspires me. This is usually the background.

Then I just sit in the studio and start to play some keys. Somehow the machines start to translate what’s in my head and heart. Of course, as mentioned above, they play an essential role during this creative process. So, at some point, it’s less about my feelings, they take control and drive me to paradise. (laughs)

Have there been technologies which have profoundly changed or even questioned the way you make music?

I can only think of Ableton Live, which is the only DAW I use. Every new version that comes out has some new challenges for me.

For example, one of the things that I really enjoying about Live 11 is the introduction of “Chance”. Working with probability, allowing some interesting accidents to happen during your workflow, has been quite inspiring.  

As a huge John Cage fan and his aleatoric approach to music, I really think this is a nice way to let your producer’s ego step back a bit, and let things happen by chance, leading to results that maybe you would have never thought or expected.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. Do you feel as though technology can develop a form of creativity itself? Is there possibly a sense of co-authorship between yourself and your tools?

I believe technology can play a big role in any artistic creative process and it’s probably good to try and challenge yourself with new tools. Yet, I also think that if you are comfortable with what you already have and things are working out for you, you don’t really need to change anything or upgrade to the strongest and fastest machine ever made, in order to be creative.

I sometimes feel like technology is way too fast for me, and I am very much behind it. It is somewhat frightening and I feel some kind of pressure from this. But then again, I just need to take a deep breath, look at what I already have in my studio and I realise I am actually fine.

I don’t need more. I might actually need even less than what I have now.

What tools/instruments do you feel could have a deeper impact on creativity but need to still be invented or developed?

Good question. Sometimes I feel like we already have way too much and probably the key is to have less. Working with limitations can actually be more inspiring and creative.

So, very honestly, I don’t feel like I am missing something at the moment, like a new machine or a faster and bigger computer in order to be more creative. I think I already have all I need to write music for the next 10 years at least. (laughs)