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Carbon Community
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| Date | 10.03.04 | |||||||||
| Q + A |
 JP: Ok first off, let's get the geeky stuff out of the way. What kinda of stuff comprises the live/studio setup? DC: Steinberg Nuendo, Access Virus, Waldorf XTK, Nord Rack3, Waldorf Micro Q, Korg TR Rack, Korg MS2000, Roland JP8000, Novation K-Station, Akai AX60, Moog Rogue, Roland SH-101, Traphat. That's the majority of the hardware. As for the live show we are running Ableton Live from a laptop with Cody playing live drums from the Traphat and a Roland SPDS with a bunch of those synths on stage JP: So you guys are a big proponent of the live act. It seems that the whole Live PA concept is having a bit of a renaissance. It kinda took a backseat to the DJ in the mid-90s but seems to be coming back strong. Any ideas on why there's such a resurgence occurring? DC: I think there is a bit less mystique as far as the DJ thing goes now, you know? A lot more people are DJing these days, so the whole kind of mystery about what the DJ is actually doing has kind of disappeared. With us, it has always been about playing live. As I don't DJ, my vision from day one has been to be able to perform the stuff live, and i think a good live act can reach an audience in a way that DJing cannot. I still see a lot of DJs play and enjoy it; I just never learned to do it. Cody is the DJ of the group...you can still catch him playing from time to time. JP: So then do you guys structure your tracks for the DJ, for the live act, for the listener, all of the above? DC: I think a little bit of all of those. Hopefully our music translates from listening at home to the dance floor in a live or DJ situation. I think what Cody has brought to the table with his years of DJing is his knowledge of what works in a DJ setting as far as arrangement is concerned.  JP: Moving on, tell us about the new label. DC: Well, the label is something that I had been thinking about doing for a while now. We had had some good and bad experiences with some different labels and really it just came down to having more control over the music that was coming out. We wanted to start something that was hopefully a little bit different than what other labels were doing. Earlier in the year Chris Carter hung out for a week or so and we convinced him to do a remix of a track that S.O.T.E.G. and I had done. At that time it just seemed like the perfect time to launch the label and put it out ourselves JP: Right on. So is there a specific sound, or a goal to it, or is it just a way to circumvent all the typical label bullshit? DC: It really is just all about the music. It is nice to be able to pick the artists that are going to be doing the remixes, and really to just have a chance to put out music that I really believe in.. JP: So how did you guys end up hooking up with Chris Carter? DC: Well, he was on tour early this year in the states and we both have the same booking agent I set up a show here in Dallas and had him come out. He ended up staying with me for about a week before he left for the Winter Music Conference, and we just hit it off. He ended up doing the remix of the loBudg track and a few months later we ended up remixing the track he did with JHz - "Big Chat." He will be back in Dallas in a couple weeks to play a show with Adam Freeland and ourselves, and I think we're going to try and wrap up a track together while he's here. Just keep him off the scotch. Haha JP: Speaking of the Freeland show, he's embarking on this whole "We Want Your Vote" tour. Freeland's recent stuff has been extremely politically charged. How do you feel about the whole music and politics thing? DC: I was just reading something about his tour today actually. I mean, I don't think it is a bad idea. I think he's just trying to get more people aware of what's going on, and it is something he believes in and he's going for it. I'm down with it, nothing wrong with a little education. If you've got something to say, say it, ya know? JP: Yep, kinda like Lorin's new track on Bless. Actually, while we’re on the topic of Bless, it seems like Texas has become a bit of a hotbed recently for stateside breaks. How'd that happen? DC: I don't really know how it came about. A few years back, it was completely different it seems like...as far as breaks in Dallas, it was non-existent. I think I was the last one to even find out about Bless. I was just poking around on the internet one day and came across his website. I dug the tunes and flipped over to the contact page only to find out that he lives right down the highway from me! We've also got Starfire on the other side of town, Burufunk just a bit north of us, and Paradigm Shift in Ft. Worth. Kelly Reverb is my next door neighbor. DJ Love (Stellar Records) is my neighbor on the other side of me. Kinda crazy...who knew? Texas is takin’ over! JP: So now is the party scene the same way or is it just on the production tip? DC: Yeah, I suppose breaks still are not the biggest thing on the party side of things... it has gotten better exposure over the last couple of years though. We are starting to get bigger breaks headliners through town. Dallas has a lot of great producers though...not only breaks guys, but some great house producers as well. Bryan Cox, Demarkus Lewis, Brett Johnson to name a few. JP: Ok a few more questions. Now time for the list type stuff...Top 5 places you’d like to play outside of Texas and why. DC: We haven't played to many places outside of Texas to be honest with you. We just did San Francisco a couple weeks ago and had a blast. I'd love to do NYC, LA, San Francisco any day of the week, England.... but you never know, some weird middle of nowhere places we have played have had some of the best responses. I'll go wherever. It is just fun to play to new people that enjoy your music JP: Ok, name a few tracks most influential to your productions. Doesn't necessarily have to be electronic. DC:
COMPEITION: |
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| Audio | loBudg - D-Town  |
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| loBudg - D-Town (Roxilla rmx) |
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