That’s a really long story summed up very quickly.ĬreativeLive: Now let’s talk about your workshop. I fell in love and that prejudice just disappeared. That really introduced me into using electronic music instruments, and that went into synthesizers, and then I went to my first rave, and I saw it all with my own eyes. It wasn’t until I finally lost a drummer in a rock band, that I bought a drum machine, because I didn’t want anything to slow me down when writing music, and learned to program drums and just play guitar over it. I began to listening to a lot of industrial music, and I was intrigued by drum machines and stuff like that. I think I hit a stage in my life where I was kind of, somewhat prejudiced to the dance music industry, probably just from the lack of knowledge. I was playing in rock bands, and there was that whole typical perspective of the ’90s, that separation between people who played real instruments, and these DJs who claimed to be musicians by playing records. Then eventually when I started taking guitar more seriously I join a few local pop bands. I went through the whole process of piano lessons, guitar lessons, even in high school marching bands from playing trumpets to being in the drum line. How did you begin making the transition into electronic music production?ĭrumcell: I have been playing music since I was old enough to hold something in my hands. I think techno is something people don’t usually get, but when you provide it to them in the right environment, in the right way and then it just clicks, there’s something that they understand on a much deeper level.ĬreativeLive: You are both classically trained musicians. But at the same time I feel like it’s important that we try and reach as many people as possible, without really sacrificing the integrity of what we’re about. We’ve always been trying to expose the music to new crowds, get people to understand it. This is a passion for me, so I’m not really willing to compromise the art of it all for the sake of popularity or success. I think it’s important as American artists, that we hold this tradition that came from the ’90s in Detroit, New York and Chicago. Even as EDM is really showing a lot of attention on Techno right now, I’m not trying to sell it out in that sense. So I think for us or at least for me, it’s been important to not forget those roots and to really stay true to the music. Vangelis: I know for us, techno was always the very purest thing, the kind of techno that we really became passionate about early on was not the easily digestible, mainstream stuff that you hear today, you know stuff that maybe Drumcode or Minus is releasing these days. Kind of somewhat in the way Detroit had its own techno scene, Chicago had its own scene we wanted LA to have its own foundation and its own crew of people that came from this city. How have you seen Droid Behavior evolve and where do you see things going?ĭrumcell: In the beginning with Droid, I think our destination and goal was to essentially create a techno scene locally in LA because it’s hard to be someone who wants to be known on an international scale unless you have some sort of a home base. In this interview, we learn more about where Droid Behavior is headed along with the way they incorporate Reaktor into their own workflow.ĬreativeLive: To start off, you’ve been involved with growing Droid Behavior for many years now. The panel that took place featured prominent techno producers Drumcell and Vangelis of duo Raíz, who are members of innovative West Coast crew Droid Behavior. With the introduction of Reaktor’s “Blocks”, it has even become more like a virtual modular synthesizer, where you can use Blocks to build complex, evolving instruments more easily that ever before. Reaktor 6 is an incredible, creative tool that allows you to design your own virtual instruments. In late September at the 2015 Decibel Festival Conference, Native Instruments hosted a special “Native Sessions” panel in conjunction with release of it’s new Reaktor 6 virtual instrument collection.
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