The Questions for this interview were supplied by readers of the Drum&Bass Arena.
Joey O'Brien ( Milledgeville, USA (near atlanta) ) Question: Hi! i wanna start by letting u know i think you're a genius! your work is superb! i've been into making electronic music for about 4 years. though i've went through many stylez, my long time favorites are jungle and dark step dnb. i was wanting to know what software u use in production. also, what type of modules or sources do you get your loops and drum sounds. i use a tracking program (fast tracker) which is very primative but u can get very precise. only problem is the sound quality. so i was wondering what u would suggest for someone who's wanting to improve their setup. thanx!
Omni Trio:
For Joey and all enquiries regarding studio equipment and technique.
I Started out using primitive trackers such as Pro-Tracker and Octamed. Infact 'Mystic Stepper' and 'Renegade Snares' and most of 'Deepest Cut' was done with Octamed.
I Currently use Cubase 3.1, I know it inside out, I love it and have no wish to change it.
The most important piece of kit in a D&B studio is the sampler. A good sampler is essential, I use a fully expanded Akai S3000. Again, I know its innermost secrets. I believe its very important to get to know your equipment intimately.
The next important bit of kit (after the sampler and sequencer) is my (digital and proud) Yamaha 03D mixer. This piece of equipment is especially important due to it having very useful outboard on all channels, compression, parametric E.Q and multi-FXs (not to mention automation and other useful features). Again the secret is, to get to know this mixer and program your own EQs, compression and FXs etc..
Other equipment includes, Roland SH 101, Juno 106, Vintage Keys etc.. Even cheap sound modules have their use, if you are prepared to experiment with sounds, sample them, then further manipulate them in your sampler.
As for sound quality, it is important to start with strong, noise free samples (if you want it grungy, do that later by distortion or filter banks etc..). If you start out with poorly sampled, or noisy sounds, you wont be able to fix it later.
Joshua Selsky ( Chicago, Il. USA ) Question: What's the reason for the change in sound from 'Haunted Science' to 'Skeleton Keys'? Was it a reaction to the harder/techno route drum n bass was taking or the desire to simply try new things? I know there are tracks on 'Skeleton Keys' that use amens and such, but it seemed like the album was more melancholy and introspective than your earlier releases. 'Fire Island' and 'Silver' are two of my favorite Omni Trio tunes ever....I think you are one of the few artists working in drum n bass who actual make the word minimal mean something - is there an attempt in your work to try and wring as much emotion as possible from the few sounds that you choose to use? (Two questions, sorry!)
Omni Trio:
Thanks Josh, a very perceptive enquiry this one, but you've kind of answered the question yourself. One of the primary aims with 'Keys' and later with 'Byte' was to create a musical terrain that is sustainable on its most essential components. The temptation with sequenced music is to keep piling on more and more (sometimes in an attempt to hide lack of real content). The method with 'Keys' and 'Byte' was to build it up, then strip it back.
Terry McNeil ( Miami, Florida USA ) Question: Would you like to headline our drum and bass arena @ ULTRA 2000 Electronic Music Beach Festival, in mid-March 2000? I am the festival designer and technical director and everyone is dying to see you perform in south florida.
Omni Trio:
To Terry and all who have requested Omni Trio to play live or DJ at events. For the time being, I have no plans to put together a live set and my skills arent really up to it (I'll leave that to others), but many thanks for the interest, its a real honour to be asked.
Alex Zakharov ( Toronto, Canada ) Question: Why do you think there's a "dolphin" camp such as Good Looking Records producing atmospheric d'n'b and there's a hard camp (other labels) producing heavier side of d'n'b but they never play each other's music? Nowdays it seems like unless a song has crazy basslines and heavy drums, it's not good. Do you think atmospheric / jazzy d'n'b can survive in these conditions or is it done and over with?
I wish more people would produce / play mellower stuff because it seems like they're only producing / playing harder stuff to please the crowd and to boost the sales. I give you all my respect for not doing what "everyone else is doing". Thanks for ejecting some variety into d'n'b music.
Omni Trio:
Firstly, I think its got to be a good thing that D&B encompasses such a wide range of styles, from the 'Good Looking' to the 'hard' camps you mention. But of course its not a good thing when splits and cliques are created or that one style dominates at the expense of others.
To play atmospheric, musically rich or 'Jazzy' D&B, takes considerably more skill than playing minimal 2-step (which is easy to beat match, with no key clashes). Maybe this has something to do with its popularity with some DJS (ouch!!!). Nonetheless the support for atmospheric D&B is growing worldwide.
Matthew James ( London, UK ) Question: Rob, sorry to be blunt but in drum'n'bass circles you are (how can I put this kindly...) one of the elder statesman of producers. Do you still manage to get out and about to check the current club scene?
I am a similar age to you and presumably share similar musical influences (post punk stuff) - do you feel that that these are a help or hindrance when making your music?
Omni Trio:
Yes Matt I do still get out occansionally (when my stair lift and zimmer frame are in working order), but not as often as i used to. This being due to the lack of variety on the current scene more than anything else (I'm confident that is about to change).
I think the Post-Punk has many similarities with the D&B scene. The 80s underground took the energy of the Punk explosion and expanded into more experimental areas. Bands were fusing electronic and industrial ideas (influenced by Neu, Can, Kraftwerk etc..) with Free Jazz and Avant Funk rhythms. Like now it was a time of many possibilities. So in answer to your question, to have an awareness of the music of that period, has got to be a plus.
Damian French ( Kitchener, Ontario ) Question: What is your opinion of vocal oriented tracks and their recent popularity? In my opinion, it is purely for the purpose of commercialization. Do you think this could be even more damaging than the domination of the two step beat?
Omni Trio:
D&B is essentially a Dubby format in which vocals work best, when used as snippets or phrases (complementing the rhythmic and sonic framework).
I think only a few 'full' vocal tracks have been successful in D&B, 'Inner City Life' being one of the best. Most 'full' vocal D&B tunes sound contrived and put together for commercial rather than artistic reasons.
Arkady ( Moscow, Russia ) Question: Is Rob Haigh = Rob Playford ?
Sorry if not...
Omni Trio:
Definitely not. I've got more hair, he's got more money.
Paul Maher ( Dublin, Ireland. ) Question: The beats in David Bowie's "Little Wonder" are practically identical to the beats in the classic "Renegade Snares".Did you recieve any royalties and what is your opinion on its use and Mr. Bowie,s obvious love for your music ?
Omni Trio:£
Its not a problem, its just a shame that it wasn't used more creatively (and no there was no payment or royalty).
Ryan Crane ( San Fransisco USA ) Question: do you imagine drum and bass producers in the states having any kind of major effect on the scene?
Omni Trio:
I don't see why producers from the US or elsewhere shoudln't be able to make an impact on the scene. A fresh approach from 'outsiders' can only be a positive thing for D&B at the moment. That 'London thing; attitude is a bit narrow minded, as far as i'm concerned its a 'Global thing'.
