Moreover you gain a lot of experience if you perform every weekend, sometimes on huge sound systems at big events. How has your set-up evolved over the years and what are currently some of the most important pieces of gear for you? How do you see the balance between giving the crowd what they want and treating them to something new? What were some of the main challenges when starting out as a DJ and how have they changed over time? My music could be defined as energetic, driving techno that is also emotional sometimes. But I never tried to imitate other DJs, because I have always had my own idea about techno and what I want to play.
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I have had some very positive reactions towards some of my mixes. Do you nonetheless have a vision of DJing, an idea of what it could be beyond its current form?
I have always wanted to work with music but never thought about DJing as an option. What constitutes great mixing from your point of view? How has your set-up evolved over the years and what are currently some of the most important pieces of gear for you? In the beginning I did it only for fun.
Compared to that producing a new track in the studio can be quite lonely. It depends on so many things why I decide to play the track or not and sometimes it is just spur of the moment. I have never perceived the relationship with the crowd as a battle.
This does, of course, affect my next session in the studio. It does sound like science fiction now, but who would have imagined DJing with laptops in the s? What are some of the sets that have personally impressed you over the years?
If you enjoyed this interview with Klaudia Galwas, check out her gawals website for more information and ordering her music. How would you describe your approach to building a set? For most artists, originality is first preceded by a phase of learning and, often, emulating others. And the raves I went to back in the days only deepened the passion.
Is there such a thing as ‘disrespectful mixing’? But of course, it all depends on how long I play and how the audience reacts. What was this ste for you? It is remarkable, in a way, that DJing has remained relevant for such a long time. Once you get known and have a fan base both of these things get a lot easier.
How do you select the tracks you like to play, how do you prepare and how do you decide on the opening phase of your set? But I never tried to imitate other DJs, because I have always had my own idea about techno and what I want to play.
How do you feel about this — and in which way can both sides benefit from this? One of the most important aspects of a DJ set are the transitions from one track to the next.
So using CDs — and the devices I have already mentioned — is a good compromise for me that works well.
I put everything I can use or like on a USB stick and listen to each track, sometimes even while working in my office. Most of the time I am so full of projects there is not much time left klaucia listening to long sets. Maybe we will have a huge touchscreen and play music on that? For the next one I need a stronger bassline, then I pick sdt. With more and more musicians creating than ever and more and more of these creations being released, what does this mean for you as an artist in terms of originality?
The first challenge is how to get gigs or organize your own events. Generally, the technological progress in the last years has changed DJing kladia. Could you take me through the process of preparing for one of your gigs, please? Aet is it about DJing, compared to, say, producing your own music, that makes it interesting for you? Reaching audiences usually involves reaching out to the press and possibly working with a PR company. Performing in front of a crowd, working huge sound systems and travelling are still a great part of the fascination the job holds for me.