EXCLUSIVE WITH... GIUSEPPE OTTAVIANI | WeLoveTrance.pl
 


 
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EXCLUSIVE WITH... GIUSEPPE OTTAVIANI

You claim that when you do your live act it's like establishing a two-way bond between people and the music itself and you are "the link". How about DJs who during their performances "just" mix?
The thing is that mixing used to be like a big skill, using vinyl was quite hard. Right now it's much easier. It's not about that it's about more playing not real djing. It's more creating music in the studio like get the music, sell the music and play the music on stage. And to me, the way I play is the more emotional the better performance because when you have the crowd in front of you you can see their reaction and you are there with your keyboard and play. For example you can even change melody, improvise something and it all depends on people's reaction. If you play as a DJ you play full song and there's nothing you can do more, you just play a song and look for the next one but when you're playing something live you can change it, improvise during the show and everything may happen.



You are another example of a DJ who started his career together with other artist, I'm talking about NU NRG project. Do you think it's a good start? Wouldn't it be better to be the only owner of all success and productions from the very beginning?
Well that was years ago and of course that was my first project. Back in the days we had our own style which was quite fresh and new and live acts were since the beginning that's why I still do live acts. Obviously it was the most important part for me because that's how everything started to my professional career. But things are changing and we reached a point where we couldn't go any further together and we split up. So I had to start, I'm not going to say from the zero because I've already had a name, but still I had to re-style again and build-up my career again. I don't have any regrets because that was a good, a big time but in the end it was not feeling right so I'm feeling much better now. If you feel good you make good music. It's not any other kind of job it's more emotional and music reflects your feelings. If you are satisfied with what you do then it's going to be good.

Recently during interview for us Solarstone said to me that you were one of his favourite producers. His newest album is supposed to be a manifestation of "Pure Trance". Do you also try to produce "Pure Trance"?
Umm, no. I mean I love trance as a trance producer but the thing is that I'm connected to classical music and trance, back in the days, was what matched and go with the melody from trance music and the beats from technical music. I used to listen to a lot of techno music at the beginning but then I was mixing melodies so trance was the perfect match between melodies of classical and techno. Right now everything is changing, everything is evolving and I'm evolving too. So I'm working on the melody as a main thing for me. Obviously I'm not going to produce "pure trance" as it used to be back in the 90s till 2000. So I'm just trying to get the new sound to evolve. The most important thing is that I will try to give my identity and I want people to recognise me so if you listen to something you should be able to say "OK, this is Giuseppe". So not to lose your identity but still produce something fresh.



How did you start to collaborate with Paul van Dyk and his VANDIT Records?
VANDIT was my home from the very beginning. Everything started there. I made a track back in 2000s it was called Dreamland and Paul van Dyk gave the song the label. It was the start of my professional career. I stayed in NU NRG, then we split up, I made a lot of songs and that was the starting point for my solo career. So I feel part of the family for 11 years and every time we can do something together it's just a pleasure and of course I'm really happy to have one more track to go with Paul on the album.

You are the enthusiast of all technology related to music production. Do you use brand new equipment and software or have your own reliable equipment that you stick to all the time?
Well no but the thing with electronic and computers is that you have to be careful. If you find a set up that works - keep it. Sometimes it's hard since people expecting me to use the latest technology which is available.
Really?!
Yes! I mean, we should be able to handle the latest technology but sometimes the latest doesn't mean the best so I have my own set up, I have my way to work with technology and for the time being I'm not changing that, I keep it that way. Anything outstanding that will come out soon I will test for sure but I'm not sure if I'm going to bring it to the show.



It is said that Italians are hot-headed, have hot temperament. Is it one of the reasons why your performances are so energetic?
I don't know, probably no. Sometimes I just like to push harder. It's rather because I love what I do and that's why I put all my energy in it.

Live act probably is not a spontaneous performance. Do you always button everything up, have perfectly planned?
No, in a matter of fact it's all improvised. That's the good thing about playing live. I have something in mind, I ask guys on backstage "what can I play there?" and they say "oh yes, play this this and that". I'm not going to plan anything. I want to see crowd's reaction for the first song and then we'll see. You never know what's going to happen. I'll play something, see the reaction and then play the rest step by step. That's the good thing about playing like this.



What track has recently given you a goose bumps and what is so special about it?
Well I've got a lot of stuff coming out but I did a collaboration with Betsie Larkin, the track calls Toys and it was released in VANDIT in April. I was really happy because it was a kind of a different style from my usual style. I won't say more commercial but still not my typical sound and still I've got the usual reaction for it from people, from the charts and everything and I was so satisfied. I also had a collaboration with Sean Tyas which was called Arcobaleno which is Italian word for "rainbow". That's the pure kind of trance music that we love. The good thing is that if I make a track more classic like Arcobaleno or Toys as well it gets reaction from the crowd and it means that it doesn't matter what kind of style you want to play. If you make good music the reaction will be good.

Are you trying to be an individual or do you change together with the music?
I'm just trying to keep doing what I like. I don't know which way I will follow. As I said before: I want to keep my identity. Artist's career is like you never know what will happen so evolving, giving something fresh to people is always something good. Again; you don't have to lose your identity. It's not like a big change. To experiment, do different things but stay the same.



What are the essential basics required to start producing music?
Well right now you just need (smile) a Mac and software that everyone is using. It's quite easy now. It's not like back in the days when you had to spend a lot of money on it. I have been building my studio since 1997 and I completed it 2 years ago.
Sounds like a lot of equipment.
Yes, a lot of expensive stuff. And that was my way. I felt absolutely comfortable with that kind of environment.
So it was better than today.
No no, I can't say if it was better then or now. I'm just saying it's different and it depends on how do you feel because you can even make music with a laptop if you're good at making music - fine! If you're comfortable with that - fine! I'm not the kind of guy who is able to make sounds with mouse clicks. I need to feel the music with the touch of keyboard so it's different. I love classical music, piano and that's the feeling I'm looking for.



Can we ask for a couple of words for WeLoveTrance.pl readers?
Hello guys! It's a pleasure to be back in Poland. I've been here on Sunrise in 2007 so it's been a while but it's good to be back. I love the country. I don't know what's going to happen tonight but it looks good already!

Interviewed & translated by Marta Walu

 

 

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