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10 questions with Mightyfools
Holland's hottest export since Advocaat, jackin' superstars Mightyfools step up for a Sounds/To/Sample grilling
Fast becoming the producers du jour on the fidget/bassline scene, Holland's Mightyfools have forged a steady reputation as one of the names of 2009 with frontline releases on Potty Mouth and Venga. A firm favourite on the blogs and zines, the boys are hard at work producing Sounds/To/Sample's debut jackin' fidget collection. We get on the blower to Amsterdam to grill the boys about the method in their madness.
Who's currently rocking your world as a producer and why?
Shinichi Osawa, Boys Noize, Bloody Beetroots, Sound Of Stereo and many more. We've got our own sound and we play music from producers making similar kinds of records.
When building a track how do you normally work? Do you start with the beat and build your way up from that?
Sometimes with a bassline; sometimes with the drums; and on remixes we start with a particular sample we like most. Usually an idea comes in advance and we work in a planned direction. Just starting and hoping something will come out takes too much time and often yields dodgy results. A bit more focus pays dividends in the long run.
Do you use mainly analogue or digital soft synth sources? Do you think analogue really makes a difference?
Our studio used to be fully analogue. We had synths, samplers and midi cables everywhere. There was so much chaos, and it was all too much work setting up, with no optios to save scenes and work on other projects. Now we are completely digital and we work so much more efficiently. We can also do much crazier and more creative stuff.
What's your opinion on processing the mix bus? Leave it clean or drive it to the extreme?
Drive it to the extreme! Make your own sound! The overall sound of a track can make so much difference. We mess up our final mix with loads of additional EQ and compression. We work subtly though - refining the original mix, not destroying it.
How do you make your beats? Do you use samples or do you make them from scratch?
We always program our beats so that we can keep control of each sound. That said, lots of the raw sounds come from sample loops, which we chop and edit to them fit into the production, giving detail and filling up the mix.
How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?
We don't play stuff with dodgy mastering and if our own tracks don't sound like they're properly mastered then we won't play them either. We're always happier if a top-end mastering suite is used but as far as home studio tools are concerned we dig PSP's VintageWarmer on the mix bus.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
We produce at an average volume, mainly to save our ears and always on monitors because headphones suck! Headphones are not comfortable, they give a warped stereo image and they tend to de-emphasise high frequencies.
Any advice for aspiring producers out there?
Take your time and be patient. Success comes from trial and error and rushing your way onto the scene can be counterproductive - remember, you can only release one debut single.
How do you see the dance music industry developing over the next two or three years?
Styles are blending and people are opening their eyes again. Strange combinations of genres are leading to new electro sounds and there are more developments every day. However, if we knew what the future sound was we would be making it already and going for the big bucks!
What is the secret to your success as a producer?
Experience. Of course there are some exceptions, but you cannot expect to supply a decent product after just six months of producing. It takes time to develop yourself and your creativity in the best way.
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More from Mightyfools at: www.myspace.com/mightyfools
(c) 2009 Sounds/To/Sample