As you know I’ve been doing this a very long time
and still enjoying it even now more so than even when I started I think.
And every time I get behind the equipment and I see the dancefloor,
and I see the people, I’m at home. This is where I want to be,
and where I need to be, where I feel most at peace.
Well my setup always primarily started off with two turntables.
So I perfected the art of DJing through playing vinyl,
but my setup was always based on having an extra turntable.
The program I’m using today is Traktor program,
which I’ve been using for a long time.
It does utilise four decks: one, two, three, four.
So the outside players is what I can control overall, like turntables.
The other two channels I have on the computer,
they work internally with the computer.
So as you can see, I don’t have a player for those,
but these work internally with Traktor.
So I’m able to kinda lock groove, kinds of make rhythms and sounds
with those two running on the inside where I can kinda
manipulate, cut, and still play as a DJ on the outside.
Be able to go beyond DJing and go into kinda remixing
and producing music live, while I’m playing.
Having the MODEL 1 mixer, you are working and sculpting
the sound on each channel. And that’s one
thing why I kinda really enjoy playing on here,
because there’s no boundaries to it, there's no barrier.
It’s interesting, if you’re able to enhance the record
manipulating the sound through frequencies on this mixer,
and then basically working this mixer like a musical instrument
to make things sound a little bit more soulful.
I always start one of my sets with the external players.
People want to see something from me that’s tangible.
So, if I am playing a track, for instance, they want to see that action
they want to know that it’s live. If I do that, you hear that.
So that for me, I’m able to do spin-backs, cuts.
I’m able to loop and also kinda manipulate track marks
so I can basically move the track left and right,
back and forward to get to anywhere that I want to work on.
And I’ve got two separate controllers which basically work with Traktor.
I’m able to look at the actual controller without looking at the computer.
I have to tell you, I’ve never ever planned a set, not once.
So what I normally do, if I’m going to do a set,
I’ve made a selection of a hundred records in the Traktor as a set,
so it’s like a record box in some ways when I choose my set.
And in that set something has to happen.
If I can’t make a good set out of a hundred records for that night
then I may as well basically work in a fish and chip shop [Laughs].
So first and foremost, I’m going to be producing my record
on the far right of my mixer. Now once I’ve got that track running,
I can basically change the deck inside the D2 and choose my next record.
What I like to do is loop the inside player.
So now that’s just running on a loop; I can manipulate that
any way I like... and still have the outside track running.
So at the moment I’ve the right hand side  player playing.
I can loop that, then come over to the left hand side...
...and just mix it in.
Then you can kind of filter that out, so you can hear the baseline coming in.
I was a clubber before I was a DJ, so I know what it’s like
to be on that dancefloor. So now I’m on the other side of the fence,
what I’m able to transmit is exactly what I’d like to hear on the dancefloor.
I almost get jealous, because I’d like to be on the dancefloor
while I’m playing certain records or certain tracks,
or creating certain moments.
So this is basically, it’s called a T3 delay.
Yeah, so when I punch it in it gives me like a second on the record.
So if I just want one element, or one kind of delay: punch it.
So already it’s already enhancing and remixing the track.
With the looper, you find a specific area you want to loop on,
and then work it. So...
then you can basically fill that if you want to.
Then I go on to the flux. Now the flux is a thing that really
enables me to get really funky with the D2. So I hit flux...
...and then I can ask where I want to manipulate the track
whether it’s half-time beats, whether it’s quarter
and basically just get funky with it...
And then with the mixer I can still manipulate the sound.
What’s so good about this mixer, at any one time
you can really manipulate the frequency of sound,
because it has the ability to find and search for any frequency.
I’ve just got a half-beat going at the moment,
and I can kinda manipulate that whole thing...
...Almost into nothingness.
I don’t know any other mixer that you have the ability to go this far,
in a sense of its scope of its frequencies,
and that’s what I really like about it.
So, even though I’m able to do this with this mixer...
...with the D2s as well... and really get funky with it...
When I do play, it’s all to do with how I feel,
and what I want to give to people. I’m not just playing a record,
I’m actually creating and making moments for you to take away.
From a technical point of view, we’ve come to a plateau of excellence.
All that these things are is excellent. So now,
it’s down to the person behind them to make this work.
Having the D2s and having the MODEL 1 mixer gives you
so much ability to be even more creative.
I like to think that’s my setup; that’s what I’ll be using for the future.
I’ve been using this for about a year, and with no desire to
start introducing anything new, because it almost feels like the mixer
and the way I’m playing it becomes like a musical instrument,
not just a DJ or producer setup.
The eyes are closed, all of a sudden you hear something momentous.
You feel something coming out. It’s the spirit within
that’s driving your creativity.
It means that you’re playing with heart, spirit and soul.
