Aeph interview

Aeph has been slaying so caught up for an involved chat.

DB: How would you sum up your style?

Aeph: I stay true to myself and I follow my instincts, this is my style.

DB: ‘Bad Taste 5’ is a killer, and there’s some big moments from you on it…

A: I love the fact that in this 5th installment Vegas & Uman decided to give a chance to some new producers in the scene which is always a dangerous move when you are a big label. They show no concerns about it and this means that this album is 100% what the real Bad Taste is.

There’s a gang mentality about it too which I really like.

DB: Which tunes of yours are you the most proud of?

A: I’m a very hypercritical person but I quite enjoyed the last 2 singles I released (‘When You/Nightrider’ on Bad Taste Recordings and ‘Highway Thirteen/Hoedown’) because they are from a very clear vision. Having something so defined in my mind led me to manage every single aspect of the releases.

DB: What is the one thing in your studio you can’t live without?

A: My Adam monitors and my new ultra big comfortable vip office chair.

DB: What films do you like and of course which soundtracks?

A: John Carpenter’s ‘Assault On Precinct 13’, Goblin with ‘Tenebre’, Vangelis for ‘Bladerunner’, everything from Ennio Morricone, the beautiful ‘Goodbye My Friend’ by Guido & Maurizio De Angelis, Fabio Frizzi, Videodrome’s ost by Howard Shore, Alan Silvestri, Franco Micalizzi, Daft Punk from the latest Tron… Seriously, too many!

DB: Ah, Trinity connection there…

A: I can’t tell you exactly why I like these works and how they influenced my music because it’s really just about feelings. I don’t ask myself how they made them, it’s just a mere fact of perception. This is why I love soundtracks.

DB: Do you use real synths or software?

A: There’s not much of a difference right now. I mean of course there is a difference between a very expensive Moog and the vst version but the difference isn’t worth the cost in my opinion. If I’d have to go analog I’d prefer to spend my money on an Sherman Filterbank and a couple of Empirical Labs Distressors.

DB: Another synth question: If synthesis really means that you can achieve any sound, why use different ones? Isn’t one enough?

A: It’s a matter of how many oscillators you can use, how many wave forms available you can load, how many and what kind of fxs available and the vst response to different range frequencies. I can make a cool bassline with Sylenth without any problem but I would never have the same possibilities I’ve got with Massive which allows me to work better with wave forms and filters plus it responds better to low frequencies.

If I’d need something more ‘trance-y’ I’ll go for Sylenth because I know I can get that kind of vibe in a second. If I’d need something less digital I’ll go for Omnisphere because it allows you to combine samples from vintage synths or real instruments samples with digital oscillators. Every producer’s got their favourites.

DB: My studio session question. Which session in time would you like to be a fly on the wall at? Or with who?

A: I’d love to spend a day with Erik Aadahl or Amon Tobin just to name a couple.

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