This week’s Friday Forum Live! saw an appearance from the owner of Clouded Vision Recordings, Matt Walsh. As a label owner, former resident at the seminal T-Bar in east London and recording artist for labels like Turbo Recordings, Matt has had plenty of experience in the music industry at a variety of levels and so, has plenty to say for himself. He popped in for this week’s FFL to talk about the growth of the east London club scene, how it’s changed over the years and his own experiences – as well as talking us through his use of Rekordbox, and to round things off he played a 30-minute mix for us live here at the Point Blank studios!
Watch Matt’s appearance at Point Blank in the video below.
A bit of background on Matt…
As Matt began to develop his trademark sound of modern disco-infused electronic house and techno, an offer of a residency at East London’s seminal T-Bar club set off a chain of events that would lead to Turbo Recordings don Tiga spotting him there in 2007. Following an invite to play “an all-acid party in a cave” in Montreal, Matt was swiftly signed to the label and has resided there ever since.
Matt’s hunger for finding new and interesting records, always steering clear from the easy and obvious has allowed him to tour the world, not only with Turbo, but as a long term resident of Bugged Out!
Clouded Vision is not only his production alias, but also the clear minded platform to showcase the musical talent that has caught Matt Walsh’s sights. Matt began working on musical production as part of a duo, formed with friend and studio partner Steve Cook in 2007. After producing their first track together, “Saturation” the pair were soon signing remixes with Turbo and labels such as Mute and Universal Music. His continued success in solo projects and working with Steve gave Matt the confidence to set up Clouded Vision Recordings in 2009. Their first two EP’s were remixed by Permanent Vacation’s 40 Thieves and Portuguese tastemakers Photonz. They continued to gain support from the cream of the contemporary dance music crop including Tensnake, Cosmo Vitelli, The Revenge, Joakim, Mugwump, Trevor Jackson and Shit Robot. Ep’s followed from Darabi, Bozzwell, The Countach, Sishi Rosch, Bubba, Remain and Morgan Hammer and planned for the end of 2012, an all exclusive mixed CD compilation titled Matt Walsh Presents: The Clouded Vision Experiment. To celebrate the release a tour will take place across Europe in November/December 2012 with Matt playing alongside some of the artists from the compilation such as Raudive, Remain, Bubba, Snuff Crew and more.
Under his own name, Matt’s original material has been described as techno with a propulsive and percussive energy, never afraid to take risks. “I try to move beyond the safer techno house sounds and hopefully create something a bit different. It’s important to me to stay true to what I grew up with and I think that comes through in my productions, the EBM and new wave sound.”
His combined work with Hypercolor Boss, Alex Jones, on a remix for electro high priestess Peaches’ ‘Lose You’ on XL Records was played on Radio 1’s Essential Mix and supported by Andrew Weatherall, Laurant Garnier, Tiga and Paul Woolford to name a few.
Matt’s first 2 solo EP’s were released in 2010 through UK club night Wax:On’s record label and Turbo label mate Sei A’s Seinan Music respectively, and fast became favourites of DJs as widespread as Optimo, Simian Mobile Disco, M.A.N.D.Y, Jennifer Cardini, Chloe, Ivan Smagghe, Cari Lekebusch and of course Tiga. He ended 2010 with his biggest selling piece of music so far, a peak time rolling techno version of Popof’s ‘The Chomper’ on Turbo Recordings tour compilation, Planet Turbo.
Matt began 2011 with a new collaboration EP with French producer Zhao, released on This is Music (home of Boy 8 Bit and DJ Mujava) and a Clouded Vision EP on Parisian label MEANT. Alongside this he produced a slew of remixes on Family Name, MEANT and notably Turbo. His partnership with the new french techno wizard Zhao was strengthened by a hit remix of Murphy Jax’s “Time To Bump” finding itself a staple the boxes of dj’s including Chloe, Miss Kittin, Brodinski and Tiga.
This year has seen another Clouded Vision EP release, this time on NYC house imprint “Throne of Blood” which has been critically acclaimed across the board. Late 2012 will see the release of the pair’s second EP, this time on Chloe and Ivan Smagghe’s “Kill The DJ”, which will be followed by another EP on Headman’s “Relish” imprint in early 2013. Matt has remixed tracks for Big Black Delta, Frankfurt’s Paul Muller, Morgan Hammer, Hannah Holland and many more to come which, alongside his first mixed CD release, will mean a big start to 2013.
2012 also saw the start of Matt’s new London based clubnight “Movement”. Set up alongside new star of 2012, Daniel Avery, the pair have run three nights at Hysteria, Dalston with totally unannounced guests of a calibre as high as Andrew Weatherall, Trevor Jackson and Simian Mobile Disco. Each guest is given the freedom to play whatever records they want in a small capacity basement to a core crowd of music lovers, a unique new twist in London’s clubbing timetable. More parties are planned in late 2012 so watch this space….
Luke: Welcome to Point Blank Music School, here in London, where today we are joined by DJ, producer, and label boss, Matt Walsh, for this special instalment of Friday Forum Live. As a label owner, former resident of T-Bar, and a recording artist for labels like Turbo, Matt has a wealth of industry experience, a variety of different levels. So he’s here to give us a bit of an insight into the London club scene, specifically around East London where we are here in Hoxton, and how things have changed over the years really.
So we’re going to be chatting about that, and Matt’s also going to jump into a 30 minute guest mix as well, live in the studio. For you guys watching at home, if you do have any questions, just get posting in the chat room and we’ll try and run through as many as we can in the time we’ve got. Also, just before we get started, it is worth mentioning if you want to be in the chance to win one of three pairs of Pioneer headphones, then just subscribe to the YouTube channel and we’ll be picking winners out in about a week’s time. So let’s give it up for Matt. Welcome along.
Walsh: All right. Hello.
Luke: So just to kind of kick things off, I thought it might be worth talking about your background, your experience. I know you’ve been in the scene for quite a number of years, specifically around East London really. So how did things get started for you and what are the kinds of changes you’ve seen over the time you’ve been around?
Matt: I think I was at University in Nottingham in the late ’90′s and was going out clubbing there a lot at the time progressive house was kind of the big thing. I then came back, when I finished Uni I started to learn to DJ at Uni, and came home, moved to Colchester, and started my own night in Colchester in Essex where I did a night every week for five years.
Matt: And for the last two years of those five, I’ve moved to London, so I was going back still doing it. I then got a residency at T-Bar, at the old T-Bar since there’s two, so at the original one on a Wednesday night. So there was nothing on a Wednesday night then. I’d basically been going around all kinds of clubs on the weekend, putting myself about. It was before Facebook existed, before MySpace existed, so you literally had to see someone face to face to get a gig.
Luke: Handing over mixed tapes I guess?
Matt: Yeah. I wasn’t a producer and, even then, it wasn’t like you had to be a producer. People wanted to be DJ’s for someone who loves records. And I met a guy, Derren [SP], who I became good friends with, who was the owner of T-Bar, and he eventually put me on a Wednesday night. I was doing a night there every week for, I think, I guess about three or four months, and then got pally with Bugged Out; Jono [sounds like] and Charlotte from Bugged Out came down to see me play a few times. They, then, booked me to play on a Saturday and then it just kind of went from there really. They made me resident about a year after and I’m still here now, a resident with them.
Luke: And how do you think things have changed over that time? Obviously, there’s a lot of focus on East London worldwide. really now. Is that something you’ve seen progress over time?
Matt: It’s changed a hell of a lot. I mean, when I was first coming out around here around 2000, 2001, Shoreditch was like what Dalston is now. It was really rough, there was no posh bars, there was no expensive drinks, it was warehouse parties, it was dirty raves under the bridge, things like that. The sound was very different, it was very much like there was one kind of sound. It was sort of like this Indie-crossover, electro-clash thing, which I was big on then. I guess I still am now really. Since then, it’s shifted away from the Shoreditch area and I guess it’s moved more to Dalston, to Stoke Newington, to Hackney, that kind of thing. So, you’ve seen how it’s changed and how all these new genres of music have developed, and everyone’s got their own little scene and stuff. So I think it’s changed a lot.
Luke: And how about talking about those old days in Shoreditch like, you said, the raves under the bridge, etc. Are there any real defining moments of that period for you or things that stand out, highlights?
Matt: I there were a lot of regular nights in those days, there were a lot of things like Return To New York, other things like Trash, Nag Nag Nag, those were kind of staple things that you would go to every week or every month. So I think what’s changed from that is now everything’s a big event; big flyer, massive names, but I’ve never, ever bought a ticket. And now everything is ticketed, sort of thing. So even little places in Dalston, people are buying tickets for and stuff. but I guess that’s just how it’s moved on.
Luke: I guess it was a bit more resident-led.
Matt: Very much so. I mean, you didn’t go there-you just went there because you who the people were who were running the night. Sometimes someone would turn up and play as well, but it was never like you go to a specific thing unless it was a one-off thing, like the Hackers playing under the bridge or wherever, that kind of thing. But, yes, it was different.
Luke: Okay. We did talk about T-Bar. How were the nights back there? We do know that it’s been quite an amazing club. Again, are there any kinds of moments that stand out for you, then, when you were a resident?
Matt: Yeah. Obviously, I got to know a lot of the other DJ’s and stuff like that. It became the place where I hung out most nights of the week. My night was on a Wednesday so my weekend, at the time, was starting on Wednesdays, and then the best night they had there was Damian Lazarus and Michael Mayer’s night [inaudible 00:06:25], and it was on a Monday. There was one Monday when Locadice [sounds like] played. We stayed there until 6:00 on a Monday night. He was still playing on a Monday. And they were all free as well. We weren’t allowed to charge to go into T-Bar, it made a really distinctive thing. It got known for that and they’d have like Sunday afternoon where someone had played in Fabric the night before. Villa Lobos [sounds like] already played for six or seven hours and then he’d turn up in T-Bar and play all afternoon, or something like that. So, yes, I don’t think there’s really anywhere like that nowadays.
Luke: Yes. As we say, it’s a lot more event-led. You’re looking at line-ups, set times. I did hear that you were DJ’ing in T-Bar and Tiga signed you off the back of a set.
Matt: Yes. I’ve told this story in a few interviews but I’ve never told it face to face to someone I guess. This was on a Monday night actually, a one-off. This was just one thing. Tiga was coming to do a show. I warmed up, he was actually late, I was playing. At the time, a few people seemed to think I looked like him, I guess we do look a little bit the same. There were people around me taking videos, and Tiga wasn’t there. I think people maybe thought I was him. It was like all these people were reacting to me, like no one knows who I am, but they obviously thought I was him. And then he turned up and he was like, “Whoa, this place is great”, and then people didn’t want to look at me anymore because he’d arrived and they’d realized, “Oh, who was that guy”, sort of thing. I guess he could see I was obviously playing good records at the time, and we just became friends straight away. Then about a month after, he asked me to do a pubcast for his record label and so, I did that and it just grew from there. Then, I got friends with his brother, Thomas, who runs Turbo, so we were kind of chatting on I-Chat every day, and then they invited me to go to Montreal for the weekend and play on a surprise night that Tiga was home in Montreal. We played in a room about this big full of smoke and just played acid records and just said, “Just bring every acid record you’ve got. That’s all we’re playing for the night. We’d just invite our friends.” So we played in this sort of smoked-filled cave all night, just the three of us together, and that’s how the friendship grew from there.
Luke: Yeah. That’s quite a way to kick things off really.
Matt: Yeah, and it was through DJ’ing; it wasn’t through being a producer.
Luke: How did that progress from those days, purely as a DJ, to making records and recording?
Matt: I wanted to learn. I was doing some stuff with a friend, Steve, who I’d known for many years. I guess I only really just got started around that time, so I didn’t really know what I was doing. We were collaborating. He was making very different music to what I wanted, but I think I had a lot of ideas. I was playing out every weekend, I’ve got this big record collection, and I think with a lot DJ’s, they’re the ones with the ideas. Someone could have all the technical ability in the world, but if they’ve not experienced what it’s like in a club and how people react to things, I think that’s how a lot of the good dance records are made with someone who’s got that experience.
Luke: So the partnership, it works. You both play a role in terms of building the record together.
Matt: Yeah. That was kind of how I learned from him, really, and then I went on from Steve, that’s who I made my records under the name Cloud Division with, and Steve makes his own stuff as well, which is quite different, more sort of drum and bass, hardcore kind of music. So, I was obviously having an impact on what we were making and then, since then, I’ve collaborated with other people, worked in different studios, and just learnt like that. I’d loved to have done a course like some of these guys are doing around then, but that didn’t exist.
Luke: So it was a much more DIY aesthetic I guess.
Matt: Oh, very much so. I kind of always know what I want but it’s just finding a way of getting there.
Luke: I was also going to ask, you know, we did talk briefly about the kind of sound that was pushing. the slightly more Indie and electro-clash stuff. I know that Errol Alkan’s [sounds like 00:10:54] doing a set coming up and is still kind of championing along that sound. Do you still see a place for that at the moment as things have progressed?
Matt: I think there are so many different scenes and things now, everyone can have their own sound and that’s what they’re known for. There’s a lot of competition these days. There’s new DJ’s that have come through; there’s people like Jack Master, who I would put almost in the same bracket as Errol, really. He’s playing party music all over the place. I guess I’m a bit more techno orientated, and I have been over the last five or six years, but it’s still got that sort of Indie element in it as well.
Luke: I guess it’s a lot of live instrumentation.
Matt: Yeah, and I think it’s sort of stuff that’s not just soft synth as well. I’m a sucker for live drums or a bass guitar on a track and things like that and it’s just something that makes it a little bit different, a little bit quirky.
Luke: As a DJ, you’ve obviously played all over the world and in a lot of different clubs. Do you have any standout places to play? Any real kind of highlights for you?
Matt: I guess getting to travel is the best part of the job, really. I went to Tel Aviv for the first time just before Christmas. I went a week after the cease-fire, so it was quite of an odd time to go there and the people were just amazing. I really like it there. I’d really like to go back. It almost seemed like they only have two or three clubs there and their scene is where there all Daniel Avery [sounds like 00:12:28], that kind of thing.
Luke: Okay. So a real audience.
Matt: Yeah, and they don’t really know dub-step there. They just happen to be some resident DJ’s there, some guys called Red Axes [sounds like 00:12:38] that I’ve become quite good friends with. They play in the three main clubs there and that’s become their scene.
Luke: And they’ve kind of influenced the sound, I guess.
Matt: Yeah, and people that go there that didn’t have a clue now know the records and that kind of thing. That was really enjoyable. I got to go to Australia for three weeks a couple of years ago. I’ve been to Japan. Japan is probably the highlight for most DJ’s really, to get to go somewhere like that.
Luke: That’s definitely one that comes up again and again. Where did you play in Japan?
Matt: It was a place called The Warehouse in Tokyo. I’ve never been there before and I got to stay for the whole week and kind of experience what life was like there and it was incredible.
Luke: So, kind of carrying along the lines of DJ’ing, we’ve got a lot of guys studying DJ’ing with us. Do you have any tips for anyone trying to breakthrough or anyone trying to make it purely as a DJ?
Matt: Yeah. Just stick to what you like. People that kind of follow other people’s charts and then someone who would buy a whole chart of another DJ. Why would you do that? It’s ridiculous. Why have a chart on BeatPort for someone to just buy the whole thing. I mean, I’ll put it out there because it’s kind of good for people to know what I’m playing, but who’s going to buy all of those tracks because I’m playing them? It’s bizarre. I think find your sound and stick to it. Don’t think, “I need to play this”, and kind of almost ignore the amount people there. You don’t have to play this “Whaar” music just because there’s a thousand people in front of you. If people like your music, they don’t have to jump up and down. People do dance as well, so stick to what you like, I guess.
Luke: I was also going to ask about Crave [sounds like 00:14:29] digging culture. As a kind of ‘DJ’s DJ’, a big part of it is hunting out records and taking that extra effort. Is that something you still do, to go record shopping a lot?
Matt: Yeah, like two or three days a week, I still go and buy two or three pieces of vinyl every week, I guess. I rip them all now, and you haven’t got any record decks so I haven’t seen anything today. This is what it’s like in clubs so you can’t really take vinyl. It’s very rare unless you go to Berlin and you can take vinyl. But I’ll still look for rare records, I still want certain things, I still have a list at home of stuff that I want. I think for someone who’s really passionate about DJ’ing and not as much as they are the producing, if someone’s asking you, “What is that?” it’s the best feeling really. So if you’re playing a track and someone asks you what it is, that’s what you want. So yeah, definitely.
Luke: Talking about ripping the tracks and the lack of decks out there: I know you use Record Box. How long have you been using the software and how do you find it’s changed your DJ’ing?
Matt: It’s changed in the fact that it’s saved me so much time and I’m quite anal about playlists and, not pre-planning. But I like to be able to find something quickly and it’s incredible for that. You can make your own playlists, you can do everything in iTunes, drag the playlist from iTunes into Record Box and it’s there. I’m not burning CD’s every time I go out. If you’re away and you’re in a hotel room and suddenly someone send you a track that you want to play that second, you can just put it on there and it’s there. I went through a small phase of playing tractor with CDJ’s-the tractor scratch. I just couldn’t get on with having my computer there and I’ve been DJ’ing with vinyl and CD’s for so long. I think it just works for some people but it didn’t work for me, so I’m really happy with this now.
Luke: And it’s quite a hands-on approach. I guess you want to be pretty tactile.
Matt: Yeah. I think I was paranoid that people were thinking I’m checking my emails all the time looking at my laptop. So, yes, it feels more like DJ’ing to me.
Luke: Okay. Have we got any questions from you guys in the room? Go for it.
Man 1: What do you think is the difference from the London scene from the rest of the world, because I’m from Miami and it’s really competitive, and here it’s almost the same way? But how do you deal with the purists when you do something different the purists are like, “It’s not music”? How do you deal with that?
Matt: How do I deal with a purist who’s slating me? I don’t know really. I’ll be honest; I haven’t had that many people that have. I’ve never been to Miami. I’ve kind of got these visions of what it’s like; people in vests and with big muscles, I don’t know. I don’t know, does that help?
Luke: Have you ever had a bad reception in a club or anything like that?
Matt: I guess so, yeah.
Luke: Do you ever have to work the crowd or…?
Matt: Of course, everyone has to do that and I think that I’ve got quite a slower style and an old fashioned style where I won’t start a set with my biggest record. I’ll save it to when I think I’ve built the crowd into thinking they need my biggest record, whereas, there’s very often someone warming up before you that’s playing all my biggest records. That can be annoying. I was playing recently, someone was playing a 135 and I just finished it and started it at 110. Some people are going to leave then, but they might not be people that don’t want to listen to me. So, like I was saying before, I want to stick to what I like and want people to like me for what I like.
Luke: Do you ever have to strike that balance, then, between playing the tracks that you love and keeping the crowd there?
Matt: Yeah, I think there is. I’m not a massive superstar so, yeah, there is going to be times like that, but I think I’ve always tried to not really veer too far away from what I’ve always liked and what I’ve always done. So, if five people leave, that’s fine by me. Luckily it doesn’t happen that much.
Luke: I’m just going to try and see if we’ve got any questions coming in. Are there any more from in the room? Yeah, go for it.
Matt: I’m sorry, I didn’t really answer you better the first time so I’ll try my best.
Man 1:What are your attitudes towards the new CDJ 2000 Nexus and its capabilities?
Matt: I use them in Fabric, actually. It was the first time I used them. I was playing in between a Matthew Deer gog on a Wednesday night, so I was literally like the compère.
I went there thinking I was just going to play one track after another and I started playing around with these decks. You can sync, and you can loop, and you can have both decks syncing at the same time. Yes, it’s amazing. But to be honest, I’m probably not going to use the sync button. When I’m normally playing, it almost feels like having a laptop really, it’s almost too easy. I think when I hear someone and I’m out, if it’s just too perfect, sometimes it loses my attention a little bit. I want to hear a little bit of that because then you think, “Oh, that’s actually someone doing it”. So, yes, it makes it a little bit more distinctive, I think. But they’re amazing; I don’t have to burn CD’s anymore, the sound is great, there’s never any problems.
Luke: I think I’ve read an interview recently with Joy Orbison saying the same thing. You record an RA mix and said there are a couple of mistakes in there, that stuff goes slightly out and comes back in. I love that.
Matt: Yeah. So what? I mean, I appreciate for, like a mixed CD, maybe you’re unable to or something like that. But mixes in clubs, I want to hear those kinds of discrepancies.
Luke: Yeah, someone working for it.
Matt: Yeah, they’re working for their money. They get paid a lot of money; they’re not just going to press this button.
Luke: We’ve got a question coming in online. Justa Wrepp [sounds like 00:21:06] has asked, “Do you think a DJ should be able to play many different styles and play to the crowd?”
Matt: Yeah. There are people out there that obviously do that in different situations. It depends on what that person wants really. Not every party I play at, everyone’s there for me. I might be on the floor with someone else, but like I said, I do try and stick to what I want, but if that’s the way someone wants to be, they’re welcome to.
Luke: I guess in your approach, you don’t have like, “These are the tracks I’m playing tonight”?
Matt: No, absolutely not. With this, I’ve got thousands of tracks on one key. If a track’s not working, I’ll play a different track, definitely. I’m not going to stick to this set list that I’ve got in my head or on a piece of paper.
Luke: Okay, cool. Let’s just have a look. We’ve got a shout out for Colchester, which is always go.
Matt: I’ve done that bit, I think.
Luke: I think that that’s kind of it. Have you got anymore at all? Go for it, John?
John: Now that you’ve been travelling quite a lot, what is the country you played in and you liked it the most?
Matt: I seem to have my biggest fan base in France. I go to France at least once a month. Are you French? You sound like you are. I’m not chatting you up or anything but, yes, I go to France, I go to Paris a lot and I always have a really good reception there so I’m really happy to go there once or twice a month. I think the sort of sound that I play is more popular in France than it is in England. In England, even the sort of bassy sound isn’t as big in France as it is here. They haven’t moved on a great deal from the sort of ‘Kill the DJ’ era. Now they’ve got Gesaffelstein [sounds like 00:23:08] and that kind of thing, and I kind of fit in with that sound a lot better?
Luke: Any standout clubs in France, in Paris?
Matt: Where did I play? I played a couple of weeks ago on a boat, which was really cool. I still have not played Rex Club, that’s the one I’d really like to play. I’ve been there and I think it’s the fabric of France. Social Club is really good; I’ve played there a lot.
Luke: Cool. We’ve got a question on the chat room. Dee Inference [sounds like 00:23:46] has asked, how you order your music? How do you categorise stuff within Record Box, I guess.
Matt: Okay. So, I’ll have my current play list of the big tracks that, maybe, just been sent that week or whatever, the ones I know I really want to get in. In case I forget them, because a lot of the time I’ll change the name of the tracks to ‘this one’s got big bass line, megaboom, techno’, or whatever.
Luke: This one will go off.
Matt: Yeah yeah, this kind of stupidity. But it helps me in my head. And then I’ll kind of archive the ones that I used to play a lot into… I play sets where I would play at 100 bpm, so I’ve got one playlist of 100 to 110, or one playlist of 110 to 120, that kind of thing. So I do that and then I put things into genres like disco, or tech house, or whatever. That was something I could never really do with CD’s; that’s what’s made it so good really.
Luke: I guess that bpm, as well, I can see being a really kind of … [inaudible 00:24:50].
Matt: Yeah. Until these decks, really, it was obviously by ear. You knew what the bpm was, roughly, but you didn’t know exactly and now you buy a track or you get sent a track and it’s already written into the code. So, yes, it’s made it a lot easier but just because two tracks are 105 doesn’t mean you should play them together. You can play one that’s 120 and slow it down some to 105.
Luke: Okay. Anymore in the room? Go for it.
Woman1: So you’re saying that you don’t really organize your sets? My question is of your friends that are also DJ’ing who are usually, overall famous DJ’s, do you know how much they usually organize their sets before a show?
Matt: I don’t know exactly whether people do or they don’t, but I’m pretty sure that most people don’t. Everyone gets recorded online these days and you can hear people’s sets and I take a lot of notice of some DJs and I’ve rarely hear them playing the same tracks in the same order, just I guess from my sort of scene. There is one thing that they used to do as well. They record the history in the set, which can be quite useful because if you’ve had a few drinks in the night and you don’t remember that specific moment. You remember thinking, “Oh that was good”, and you can go back to the history and it says you’ve played this one, this one, and this one, and you’ll think, “Oh, okay, those two work well together so I’ll use that again.” but I definitely won’t have this set thing.
Woman 1: But let’s say you record a mix. Do you organize and set up and….
Matt: If I was recording the mix at home, yeah, because I’d want to know how it’s going to sound when it’s finished, but then I think I’d still just have a long playlist and then I’ll play from that. So I’ll, like, have 100 tracks and then pick out the ones as it’s going rather than say, “These 10, nothing else”.
Luke: Following on from that, someone’s asked how you name the directories within Record Box?
Matt: So how you name your playlists?
Luke: Yeah, I think that’s right. “What are the names of the directories within his Record Box”? I guess that’s the same thing.
Matt: Yeah, I guess so. So I’ll use the playlist in iTunes and then you transfer. So my playlist will be whatever, Technoboom, Electro-this or whatever, and then you just drag those into Record Box, and then it does something to the .wav form so it’s loaded in Record Box, and then you drag that on to your stick so that you have the playlist that you originally had in iTunes, then, on your stick. So when you put your stick in, it comes up in Record Box and you can choose the different playlists. I think that’s what he was asking.
Luke: Okay, cool. We’ve got another question. Dijik [sounds like 00:27:51] has asked, “Who is your favourite DJ in terms of their mixing technique?”
Matt: I guess I think when I mention, like, progressive house earlier, because I do like it to sound good and I like it to kind of go from zero to 100 over a gradual period of time, I think always my favourite DJs have been Ivan Smag, Andrew Weatherall, James Holden. People that kind of really take you on this sort of journey. Even someone like Sasha, I’d still go and see Sasha now. Obviously he’s one of the oldest around now, but he’s still massive for the right reason in that he’s technically a really good DJ. So those guys.
Luke: Okay, great answer. I think we are reaching the 45 minute mark so maybe we’ll get you to jump in a mix if you’re up for it.
Matt: Okay, sure. Any requests?
Luke: Yeah, a big thank you to Matt Walsh. Thanks for coming down, man. That was great.
Wicked. Just time to say, obviously, a big thank you to Matt. Also, make sure you subscribe to the YouTube channel where you could be in with a chance of winning one those pairs of Pioneer headphones. Also, stay locked to the Point Blank Facebook page and the blog, as well, for all the updates. That’s it from us. I think we might have a Masterclass on Monday, actually. We can’t announce the guest just yet but keep locked to the Facebook, it’s a big one. We’ll see you very, very soon. Thanks for watching. Goodbye. Thanks a lot. Cheers.