Daniel Meister’s name is appearing more and more frequently on the international minimal and microhouse scene — with his refined sound, clean-cut edits, and steadily growing catalogue of releases, he has become an essential figure in the genre. Originally from Pécs, Hungary, his music is now played worldwide, and a growing number of international gigs speak to his talent.
On the occasion of the 40th episode of the Fidull podcast — and the upcoming Fidull event — we spoke with him about his creative journey as a producer, the role of AI in music-making, the influence of the YouTube tutorial generation, and the challenges and opportunities within the Hungarian scene.
Interview by Robert Dobak.
Facebook event: HERE. 🙂
What was your first defining experience with electronic music?
Here’s how it happened: I wandered into the house room at a club, and I heard some strange music playing. Turned out it was ‘Julian Jeweil – Air Conditionné’. I remember the breakdown was playing, and I even asked the DJ what it was. The soundsystem in the small room was way better, and it was the first time I felt the music, not just heard it. I asked myself: where have I been until now? That was the moment everything changed. That’s when I decided I wanted to become a „DJ.”
You’ve developed a pretty distinctive minimal/microhouse sound over the years – one that’s recognizable from afar. Where does this vibe come from? How would you describe your style, and what inspires you most when writing a new track?
It’s been within me for a long time. Even when I was into more classic house stuff, I always felt drawn to this direction. I love rominimal, but I also love synthy, melodic stuff. After lots of experimentation, this is what came out. When people ask me what style this is, I usually say it’s something like progressive minimal. 🙂 Most of the time, inspiration comes after good parties, but sometimes it hits randomly when im listening to music too – a melody or a vocal can spark something. For a while now, I’ve been writing music for myself, and I’ve noticed that’s when it really started to work. Before, I was trying to make tracks to please others.
You’ve been shaping the Hungarian electronic scene for over a decade now. How do you see the current state of the minimal/microhouse scene in Hungary? What are its strengths, and what could be improved?
That’s a tough one. I’m based in the underground countryside, and the scene here is pretty weak in terms of events. Budapest is a lot better from my perspective – more opportunities, more brands, more quality artists. Still, the nightlife isn’t in its prime right now. But we keep believing in the future. 🙂
You’ve been around Europe in the past years – you were the first Hungarian DJ to play Untold Festival’s Time Stage, and you’ve performed at iconic clubs like Berlin’s Sisyphos. What kind of experiences have you had abroad? Any memorable stories or takeaways from international gigs?
Honestly, almost all of them were memorable, so it’s hard to pick one. I had more good gigs than not. My favorite might be the Swiss parties, but since you mentioned Sisyphos, I’d definitely count that as one of the best. The Russian gigs were also next level – really kind, music-loving crowds.
What stood out to me is that in 90% of the cases, the crowd comes to experience what the artist brings.
There are no song requests or anything like that. I’ve loved all my international trips – these are the kinds of experiences you can’t buy with money.
You started DJing in 2008 and producing around 2012 – basically going from DJ to producer. How blurred do you think these roles are today in electronic music? Do you see yourself more as one than the other, and how has that changed over the years? Also, nowadays it’s often expected that a producer also takes on event organizing, community building, and social media. Do you experience this as pressure or opportunity?
Today I think producing is essential. Pretty much anyone can learn to DJ with today’s tech – I mean in terms of beatmatching, not selection. I consider myself more of a producer now. At first, of course, I saw myself as a DJ because I didn’t have any tracks yet. 😀 Music-making and DJing have become a part of my life. Even if I had zero gigs, I’d still write music.
It’s hard to describe – don’t want to sound cheesy, but it’s kind of like how a poet needs to write or a painter needs to paint. It comes from the heart. 🙂
As for the other part: social media and event organizing aren’t really my thing. That part stresses me out a bit. I wish a DJ’s success didn’t depend on how many likes they get on an Insta post… but hey, that’s the world we live in. (Classic.) 😀
These days, many young producers learn via YouTube tutorials. Did you use them back in the day, or did you figure things out another way? How do you think the tutorial culture has affected the evolution of minimal/deep tech in recent years?
I think it’s a great thing. I started out self-taught, but hit a limit. Then came the YT videos and other tutorials. I still use them today when I want to learn something new or when I don’t get something – I find them super helpful. 🙂
The „edit culture” and Bandcamp self-releases are stronger than ever. You had a big one in 2020 with your Moloko – Sing It Back edit, which made waves worldwide. Right now, Anotr’s Relax My Eyes edit is blowing up, and even Dubfire is playing it heavily. What do you think about edits and the Bandcamp phenomenon? Do you enjoy self-releasing tracks, or do you prefer label-backed releases?
For me, edits are a kind of marketing tool. They reach wider audiences, especially when using more popular source material. Release-wise, it’s tricky. Back in the day, my dream was to get signed to the biggest labels. But now, I’m way more chill about it. I had a lot of bad experiences – some of my tracks charted, and we didn’t see a single cent. I’m not money-driven, but let’s be honest: some labels made decent cash off my work, and that’s not cool when the artist gets nothing. Luckily, that’s in the past now. I’m somewhere in between: I still send tracks to labels, but I also enjoy putting out my own stuff.
Let us in on your studio process a bit. How does a track come to life, from first idea to finished piece? Got any favorite tools or workflow tricks that really boost your creativity?
I always start with a main theme – whether it’s jamming or from a sample. Once I’ve got a good melody, I move on to drums and bass, then add some FX, then more synths. If it’s an edit, I build everything around the acapella. Favorite VSTs include Tantra, lots of Max for Live stuff, resonators, sequencers, etc. For synths, I use Arturia and U-he plugins, but Omnisphere is on my wishlist. 🙂
AI is everywhere these days. Do you think it could revolutionize music-making in minimal/deep tech? Have you tried any AI tools in your own workflow, or are you letting others ride the hype for now?
I don’t think it can really bring my ideas to life. 😀 I use it for vocal separation, sure, but beyond that – not really. I guess I’m a bit old-school. 😀
Lastly, what’s your take on the current state of rominimal/microhouse? Is it at its peak now, or already shifting into something new? Where do you think the genre is heading in the next few years?
Hmm, tough question. I see a lot of big-name artists heading toward more house-oriented stuff, but I think that’s just business… I can’t really say where things stand exactly. Everything evolves constantly, so I think this genre will have its highs and lows like anything else.
Thank you very much for your answers.
https://www.facebook.com/danielmeistermusic
https://soundcloud.com/danielmeistermusic
https://www.instagram.com/daniel_meister
https://djdanielmeister.bandcamp.com/
https://www.beatport.com/artist/daniel-meister/313335
