Tell us about the beginnings. How did you get in contact with music?
Hello, first of all, greetings to everybody!
Music came to my life quite early since my parents entered me into music school and I started to learn to play an instrument. It was a hard start, I was just as engaged with studying music as any first grade student would have been…. : ) Long after I was lucky to play in the local town band which was a lot more exciting.
What music did you grow up on and how did electronic music enter your life?
For long I did not have any special interest towards music genres. I liked music which triggered some feeling, good mood in me. I have always been open. Perhaps this is the reason that electronic music happened to arrive in my life. As far as I remember we got a CD from someone in my circle of friends on which you I heard “machine music” for the first time, it might have been a recording from a techno party ?! : ) It was very strange but in a good sense, and somehow it dragged me as well… Then after the first „techno year” I entered more pleasant waters. This journey started with a Deep Dish Moscow EP. From then onwards we tried with my friends to dig ourselves into the colourful world of electronic music.
How long have you been composing music?
Perhaps it begun in 2002. This was the year when I found the Rebirth and Orion software, and it turned out quickly that it gave me more than Carmageddon which I also really liked… : ) It pulled me in a lot. For long I made my rudimental things more or less for myself and a little for my friends.
When was your first track released?
My first digital release was a remix request from Norbert Motolai in 2008 for a Moti Brothers track. Of course, I was incredibly happy. The whole „release thing” started after this, but this was still under the other alter ego of mine running by the name of Paul Mad.
Tell us more about this Paul Mad era. Which releases or gigs are you the proudest of?
The Paul Mad artist persona was quite an exciting and adventurous thing. I went to many places and gathered a lot of experience however this road was winding enough, I owe a lot to this name.
There have been some memorable parties: Berlin/ Hoppetosse, San Fransisco/Public Works, Barcelona/Sonar Festival…
Speaking of releases, I managed to appear in some old favorite labels. Just to mention one or two: ITH Defected, Rawthentic Music, Cadenza Lab. I think this profile was more of a free flow and an almost too diverse and strange mix. Especially by the end…
What motivated you to start a new profile? And why did you consider it important?
Perhaps the above mentioned mix of too many musical tones which I had enough of and I absolutely did not feel fine with that… By the end I did not even feel that inspired and I did not see the end of the PM road, where it went and why did it exist at all. It meant a lot of fun, in turn less concept and consciousness. So I came to the conclusion that I’d better let it go and start over.
How important do you think technical knowledge and music theory background are?
I consider both important, as there are a few productions only which „happens” to be successful on the long run more than once in sequence. I realized fast that from both aspects there is a serious amount of work and knowledge involved. To be able to continuously produce good quality work, nevertheless to constantly reinvent oneself, one must learn and improve himself. There is simply no other way to do this. Among many others dissecting this question was a huge contributor to make me seriously deepen myself in the technical part of composing music and not only into the fun and jam parts. Nowadays a lot of questions interest me which have not been important or did not really interest me.
A few years ago, you completely switched to hardware music composition. Can you tell us about your experience?
I would not say, I completely switched as I cannot substitute everything with hardware. Maybe it can be compared to the act of setting up your own tool kit. You can make the most and the best out of those tools which are at your disposal, still you can create a final output with your trademark on it. I think this is the most important, not that it is only hardware or only digital. On the other hand as long as you do not physically connect with the gadget (let it be any interface) you do not know how much it inspires you and how good is it with you.
When I can spare some time, I like searching for new things, visit musical instrument shops and try as many tools as possible.
The transition itself, when I started to work with new external devices as well, was the hardest. For example, turning from tones what I cut out from loops before. What envelope is and what is it good for? With LFO you have to take the soup or eat it with… ?! : ) It was an overload of information but I can tell this transition helped me a lot in understanding, if not at engineering level but, the basics of the mechanism of a synthesizer and its functions. This contributed a lot for my improvement in music.
What are the devices that you consider important? Do you have a favorite instrument?
What I consider important is a good room that is at least a bit sound attenuated to make it suitable for composing. To hear what is really played and not a distorted image of sound. After this comes a good AD/DA converter and last but not least a good monitor system. Having all these, mistakes cannot really be made. Regarding the instruments I use drum machines and synthesizers. Perhaps my two favorites are Roland SH101 and Modular Ring. The SH101 is a classic mono which can be made to generate deep basses and funky leads. Simple and great.
The Eurorack system is quite the opposite. It is more complex, and it can patch endless amounts and types of sounds, noises, tunes, drums and precautions. It comes with a lot of investigation and experience, but it is totally worth it.
How do you make the most out of the current situation? Do you have any plans?
I am trying to make the most out of time and opportunity that I have for learning.
In the last period well-appreciated producers opened the doors to their studios that is an exciting thing for those who have deeper interest and would like to improve in composing, mixing or other studio work.
What can we expect to be released soon?
The first album Pauli – Wonderdust EP came out at the beginning of November at the Berlin-based Synkronized label. With respect to the current situation the next one is postponed untill the beginning of next year which will have 3 original tracks as well as an Ion Ludwig remix by Aissa Records. On top of these I work a lot on tracks, and I hope you will hear from me more in the near future.