Watch as the down ’n’ dirty duo de­con­struct a dub­step clas­sic just for us in this in-stu­dio video

Computer Music - - Contents -

It’s hard to over­state the in­flu­ence DJ Hatcha has had over the evo­lu­tion of dub­step: from work­ing in the sem­i­nal Big Ap­ple Records serv­ing cus­tomers such as Skream and Benga, to col­lab­o­rat­ing with bass mu­sic artists as di­verse as Funt­case and Kissy Sell Out, Hatcha has been there since the very be­gin­ning. One of his most fre­quent col­lab­o­ra­tors is Hench Records signee Lost, whose Croy­don stu­dio we vis­ited to find out how the pair made the 2010 clas­sic Al Bar­sha. First, though, let’s find out a lit­tle more be­hind Hatcha’s sel­dom-dis­cussed pro­duc­tion ca­reer. Com­puter Mu­sic: What are your ear­li­est me­mories of mu­sic soft­ware? Hatcha: “That has to be Mu­sic 2000 on the PlayS­ta­tion – I used to use it be­fore I started DJing. But then Skream in­tro­duced me to Fruity Loops. He used to come into the record shop and buy mu­sic off us – he was buy­ing garage mu­sic and stuff. I started show­ing him the darker sides of garage, and telling him that he should try and make some of that. He had Mu­sic 2000 too, which he was mess­ing around on, and then a few months later he came in and said he’d found some­thing even bet­ter: Fruity Loops. He started writ­ing on that, and I started mess­ing around with it in my bed­room on a PC.” : Was Fruity Loops chal­leng­ing to use at first, com­ing at it from Mu­sic 2000? Hatcha: “It was quite straight­for­ward to be fair. It was lit­er­ally just loops – drag­ging your kick, your snare, your hat, then your atmospheres and your basslines… putting them all into a loop pat­terns, and then go­ing into each sound and tweak­ing it how you wanted it.”

: How did you im­prove your pro­duc­tion skills? Hatcha: “It was just putting in the hours, lit­er­ally, just prac­tic­ing and prac­tic­ing. Be­ing a DJ helped mas­sively with bars and stuff like that – you knew how long you wanted your in­tro, where the break­down should be, where the next noise should kick in, so that did help mas­sively.”

: Are there any plu­g­ins you’ve found par­tic­u­larly re­li­able over your ca­reer? Hatcha: “Ab­synth has done me re­ally well, a few of the Rob Papen ones are re­ally good, there’s an­other one I used a lot that’s good for bass... Mas­sive! I use that one quite a lot as well.”

“Ev­ery­one that heard it loved it, and it still gets a wicked re­ac­tion!”

: The track you’re show­ing us is Al Bar­sha. Why this track in par­tic­u­lar? Hatcha: “It was a spe­cial one be­cause it hit the nail straight on the head at the time. It worked per­fectly – ev­ery­one that heard it loved it, and even to this day, it still gets a wicked re­ac­tion! That’s got to be one of our favourite col­labs, I think.”

: Mu­sic mak­ing is now much more ac­ces­si­ble com­pared to when dub­step was emerg­ing. Has this changed the sound of the genre? Hatcha: “It hasn’t re­ally changed the sound of dub­step, but it has brought in quite a few sub­gen­res. It’s just given dub­step more life, re­ally, more op­tions and more sounds to lis­ten to – more dif­fer­ent styles.”

: What ad­vice do you have for as­pir­ing pro­duc­ers?

Hatcha: “Find a sound that you like, or a pro­ducer you like, and try to build things that are sim­i­lar to what they’re do­ing – un­til you find your own style!”

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