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What would you say were the big­gest chal­lenges you faced when you started mak­ing mu­sic?

From a tech­ni­cal point of view, mak­ing it sound right. I was al­ways very much a sound fa­natic, and I was never re­ally happy with the sound, so that was the big­gest chal­lenge.

What was your first stu­dio set-up?

In the mid-’90s, we had some funky synths like the Juno 108, the Su­per Jupiter, the Ober­heim and, of course, the 909, 808 and 303. But the heart of it was an old Atari com­puter that ran the soft­ware, called No­ta­tor. It was all quite ba­sic I would say.

What is your cur­rent live/club set-up?

I use the Model 1 mixer by PLAYd­if­fer­ently; the Mas­chine MK3 by Na­tive In­stru­ments; an An­te­lope Au­dio “Orion 32+” sound in­ter­face; and on my com­puter, I have Trak­tor and Mas­chine soft­ware run­ning as stand-alones.

What ad­vice would you give to the mod­ern elec­tronic mu­si­cian?

Just do what feels right. Be in­spired by ev­ery­thing around you – old records, new records, things you love, things from your child­hood, and do not limit your­self. That’s what I’ve learned and it helped me very much.

Fol­low­ing the suc­cess of your pre­vi­ous la­bel CLR, what ad­vice would you give to up­com­ing im­prints?

Don´t ran­domly re­lease a bunch of mu­sic – pick it re­ally well and stick to a few tracks per re­lease. There should be one or two tracks and maybe an ad­di­tional one. I would al­ways stick to the same for­mat of vinyl, where you have an A-side with one or two tracks, and a B-side with one or two tracks. Chose them well, don’t just re­lease any­thing that you get your hands on – and send artists back to the stu­dio if you are not 100% happy with it.

Part 2 of our chin­wag with cult techno hero Chris Liebing.

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