Sigmatibet Interview

Sigmatibet Interview

8 May, 2009 | 10.41AM

• Written by: Machine Jockey
• Filed under: Music News : irma, machine jockey, sigmatibet

After a few years away from the scene Sigmatibet are back in the game with ISSUE 1 exclusively in beatport. It’s with great pleasure and with pride that I am announcing that Sigmatibet have chosen Machine Jockey record label for their latest release.
As follows Sigmatibet Interview:
1. After 5 years from the last intensive job Different Word (EMI Music), how do you feel about returning to the scene? What are your goals?

“ISSUE 1” for us is a closing point but also a starting point. After many years of experimenting new languages it means coming back home, with verve, freshness and soul that only a live set and a club can give you.
Ep, indie record label and technology are the dimensions fitting our thinking of what a music production should be nowadays.
Thanks to the fact that we have flexible and functionable tools and a complete creative freedom we have the possibility to imagine the music and carry out our sound in a short time therefore our releases are produced in real time.
It is in this manner that creativity Explodes.

2. You come from a deep experience of 90s techno/progressive sound. That music is now developing and growing into new horizon like minimal, dub techno, dubstep. Did you bring these style into ISSUE 1ep?

Yes, for sure. We are following with great enthusiasm the top quality productions. We’ve been under a spill of the sound universe that we are exploring for ages. Most of our previous eps are a personal reinterpretation of a mixture of languages. We still remember the thrill and the fun listening the first time Speed Garage, Breakbeat and Two Lone Swordsmens’ Afterhour sound for the first time.
Minimal, dub, techno, dubstep are styles that have been in the air in the afterhour discos from a long time. Silentmoviesilverscreen of Khan or Das Akustische Labyrinth of Andreas Kauffelt come to mind. Surely the sound today is more grim rather than the past.
We come from Joey Beltram, Orbital, Krafwerk, mashed up with italian deejay culture from the 80s and a bit of psychedelic touch.

3. In your long career technology has developed fast, if there are any, which equipment in your studio can you not do without?

First of all we can’t do without great records by great artist. Nothing will broaden your horizons like discovering the vision of an amazing and dynamic artist. I’s all about your creative and imaginative mind. If you are able to grasp this, one can even produce master pieces with a 20 euro synth. Having said this, technology is of course important, it helps bringing vision to life. I’m a born and die hard “geek”, a music and beat fetish, my muse is Mute Records. When my synths sounded like the ones of Daniel Miller, then I felt at home ( I am a former lover of synth’s sliders. I owned Oberheim Matrix 12, Prophet VS, TR909, Bassline, MC202, SCI Studio 440, SCI Multitrack e several samplers). As a group we’ve always been computer oriented form the beginning, through the years technology become more and more “in the box” therefore soft synth now own the spotlight.
Native Instruments collections are fundamental in our studio, Kore in particular, Duende system of Solid State Logic as well, and last but not least Sonic Charge utonic.
We use Ableton Live and Cubase on the remix stage as DAWs.
We are connected to a top audio rig. If you do electronic music, music has to sound top notch.

4. The easy access of professional software has increased the number of music producers. What are your thought on this?

The debate on technology is weird. Nowadays the approach to technology is easier than that of the past, therefore more and more people are able to produce music. This doesn’t mean that you are a great artist! Thousands of people are making music, in fact most of the productions are quite similar, you can easily hear the same sound library in different eps.
Excellence is different, it grabs attention and it comes from culture not from technology.

5. Which is your impression on producing an ep, after all this time, with a new young record label MJ Knowing that your past releases have been produced by important labels like EMI and the prestigious IRMA?

It’s a feeling of enthusiasm and liberation. It doesn’t mean that with EMI we’ve had pressure but we also had the impression that they didn’t understand what we were talking about. The complexity of working with a big label doesn’t match the needs of a project based on making music following the modern trends. In a big environment like a major, releasing an ep from the conception to the release could take up to a year!  Concerning IRMA and EVOLUTION, collaboration was due to the enthusiasm of Fred Ventura, a producer who still is a great friend of us, who discovered, supported and launched us into this world.
Relation with MJ is similar on the soul, we are friends and above all we merge with the music 100%.
Firstly we are each others fans.

Thanks guys and good luck for your new adventure!

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