Tools of the Trade: 6Blocc

Tools of the Trade: 6Blocc

21 March, 2011 | 10.46AM

• Written by: Sean Lewis
• Filed under: Music News: 6blocc, r.a.w., tools of the trade

There are few DJs in the game who have shaped the musical landscape of Los Angeles more than Raoul Gonzalez. Raoul built his foundation in the ‘80s as a battle DJ, starting out doing house parties in high school and later moving to a local radio station. In the ‘90s, under the name R.A.W., he established himself as a jungle legend by hustling mixtapes, producing, and making regular appearances at top venues. After hearing dubstep in 2006, he tried his hand at his own productions and has since become an integral part of LA’s scene under the name 6Blocc. With such credentials under his belt, Raoul offers a wealth of knowledge in our series Tools of the Trade, an in-depth look at what goes down inside the booth.

To begin with, tell us a little about your DJ setup. What format are you playing, and how is it set up? How does it differ from the way you started DJing?

I just set up my turntables yesterday after being put away for six years. My mixer is a Stanton SK2F; I love it ‘cause the fader is so damn smooth. When I go on tour I use Serato, but for the average gig I use CDJs. When I first started I had two JVC belt-drive tables and a Radio Shack mixer! That was back in 1985, haha. I don’t mix dubstep at home, and sometimes when I have a gig I have to use my musical intuition to guess how a track is going to drop. Sounds crazy, but I got used to it, and now it’s like a challenge that I accept.

How do you organize your music before your shows?

I have a booklet of CDs with a tracklisting for each one. I make sure to only bring heaters and no fillers.

How much time do you usually spend preparing for an average gig?

I don’t. I just think about the tracks I’m going to play out and mix them in my head. Ha. After DJing for 20 years, it’s just second nature to me.

How important are dubs or VIP edits to your sets?

I produce my own VIPs and edits on Cubase SX 5. I love to see the crowds react when they notice a different drop or bassline hit.

You’re associated with jungle and dubstep; do you have a formula of what portions you’ll typically play? Do you mix in any other genres?

I usually mix in from the beginning of the track and try not to let each track play longer than two minutes. In the ‘80s I played hip hop and NYC electro ("Planet Rock,” etc.), then in the ‘90s I spun house/jungle/hardcore techno. I sold thousands of mixtapes over the ‘90s. At home I have a monster vinyl collection and right now I’m collecting ‘70s boogie funk and classic ‘80s electro funk. My vinyl collection takes up my friend’s basement and my house! It’s nutz!!

Do you have any rules – things you will or will not do when you play?

1. I don’t play out those long intro/epic/Beauty and the Beast types of dubstep. Too corny and girly for my taste.
2. No drugs.
3. Always move around and dance when I’m rocking a set.
4. Never let a track play too long.
5. Never act like a snob or make unrealistic demands on promoters.

When you’re headlining, what would you like to hear from the opening DJ? Do you have any advice for aspiring DJs who land opening slots?

Just to keep it easy and not try to rip the crowd’s heads off. One or two if the people are going for it, but usually just chill on the anthems and let the headliner get that shine.

What’s the worst thing that’s happened to you at a gig?

Of course, not getting paid the full amount after my set. Then having to hear the bullsh*t excuse for 10 minutes. Usually that only happens in L.A. (or at least used to).

What’s the strangest thing that’s happened to you at a gig?

It would have to be having an E-tard fratboy just hang out next to me staring at the turntables and pumping his fist. I think that was in Chicago. I had to ask someone to take him away. Haha.

What’s the best venue you’ve played, that you enjoy coming back to again and again?

Hands down it’s the Pure Filth events in L.A.—four walls of bass, crazyyyy hardcore bassheadz, spliffs everywhere, proper stage management. When I play those shows it’s like the crowd is directly connected to my brain and I can hear them asking for a bigger drop. After traveling the world, L.A. has the best environment for bass music - hot chicks, good herbz, big bass.

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