Since the release of his album Shockland, the extended versions of tracks from the Motorstorm Apocalypse soundtrack, I got a chance to pick Simon's brain a bit with a quick interview.
On with it!
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Bit Flip:
Since your entry into the EDM scene, you've been crashing through barriers and paving a path for the future sounds of EDM. How has your experience with music production in recent times changed compared to the beginnings of your career?
Elite Force:
Needless to say it's been a wholesale change, pretty much totally from inaccessible, expensive, hardware-based set-ups, to cheap, affordable, software-based set-ups. It's SO much easier these days to make electronic music than it's ever been, but it's just as hard as it's ever been to come up with a good idea, and a lot of the time the technology and the ease of drawing on presets that sound great, rule out a lot of innovation.
Bit Flip:
In regards to the Motorstorm Apocalypse soundtrack, how does your workflow and approach differ from productions meant for the dance crowd? Does writing soundtracks give you a different perspective as to your typical approach on your original tracks?
Elite Force:
Yeah for sure. Motorstorm is a racing game, and the tracks needed to be tailored specifically for the purpose of the races, rather than the dancefloor ... and that had a lot of bearing on every aspect, from song structure, to duration, to sound design.
Bit Flip:
It’s no secret that you’re one of the kings of breaks and founders of tech-funk. What inspires you most when doing sound design for your tracks? Are you more of a fan of plug-ins or hardware? Finally, what is the most utilized piece in your studio (hardware or software)?
Elite Force:
I use plug-ins more & more these days - I find they gel better with my workflow which has become primarily audio-based. I have an Andromeda A6 for example, and it's virtually impossible to get it to do anything I want it to do, and even then it's a massive time-killer, so it very rarely gets used these days. Sometimes I'll make myself use a hardware synth to keep things fresh and once the MIDI's all running smoothly it's something I enjoy doing because it's tactile, but ultimately it's a lot more work, so mainly I'd rather get on with designing the ideas as quickly as possible. The most used bits of kit are my Macs, soundcards, mixing board & speakers ... as far as sound sources go, it really depends on the track.
Bit Flip:
I know you’re a huge fan of Burning Man. Can you give us some insight on what DJaying at the opulent temple stage means to you? Secondly, what’s it like to have control of a stage that spews fire at your beck and call?
Elite Force:
Haha, well it's re-defined what DJaying is all about to me really. You feel like you're very very connected with people in a way I've never experienced in a club and never will (not that there haven't been many amazing club sets over the years). If I stopped touring and DJaying tomorrow, Burning Man is the one thing I wouldn't be able to give up - it fuels me and inspires me for the entire year ahead. The fire controllers are great fun and just a tiny tiny insight into just one of the many amazing things that people step up and do for the love of creating something special and unique.
Bit Flip:
Working with a score composer has to be a different experience than an EDM artist. What differs in the studio when working with Klaus? Next, which track on the Shockland album was the most fun for you two to work on and why?
Elite Force:
We didn't work on any of the tracks together. It was much more of a remote effort really - he wrote & recorded a load of orchestral parts, and I took them and wrote and recorded a load of electronic parts incorporating elements from his sessions. Since then we have met in Paris and got on very well, so we're both hoping to do some specific, bespoke stuff over the coming months and years.
Bit Flip:
Finally what everyone may want to know; what is your number one tip for working musicians?
Elite Force:
Work smart & use your time wisely.
