One of the most modest and charming artists on the drum and bass scene, Italian Simone Vallecorsa, whom fans know as Aeph, is now a resident of the legendary Lifted Music label. Simone kindly agreed to spare me some time and answer subscribers’ questions.
Garud: Simone, hello! Thank you for agreeing to give an interview for “The Nest.” Let’s begin with the traditional question: how did you enter the world of music, and what prompted you to start creating it?
Aeph: As long as I can remember, I’ve always been interested in music. When I was a teenager, I listened to some cheap commercial stuff; then my friends at school introduced me to hip-hop, trip-hop, old-school electro and jungle.
A little later, my uncle—he’s a guitarist—showed me Acid by Sonic Foundry, then gave me several sample CDs and bought me a computer for Christmas. That’s how I started making my first beats. A little later, after saving up some money, I bought myself a Roland SP-808 and a Korg MS2000 and started writing with my metalhead friends from school, trying to become the next Slipknot. But after I heard drum and bass, I fell in love with this music. I sold all my equipment, bought some shitty turntables, started recording my first mixes and performing at the first shows in my city and the surrounding area. And finally, after all that, I began taking production more or less seriously.
Garud: Which artists inspired you then, and which inspire you now?
Aeph: I will always remember the heroes of my childhood: DJ Shadow, Ice One, Roni Size, Dillinja, Fatboy Slim, Aphex Twin, Squarepusher, M.O.P., 2Pac, Slipknot, Unearth, As I Lay Dying and many others. I have never limited myself with any boundaries and have always simply listened to what I liked. One day I wanted to play metal in front of a crowd of tens of thousands, and the next I saw myself playing live at a rave. It’s still the same now. A lot of different artists inspire me, and I still don’t know what my sound will be in the future.
Garud: How did you come to choose bass music specifically, rather than, say, techno or something else?
Aeph: I was never a fan of “four on the floor” when I was a teenager. I liked snares in drum patterns. Moving into bass music was a very natural thing after my metal past, since they have a fairly similar vibe. Although these days I also like a steady kick.
Garud: Music is a huge part of any musician’s life. How much time do you devote to writing, listening to other people’s music and so on?
Aeph: A lot of time, although sometimes I can be extremely lazy. I miss the days when I would turn the music up full blast in the car and drive around all night. It was something very personal, my own world. Unfortunately, I can’t do that now because I live in London and you don’t really need a car here… Although I should buy one:)
Garud: Tell us about your studio setup.
Aeph: Nothing extraordinary. It’s a good computer, Cubase 8, 32 GB of RAM (although I need more), an RME UCX audio interface, a pair of Adam A7s (I’m planning to replace them with A77s soon), a MIDI keyboard, and lots of soundproofing and acoustic panels.
Garud: What are your top five plugins that you use constantly?
Aeph:
- Camel Phat
- FabFilter Pro-Q 2
- Waves API 2500
- NI Transient Master
- iL Vocodex
Garud: And what’s your favorite compressor?
Aeph: As I said earlier, the API 2500, although I don’t use much compression in my tracks. Mostly just to balance out the peaks.
Garud: How do you usually start a track? Do you just play around with drums and basses, or do you transfer ideas that are already formed in your head into the sequencer?
Aeph: I usually start with drums when I don’t have any specific idea and don’t want to waste a day. Most of the time I start with bass synthesis, writing melodies and so on. Both methods are good.
Garud: Do you use samples, and what is your favorite sample pack?
Aeph: I don’t use many samples apart from some breaks and one-shots to “power up” the drums.
Garud: What are your favourite wavetables and filters?
Aeph: There are so many different options in VST these days that it’s easy to get lost among them. They’re good if you want to achieve a specific sound. For the most part, I prefer the old-school trio of Sine, Saw and Square.
Garud: Tell us how you got onto Lifted Music. You and Memtrix created Lifted 2.0!
Aeph: Chris and I have known each other for quite a long time. I started sending him demos about five years ago. At one point, he played one of my tracks on the Lifted Podcast and invited me to release on Breed 12 Inches, and then on Lifted. I’m very happy to be part of this label because of what Lifted means to me and to many people. Personally, I prefer not to look back at the old Lifted team, and I try to make my own contribution to the label’s sound.
Garud: When can we expect an album from you? What is your next release?
Aeph: Maybe… I think I’ll write an album… One day. The problem is that I don’t want to make a classic album with 13–14 tracks. It might be a concept album featuring different styles. My previous release, ETV, was close to this idea, but the public reaction was rather mixed, so I think I’m a little scared. But I promise that it will happen one day. Maybe.
My next track will come out on a Lifted compilation, and it will be a collaboration with Maztek called “Hypnotise.”
Garud: What do you know about the Russian drum and bass scene? Do you think Russian musicians have their own sound, and is it easy to recognise?
Aeph: It used to be that way, but not anymore. A few years ago, many Russian musicians sounded really similar when Chris and Spor played tracks by Kubrak, Receptor, Davip, Encode and Engage, but the situation has really changed now. The Russian scene is healthy, original and very strong. You’re doing a great job! And please bring Kubrak and Receptor back)
Garud: What is your prediction for the future of drum and bass, and neurofunk in particular?
Aeph: Neurofunk is becoming very popular all over the world. I have several shows scheduled in South America this summer. If someone had told me that a few years ago, I simply wouldn’t have believed it. Drum and bass was practically dead in countries like Belgium, France and Germany, but now they’re putting on some of the best parties in Europe. Guys like Teddy Killerz are remixing Skrillex. Can you believe it? What are they, anyway? Kids with sexual disorders?))) I don’t think they’re all that good either:P
As one wise person said — drum and bass will never die.
Interview: Garud. Translated from the Russian version published in the VK community “Garud’s Nest”, which Garud translated from his original English interview.
