DROP THE BASS presents the next part of its interview series with artists, featuring the well-known MAV. With releases on his own label Scientific, as well as on labels such as Covert Operations, Citrus, Camino Blue, Fokuz, Offshore, Red Mist, Warm Communications, Make:Shift, and Counter Intelligence, he plays a leading role in the techmospheric drum and bass scene and is an integral part of it.
Thanks for agreeing to sit down with us. First of all, tell us a little about yourself.
My name is Mischa van de Bilt, aka MAV. I was born on March 4, 1979, in the Belgian city of Lokeren. Since then, I have travelled around Europe a lot, and eventually settled in the beautiful city of Utrecht in the Netherlands.
Most people know me as an atmospheric/techmospheric drum and bass producer and DJ, releasing music on labels such as Covert Operations, Fokuz/Fokuz LTD, Citrus, Camino Blue, Offshore Recordings, Counter Intelligence, RedMist, Warm Communications, Make:Shift, and of course on my own label, Scientific. In my spare time, I take part in the live drum and bass project “Scientific Live” with Danish producer Twister, beatboxer Squezel, dancer Gloomy, VJ E202, and several instrumentalists. I am also a co-founder of the “Farewell Industries” audiovisual collective, which creates various audiovisual projects for different companies and events. Besides the various genres of drum and bass (atmospheric, techmospheric, liquid funk, neurofunk, etc.), I also compose music in styles such as downtempo/chillout/lounge, various styles of house/techno music, ambient, breakbeat, rock, and so on. I never stick to one style and enjoy all kinds of music.
When did you first get into the drum and bass scene, and how long have you been producing?
I have been writing music since 1991. I started with ModEdit, then moved on to FastTracker 1, FastTracker 2, and MadTracker, and eventually settled on Jeskola Buzz, which remained my main tool for making music for the last seven years. Now I am experimenting with programs such as Buze (Buzz 2) and Ableton Live.
I got into drum and bass sometime around 1996–1997 and have been in love with it ever since. I wrote my first drum and bass track around 1998–1999. The first thing I actually completed was “Divine Interaction,” subsequently released on my own Scientific, which can now be found in the tutorial for Traktor 3.
Almost everyone knows and loves your sound. What are you using these days—in terms of hardware?
Almost everything I do is in Jeskola Buzz; occasionally I combine it with various VST instruments and CoolEdit Pro.
My hardware consists of a Pentium 4 3.0Ghz, a Yamaha CS1X synthesizer, a Pioneer DJM-600 mixer, a 24-channel Behringer Eurorack MX 2000a mixer, two Dynaudio BM5a studio monitors, which I have just bought, two Technics SL1210 turntables, various acoustic instruments, and an old-school Yamaha PSR-400 synthesizer.
Who has influenced your work the most?
What brought me to drum and bass were albums such as the “Progression Session” series from Good Looking Records, Adam F’s “Colours,” Goldie’s “Timeless,” and various albums from Moving Shadow. My favourite artists include people like Flytronix, Artemis, Seba, Blame, Adam F, EZ-Rollers, Polar, Teebee, and others.
Outside drum and bass, I have always been inspired by artists such as The Prodigy, Massive Attack, Chemical Brothers, Thievery Corporation, and so on. But there is also a lot of other good music.
Which labels/producers do you like at the moment?
Oh, there are so many of them! The producers who stand out to me, and who I think always make quality material, are Electrosoul System, ASC, Seba & Paradox, and Klute.
Do you listen to or make anything from other genres?
Recently I have started listening to a lot of breakbeat, such as Plump DJs, as well as minimal techno, downtempo/chillout, ambient/IDM, such as the Danish producer Secede, and things like that. I also try to make something in these styles myself.
Give a couple of tips for beginner producers.
Everyone should do what they feel. Do not limit yourself to one style; be versatile. Do not make a “trick” that is popular at the moment. Try to create your own sound instead of copying other artists just because that artist is currently popular. Creativity comes first.
