“The Reminense” is a regular mix series hosted by Hong Kong producer & DJ, Myni8hte, centered around presenting deep progressive, melodic techno, melodic progressive house and progressive trance.
He recently reached the milestone of show #200, and to help celebrate, he hosted a special live stream event featuring attendees: djimboh, Heard Right, Lesh, Terry Gaters and Taylor Torrence.
In conjunction with the event, we are presenting to you this special interview with the producers involved!
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Tell us a little about yourself, your background and experience as a music producer, some of the labels you’ve worked with, and how you came to be a part of the special “REMINENSE 200” event!
And also, what projects are you working on right now (or upcoming) that you’d like to share with us?
Hi! I’m James, aka djimboh (pronounced “Jimbo”). I started DJing around 2004, and have been obsessed with electronic music ever since. I was always musical and learned a few instruments as a kid, but only made the leap to music production towards the end of 2018. Since then it has taken over every spare minute of my life, and I’m lucky enough to have released music across a range of labels including Colorize, Purified, Immersed, Earthly Delights and Mango Alley. I met Felix through some mutual friends via Facebook groups / Discord servers, and he has supported loads of my releases which I’m really grateful for. So when he asked if I could take part in his 200th episode special, it was an easy decision 🙂
I have a couple of EPs out early next year on labels I haven’t released with before, which I can’t wait to share with everyone! And I also have a few collab tracks finished up with Wassu which we’re both super excited about. Other than that I’m just trying to get my head down in the studio and make as much music as I can.
My name is Taylor Torrence and I have released a series of progresive trance records on Enhanced Music, including remixes for Steve Brian and Tritonal. My tracks have been supported by Armin Van Buuren, Dash Berlin, Ferry Corsten, Cosmic Gate, Tritonal Andrew Rayel and many more.
Right now I am working on a number of vocal trance records. My next release will arrive on Enhanced Progressive November 20!
This is myni8hte, I am a producer and DJ from Hong Kong, on deep and melodic progressive house, as well as some chill/ambient or downtempo. I have been producing for about 4-5 years, released on Emergent Music, Synth Collective, Soluna Music, RockRiverRecords and more, and I am one of the co-owners of the label Summer Melody. I have started The Reminense mix series 3 years ago and before that I do make mixes under my Seathic alias previously. At that time, the myni8hte alias has not been a thing yet, but since I have to split out the genre choices on mixes, as well as gaining more interest on starting producing, I then started the myni8hte alias and the mix series officially, which is now The Reminense.
The Reminense is a weekly mix series on Mixcloud, on deep progressive, melodic techno, melodic progressive house and progressive trance, as well as some unique sound choices mixed by myself. Not only that the mix series becomes constant with its origins, but also as a reminder to myself that I have the passion on sharing the music that I like and love and support my artist/producer friends. I know that the mix series may not have lots of listeners or plays, but it would stop what I do for this. Stepping into the 200th mark also provides with some meaning to me, at the 100th episode I have made a large mix, but at 200th, I have become slightly more known, and with the current situation of pandemic, I hope I could organize something significant and thus having this idea of making a live stream event, and I am so glad that I have some artist/producer friends to join me on this occasion, I am really thankful.
I’ve been making music since I was very young, and then got into first electronic music thanks to bands like Kraftwerk, New Order, OMD, Depeche Mode, etc, and then later dance music in general. For a while I was making trance and progressive house in the early 2000’s, using various artist names, followed by a period releasing vocal house tracks with friend and vocalist Linda Newman, under the name Zentribe. I finally decided to start releasing under my own name “Lesh”, and at the same time really got into the sound of melodic progressive house, because I love the musical aspect of it, and I started working with labels like Emergent Shores, Progressive House Worldwide, Pineapple Digital, Soluna Music, Elliptical Sun, etc.
I have a remix coming out soon on Summer Melody of a lovely Adam Sein track, and a new 3-track EP in November for Emergent Shores. Also working on a new EP for PHW, and a couple of remixes. Really hope soon to finally get around to starting “The Album” which has been an ambition for a long time!
Hi my name is Benjamin (Terry Gaters) I am 29 years old and i come from Germany. I am a prodcuer for more than 10 years now. I worked with Labels like Balck Hole Recordings/Magic Island Records, Emergent Shores, Synth Collective and more. I know Seathic Mynighte for a long time now and he always supports my tracks. When I heard about the event it was clear to me that I would like to support it. I asked him and so here I am :).
At the moment I am working on a few new EP´s and I regularly stream on Twitch to teach beginners how they can produce music. Feel free to join me there :).
What are your feelings on the progressive house/trance scene today? And what about “dance music” in general?
As far as the music goes, I think it’s a great time to be involved in the scene – there’s so much new music coming out, and people have more free time to discover it since Covid hit. But to be honest I’m worried about what clubbing will look like in the future. In the UK, the government is abandoning musicians and leaving the entire nightlife industry to die, despite its enormous contribution not only to the economy but to British culture. Our music is meant to be heard in nightclubs, on big sound systems, in rooms full of strangers dancing and having a great time. When we get back to some kind of normality, I hope that there will still be some kind of infrastructure left to make all those things possible.
It has been very interesting to see the continued blurring of genres. I believe that progressive music is getting more popular and that dance music is stronger than ever, especially before COVID.
The awareness on the melodic progressive genre specifically has reduced a lot, and now is more likely towards deep progressive house yet progressive trance still has its power still. In general, for dance music, it’s really dispersed in terms of interest, if you like that certain kind of music, you would just stick to it, hardly to accept other genres or types of music then.
I think people are a bit too hung up on genres and labels, to me I just want to make “music”, whatever that is, but I know that labels, stores, and often fans, DO like to categorise things. I think the scene is alive and healthy, although sometimes tracks can sound a bit formulaic. My own musical interests are much wider than specific genres or what I have been releasing, and I would love to explore that further with the album. 😉
I am very happy to be a part of the Melodic Progressive House and Progressive Trance scene. So many people in the Melodic Progressive House scene are very nice persons. They always give feedback, support the artists even if they are small producers and they try to push the genre itself forward. Maybe we all can make this genre a bit bigger. But on the perspective of today I think it´s quite difficult to get very big or make a living out of it in the dance scene with melodic progressive house, because it´s not a major genre especialy here in Germany. The cool thing about that is that the most persons make Melodic Progressive because they love to make music and especially this genre and not only for money or fame.
Dance music in general is always evolving and sometimes I like it sometimes not, but thats personal taste.
Let’s talk for a minute about “the ART OF THE MIX….” What is your approach to putting together a mix set?
Ever since I started DJing all those years ago, I’ve always wanted my mixes to feel more like a seamless hour or two of music, than just 10 or 20 tracks played in a row. The entry-level hardware is so cheap now that literally anybody can be a “DJ”, so typically I try to use my musical background to create something beyond just mixing tracks in and out. The key things for me when selecting tunes for a mix are (a) how well they’ll fit together melodically, and (b) how I can carefully create peaks and valleys of energy over the course of a mix. Typically I use a lot of looping which allows for very long, smooth transitions which I’ll often add some subtle fx to.
I’m a huge believer in harmonic mixing and I try to really blend tracks together over a relatively long period by today’s standards. I love to surprise people with throwback tunes as well!
It really depends, but mostly with the similar types/genres of music, I would place it together into a mix, or if it is in the similar bpm or key, it could be placed together as well.
I don’t have a background in DJing, so for my monthly DreamTime show and guest mixes, I pre-prepare mix sets, using Logic. I try to mix in key if possible, for smoother track transitions, and I think of the one hour set like a song arrangement, trying to give the set a “shape”, building up, and then back down again.
I always try to take the listener through a journey about my understanding and idea of dance music. I wanna show them what my favourite tracks are and what tracks means much to me or changed my life. So when you listen to a mix from me it´s like we would have a conversation about my life and the language is music.
How do you feel the progressive music community can be supported by people doing mixes or live stream events?
Although I don’t think streams will ever compare to a live club setting, they have been an amazing way to connect with other like-minded people, make new friends, and discover a huge amount of new music. There’s a really strong sense of community at the moment, and it’s awesome for so many people to come together through music at such a weird time in the world. For a few weeks it did seem that everybody with a set of decks was steaming twice a week from their kitchen… but it has settled down to a good level now. It’s funny to think thata normal Saturday night for me was to watch a film, now I’m usually watching a few hours of DJ streams and talking nonsense in a Twitch chat!
Livestreaming has been amazing. The best thing we can do to support each other is to invite each other to share the platforms we have built, just like this event!
With the pandemic, live shows are hugely reduced and live streams becomes the new meta. I do agree that the progressive music community could unite once again and supporting each other with mixes and live stream events. Last year, 3 progressive labels made an event during ADE, purly for progressive with the music community. For now, there are multiple streaming channels that would offer a platform for progressive music, for example Discognition has been streaming on several channels and he do promotes progressive music sometimes. In the past, the progressive community is even stronger on making mix events, via plug.dj. The event for The Reminense 200 special is sort of a test for myself on making the event with the similar concept but smaller, still I do believe that we as a progressive music community should make something to support each other, it just need the big force behind.
I think everything that people do who are into this genre will support the scene. I think this genre has so much potential and we should all try to make it a big bigger.
Producers, talk us through a brief overview of how you put together a new track… Is there a kind of set process you usually follow, or does it vary depending on the type of track it is?
Personally I don’t have a fixed process for creating a new track, but usually it starts with a single idea / sound / sample that sounds like it has potential. It might be that I work on a drum groove first, build a bassline around it and then fill out the rest of the track. Or sometimes it’s as simple as finding a synth preset that inspires a melody or lead, and everything else falls into place around that. Or trawling Splice for hours and finding some cool ambient noise that sets the atmosphere for everything else to follow. Although it’s a different approach every time, I do have a few workflow methods that I keep consistent. The most important one for me is having a really good DAW template set up with everything I need – all my sample channels and synths, all my buss routing, my fx chains, groups etc, everything ready to go. It saves so much time compared to doing those things manually for each and every project, time which can be used being creative.
For me, I always start with the melody and the chord progression. Those are the foundations of a good progressive trance track. From there, the next most important element is the bassline!
I often start with ideas drafted with online sequencing tool and marked down some of the melodic ideas into MIDI files. Then importing some of the MIDIs parts with a piano first, and matching with the suitable plugins, and sometimes using my past projects as a template and changing with the ideas that I have. Sequencially, melodies, bass, pads, additional melodies, background elements and other effects to end.
I do have a set process, but I’m not sure that’s a good thing, and I’m trying to break out of it! 🙂 I have a basic track template in Logic, just so I can get started quickly with some drums and basic sounds and fx, but the final production would not use those. I nearly always start with the chords, for me that’s very important, and I spend ages on that until I’m happy, and I don’t move on until I think the chords are good enough. I use a lot of extended chords, 6ths, major 7ths, 9ths, whatever – I think 3-note triads, especially in a major key, can sound a bit cheesey. I then typically work on an 8-bar loop, adding parts and finding sounds, and writing a main lead to the chords. Then I move on to the arrangement, and finally do the mixing, add automation, fx, etc. Lately I am really into trying to add a bit of ear-candy, with stutter effects, unusual transitions, and playing with sound-design, bouncing and mangling audio from the track, etc.
I have a major process and most of the time I stick to it. When I have a chord progression or a melody in my mind I usually start wit making the drop, because it´s the loudest part in the mix and most elements play on the same time. When I have the drop I nearly have the most important elements of my track. After that I build the breakdown because it´s a very important part too. After that I do the rest of the track, but if you wanna see it more detailed you can join me in my stream :).
And what about for doing a re-mix: how do you usually approach this when asked to do a re-mix of someone else’s track?
I absolutely love doing remixes (and collaborations too) – some really wonderful things can be created by two people’s ideas being fused into one output. The first decision for me is always to work out which core element I want to base the remix around. For example if it’s a vocal track, I’ll often try seeing how another chord progression could work. Or if there’s a really nice lead melody, I’ll see how that sounds with a different type of synth, and whether it could fit over a totally different bassline. I always try to make the remix sound quite different to the original while still incorporating as many original elements as possible, even if it’s just really subtly or by warping the original bits until they’re barely recognisable.
For a remix, if the track has a vocal–I will only use the vocal and write an entire new track behind! If no vocal, then the only thing I will take is the melody. In many ways, I put as much effort into a remix as I do an original!
Similar on making a remix (as creating an original track), but may change some of the elements to fit better with the ideas of the original track.
For remixes, I like to listen to the original and think about what the heart of it is, whether it’s a vocal or the main lead, and I focus on that. Usually I don’t change the key or the chords, but I try to change the rhythm or feel, the arrangement, and I use new sounds, and maybe add some new parts. You don’t want it to be the same track with new sounds, you have to try to add something extra, or a new feel, so that is what I try to do.
For me I only do remixes when I like the original track and when this track inspires me. I don´t do typical remixes. When I remix most of the time I only take one or two parts out of the original. For example things like a chord progression a melody or a vocal. After that I create my own Idea of the track then just making a classic type of remix. Most of the time my remix does not sound like a remix it sounds like a complete different track.
For example my remix for New Horizons – Just Breathe.
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Before ending my responses, I would like to thank my artist/producer friends djimboh, Heard Right, Lesh, Terry Gaters, and Taylor Torrence for being my guests on the event. I would also like to thank Electrofans as a platform to share our music passions, I have been a part of Electrofans as well as provided sharings as co-owner of my label, Summer Melody. Hope you all would continue to support us as producers and artists, or maybe just a member of the progressive community. Thanks!
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