When the audience is pumped it means I'm doing something right, so it just gets me more. As I'm doing it, I don't really pay much attention, I'm just going for it 'cause I can feel it and I know no matter what, it's going to work -- it will shock, first of all. I'm trying to put myself in their position where if they were to see me, it's like, "How the hell's he doing that? How can he play that, get that rhythm -- it's not supposed to do that!" Getting rhythms off a turntable, like when [the bass goes] dumdadumdadumdum, and I go wakwawakwawakwak, I get off on it, especially when they cheer so much, the crowd is going crazy. It feels good.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

Mixing was the first thing I learned, so it comes natural and easy to me. I already know what the records are, so I just improvise, do a lot of scratching and have fun with it, [since] I was in [the audience's] spot at one time where I would see something else and just, bam. I'm making them happy so I'm not going to sit there being all dull. They paid to come see me and play. Even if there was just one person, I would do my very best to play for that one person.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

I'm my own producer, in my house. I'm just focused. It's a weird feeling when you're just in there and it goes through your head. I could sit there for three hours like this [sits up and still]. I would try to find the perfect one and [snap] that's gonna work, it's gonna stay, so I do zone in. Also when I'm performing, I know what comes in and out. I just have the strangest feeling that I'm never going to leave the music, for one thing. I've increased my status as a scratcher, the ability to keep on going and never go down. I've been elevating each time, which is scary, because I've always dedicated myself to scratching, practicing and learning, so that it's a cycle now. No way I can say, "Well, okay, I did a song, I'm gonna stop and I'll take a rest for the next 6 months and live off that." It's an ongoing cycle. You could say I'm just an addict... I feel so extremely happy, and I make it as fun as possible, more exciting, like being a kid. But when I was a kid, I did it as a hobby, and now I do it as a career.

Dancer -- First always with producer & DJ either side, all communicating with each other on the same plain. The relationship between these three is key to the existence of these three they all feed & are fed by each other lest we forget.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

Because I use such a broad music base to most all my sets, It's difficult to plan too intensely. I usually have a pretty good idea in what direction I'm gonna take it but more often than not I let IT? & the crowd kinda take me. So sometimes the loose programming I have in mind gets twisted all around and I find myself mixing tunes together I would never have planned . This makes for some mad fusions & fissions baby. IT=VIBES. Oh and I always take two fat boxes with me no matter how long I'm playing, I guess each box is full of little pockets of groove & I sew 'em together with the thread of my choice.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

The mix & the mix & of course the next mix. If Life is a movie baby, it's all about the soundtrack!!!

The union amongst the electronic music trinity is beautiful. Accomplishment, at different levels, is the desired effect from a laudable cause. An open mind amalgamated with the knowledge of moods and musical influences are essential for success. A producer expresses what is in his or her heart. A DJ utilizes these expressions and creates, through improvisation, a higher sensory experience. Hopefully, the crowd, or more individually, the dancer receives a gift. This gift is a night to remember. A positive addition to this journey we are all on together.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

I am blessed and fortunate to DJ for a living. Being of service, and presenting the passion for music is where its at. Acute adaptability pays the bills. Some gigs require a uniform, planned set. Others, can be sonic canvases to just simply SPIN. Improvisational Vibe Control ,when appreciated, is almost as enjoyable as sex hahaha!!

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

Taking the crowd on a journey is my main concern. When I first began playing out, I was so focused on approval. Naively hoping that every track would cause exultation. When I am "zoned" in a mix, I am programming well and ventilating soundscapes that will be accepted as "good music". Educating and purveying for the crowd it's that simple. "Everything We Do Is Music!!!"

Good music for starters followed by someone who has some good taste serving it up to the final element -- the folks out there who want to groove to it and let loose.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

I like to show up and vibe off of the crowd. A planned set to me is equal to me knowing every move I'm going to make with my girlfriend before we do the nasty. It just doesn't feel right. I know that is a classless way to put it, but it does get the point across.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

I'm just thinking about the best way to bring something in so the crowd has no idea and they can just go on having a great time. It's really all about them.

The Trinity--I don't know if it's significant that it's three or if that's just the way that this particular art is manifest, and that's the way that it's meant to be manifest. I mean, a band can transmit a hell of a lot of energy to the audience and back and forth. I have a lot of old jazz recordings that are live in front of an audience and you can feel the energy going between them and it's a different kind of energy. It's not one person makes a track one person plays it and another person dances to it. So I think it's just a different kind of energy. I feel when I'm making music, when I'm producing something, if it's going really well for me that I almost feel like I'm hitting the keys of something that needs to exist and I'm just a medium for it, if you know what I mean. This music needed to be made and I'm incidental, almost. You could at it at a level of being a very spiritual thing or a very creative thing too because it's also filtered through all my thoughts and my experiences and my ideas and everything that I've gone through in my life and the person that I am will take that, whatever that pure idea may be, change it, and BAM, out it's spewed. And then someone else has to be in a mind state or an emotional or spiritual state to be ready to accept that. So I think in that way, music's evolution parallels and encourages humanity's evolution because it challenges your mind state. I wasn't ready to accept jungle until one day I just was, you know, I evolved into being ready, and it gave me the kick in the ass to be the person that I am now.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

My friends know that my box is always really fucking heavy. I keep it packed full of records because I like to be able to, if I feel the vibe needs to go in a certain direction take it that way. So I'll always have a mellow set, I'll always have a really crazy set, I'll always have some jump up, I'll always have some tech. I'll always have a little bit of everything, and usually try to have best tracks of every style in there. What I like to do is, I'll have mixes that I know work together and I'll have groups of records together so I won't necessarily plan out a whole set but if I want to go this way I know OK, I have these records, and I can work this groove into that groove. The better I know my records the more I can improvise, and I think that goes for every DJ.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

I'm usually thinking, oh man, this is great! When I'm in it, it's a high beyond anything else because you're getting the energy of all these people focusing it through you. So it's like one person taking in all the energy of all these people and pouring it back out at them and it's like, it's weird. It's like I'm almost not thinking, like I'm just barely thinking. A little bit of thought into timing this record, all right, this beat sounds like this beat, a little bit of actual linear thought and a whole lot of just knowing where to go. It's instinct. They've actually done a study and have found that DJs when they're mixing, use both sides of their brain in almost equal amounts. But I think when it's really good I'm using the creative side a lot more.

Certainly there is the chain of music by producer goes to DJ on the record goes to dancer through the sound system. however, many dance music producers are DJs and vice versa, and everyone is a dancer in some regard. so I guess the lines are relatively blurred. I personally try to make music that I enjoy spinning, and want to dance to. I think that this is usually the case.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

Always a bit of both. simply picking one record over another to put in your crate predetermines the vocabulary you have to work with. I usually begin with an idea that leads somewhere else, but always within the language I’ve pre-selected. the same would apply for live performances.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

Of course it depends. generally, I think most about the music and have a personal relationship with it rather than try to "work the crowd". a lot of what moves me doesn't necessarily move the masses. in general when I play, I have an introspective and emotional experience, that is there for people to feel themselves or not. I would rather leave it up to them. I am not interested in hyping up the party, so that everyone is jumping around feeling like a rock star. it's not really in my personality. instead I like to present people with music that I relate to, hoping it will incite a similarly personal reaction in those listening/dancing.

The Producer has the original vision. In most cases, a producer is DJ friendly. They'll create a song that (in a since) is incomplete. A skilled DJ will complete this record with another record by mixing them together - a proper mix lifts the spirit of the dancer. If the DJ is able to connect with the dancer then everything is complete

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

I think it's good to be prepared; if I'm spinning at a club I like to know what the audience wants (or expects), mainly because I play so many different styles of music

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

The audience and their reaction

It fell prey to the unholy trinity : A & R men, lawyers and accountants.

Nowadays an artist must be producer, DJ, PR man, journalist, broadcaster, videomaker, webwizard ...

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

I would never play a prearranged set that would be boring. I do pack a new box for every single show. I always take a lot more music than I need to give more flexibility, 200 CDs as well just in case I run out of vinyl.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?

Aware of the music only and the equipment at hand which is usually breaking down. In an ambient club you don't have to keep watching the audience. Audiences in the UK are very partisan nowadays which makes me very nervous. I much prefer playing abroad where people are much more open minded.

I'm never aware of the time - sometimes I overrun by hours wihtout even realising it. Or I’m aware of the usually excellent graphics - the VJs always work so hard but I'm too busy to watch...

Most of the time I'm thinking 'I wish I'd brought a decent mixer.’ There's always bods trying to write down tunes when I play which I take as a compliment, although a dozen nutters in the booth can get a bit out of control.

I like to check out the audience before I go on so that I can work out what headspace they're in and what noxious substances they might have indulged in, then I will know exactly how to blow their minds.

Continuity.

+Does it work better for you to approach a performance with a planned set in mind or to come prepared for whatever vibe takes shape?

Definitely whatever vibe takes shape. However, when there's a specific theme, for example Asian or Arabic, I will stay within that context, still spinning within the vibe that takes shape.

+What are you most aware of and what are you thinking about when you're zoned in on your mix?