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Nicko

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Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with NICKO (Nicko Moyano)

What does producing mean to you? When did you start your music career and what motivated you?

  • Have always had music in my skin since I was little my mum artist in the soul already made me listen to music while I was in her belly. I have always been immersed in music I really love everything from classic to electronic music through blues rock etc …
    At my mother’s house there was a record player and I listened to music all the time like Kraftwerk, Jean Michel Jarre, The Rolling Stones, Vangelis and classical music too and yes. I really liked the music of the 80’s. I started learning to mix in 1993 and in 1996 until 2001 I produced in an analog way at the time. But it was not yet PRO and it was a very difficult period of my life … at the bottom of a cellar I was working and making my weapons for the future I imagine. My motivation was artistic and to be able to express the difficult feelings of a very disturbed adolescence. Here in belgium we had the most beautiful and big club in the world! A great inspiration comes from here for many of us.When i went out for the first time in party here in belgium it was a revelation it was new music that could only be heard in club.
    I wanted to be already DJ ! and then produce.

How have your releases inspired you throughout your career?

  • It is my intimate emotions from day to day that direct my productions even if I have certain objectives, I operate by feeling.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

  • Yes I find it always enriching to make remixes provided that I am inspired by the track. and when we have good collaborations it allows us to evolve. it is part of the job. the remix is important in the career. But so far I have done a lot more remixes for other artist. I often produce 5 or 6 track EPs which doesn’t leave much room for remixes. But we ask me regularly.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

  • There are two reglers at home for the titles. I am able to produce a track by already having the title and put the idea, the vibes… and at other times looking for a chord I like and then around the middle of the work around the track an idea for a title comes to me.

Is a well-designed cover important to you?

  • Yes of course. I sometimes have the right to inspect but it is rare. pity .

How do you choose record labels (what is a good label for you and what are your expectations)?

  • A good label for me is a team, a family where they communicate a lot with each other. A label must invest in enough PROMO pool / PREMIERE / and many good stuff to have a nice visibility. To have “the head on the shoulders” and to be hyper PRO. the desire for results, know his profession , play his artists on gigs and be honest and transparent.
    What is very important to me its human relationships and trust.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

  • It is very difficult to stand out from the crowd there is so much release. For my part, I always try to reach the Beatport Charts to be able to be seen and heard.
    Otherwise its sad to see that many leave the tracks that end up being frank in the trash. only the hardest working people can ever hope to have results. The illegal downloads does not really bother me finally the music is shared it does not bring anything any more at our levels on the other hand the notoriety makes it possible to obtain nice bookings in the future.
    We are in transition the world and the record industry are changing. It is a difficult question but the only way to live or survive for many of us is the booking DJs.

What are your future plans for making tracks?

  • No i do my best all the time to improve myself.
    I work a lot on Ep Melodic house and Techno. as well as techno at other times.

Thank you for accepting our interview request, we wish you much more success in your producer work!

VINYL ► Nicko – Ice Peak EP

Raftek

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In Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Raftek

What does producing mean to you? When did you start your music career and what motivated you?

  • I started making music (in 2008) to be able to express what I am through a universal language, I believe that music is the life partner that never leaves you, it is wonderful to be able to create a track that arisen a beautiful emotion inside like when you see hundreds or thousands of people jumping while are listening a your track in a nightclub, it gives a huge sense of life and makes me believe that a track is indelible, it is a real testimony that will remain forever of what we are today.

How have your releases inspired you throughout your career?

  • ŃI found the inspiration to produce my over 200 songs between Raftek and ATProject in the most different things. Surely the experiences you live in first person are the ones that have most influenced my recording career, but sometimes even sad or unfortunate periods can prove to be a good propeller to produce a great song.

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

  • The collaboration was another important chapter of my career, which started with a project in collaboration with a great DJ: Giulio Cini, with whom we played with the name of ATProject alongside the great guest stars of Techno music in many big European clubs.
    Also for what concerns the production you will find many collaborations and remixes
    made with great artists including Mike Humphries, Resistorh (Pet Duo), Tobias Lueke (O.B.I.), Diarmaid OŐMeara, Oliver Kucera, C-System and Dj Saimon.
    I think it’s a nice way to get to know each other.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

  • The title is, for me, very important, just think that two of the releases on Techno Vinyls Records have the name of my partner (Elena) and my daughter (Angelica), so …

Is a well-designed cover important to you?

  • As we say in Italy “Even the eye wants its part”, so I think that a good cover, especially for vinyl, is something more,
    the reason why the eye stops while the hand slides down when we select a vinyl in a shop.

How do you choose record labels (what is a good label for you and what are your expectations)?

  • I think it is an essential choice, a little advice I can give to new producers is not to release your tracks to the first who is interested, you risk devaluing your work,
    I think you have to wait for the right time and the right contact to grant their tracks. If you put your heart into creating them, you don’t have to leave them in bad hands.

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.)?

  • I asked this question to all great artists I have met in my career, and I was struck to understand that today the fees for music sold online are really negligible,
    so to be able to earn through Gig it is important to be known and appreciated by a large majority of people, even if they had to illegally download your track to get to know you.

What are your future plans for making tracks?

  • Try to experiment to create particular sounds by always acquiring new techniques through study and research.

Thank you for accepting our interview request, we wish you much more success in your producer work!

-Thank you for the pleasant chat

VINYL ► Raftek – Elena EP

VINYL ► Saimon + Raftek – Brotherhood EP

Ninna V

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In Techno Vinyls Records ’ series of interviews, we talk to producers who have releases on our label.

Interview with Ninna V

What does producing mean to you? When did you start your music career and what motivated you?

  • Well, producing means expressing myself through music, letting out all of my heart and soul into sound ! I started about 10 years ago and what motivated me was

How have your releases inspired you throughout your career?

  • Well what inspired me has been the support i’ve had around the world, Top artists giving awesome feedbacks and playing my tracks around the world and at their podcasts, i couldn’t have done it without that support !

Do you like to collaborate with other artists? What do you think about remixing? Do you like to remix or do you like to have your music remixed?

  • I’ve only made an EP in collaboration with another producer which support was amazing, tracks and remixes were played around the world by Top artists like Carl Cox, Ben Sims, Rebekah etc and remix by Rotize Lee was also played by some of the most recognised artists in the world ! I’ve done a whole lot of remixes and been remixed by some of my idols like Steve Stoll and Ritzi Lee, it’s always great to be interpreted and interpret originals in our own way….

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

-Deepends, sometimes i already have a title in mind other tyimes i get inspired by the track to name it, but to name a track sometimes is harder than making the track itself, so yes to name a track is equaly important to me as the quality of the tracks i make !

Is a well-designed cover important to you?

  • Yes it is very important to me !

How do you choose record labels (what is a good label for you and what are your expectations)?

  • Well record labels aren’t that important to me anymore after over 10 years releasing music on labels, except if they release on vinyl such as yourself, or is a Top label, than i may rethink it…i’ve released mostly on my Bandcamp for the last 3 years….

How do you see track sales in the digital millennium data flood (for example: how do you see the digital sales, promotion tracks, illegal downloads etc.) ?

  • I see it as a joke, a clownery and a total disrespect for the artist who created the music people claim to love but donwnload it ilegally !

Thank you for accepting our interview request, we wish you much more success in your producer work!

  • Thank you very much for the trust in my work, enough to release it on vinyl, which is not easy in current times ! Till next time !

Vinylshop ► https://bit.ly/2Be8xvv
Bandcamp ► https://bit.ly/3dkHrkK
Beatport ► https://bit.ly/2TTxa79

CC Luna

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In Techno Vinyls Records ’new series of interviews, we talk to producers who have releases on our label.

Interview with CC Luna

What does producing mean to you? When did you start your music career and what motivated you?

  • Production for me is a way of letting creativity out. It’s the best way for me to express myself. I started my music career 6 years ago properly but I bought my first Turntables 1998 just to play vinyls at home as I always wanted to become a Dj. Going to techno clubs in London in the 90s motivated me to play and produce Techno.

How have your releases inspired you throughout your career?

  • The feedback I get from fans inspires me to keep pushing myself to always get better. Do you like to collaborate with other artists? What do you think about remixing?

Do you like to remix or do you like to have your music remixed?

  • I love collaborations. I think its a great way to get inspiration and to think outside the box. I like remixing other peoples tracks so yes I think remixes are great. And yes I like when other people remix my tracks too.

How do you choose a title for your tracks? Do you think a well-chosen track and EP title matters?

  • Sometimes a track means a lot to me then I use a name that expresses my feelings. Other times I name the track after the lyrics or spoken words that I’m using in the track.

Is a well-designed cover important to you?

  • YES!

How do you choose record labels (what is a good label for you and what are your expectations)?

  • I choose labels that releases similar kind of music that I’m producing but also respect and support the artist. Bigger isn’t always better.

How do you see track sales in the digital millennium data flood?

  • There are positives and negatives. The big positive is that you are able to reach a lot more people quicker. The negative is that the artist earns less money.

What are your future plans for making tracks?

  • I make tracks all the time and always thriving to come up with something new and exciting.

Thank you for accepting our interview request, we wish you much more success in your producer work!

  • Thanks for having me

CC LUNA – REFLECTION EP

Vinylshop ► https://bit.ly/2H4yP6V
Bandcamp ► https://bit.ly/348CN79
Beatport ► https://bit.ly/3jbysEC

Vinyl record has been in bloom many times and also now.

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I think nowadays most of the music community is aware that vinyl record has been in bloom many times and also now.
Big, expensive, vulnerable, circumstantial to use,it need a separate target device, and moreover, you need to turn it around in the middle of listening to music.

– Nice. This is undoubtedly a subjective measure of value but the same cover is much more effective at a 33×33 centimeter size or on the „foldable” gatefold’s twice the size surface as in 12×12
(this is the size of the CD booklet) or in a jpg image on some display. And the plate itself is engineering beauty with its grooves.

– Sounds good. Online forums are full with lots of analog versus digital battles to which one is better.
But in absolute terms, there is no doubt that analog recording parameters have set the standard high enough decades ago. Do not think of an analogue cassette here first.

– It holds its value. How much is an audio file worth? If we can pay for it (of course it is natural for us to pay, since no one will download free mp3) then we actually pay for a service the price of which we never see again.
But let’s take a look at ebay or discogs’ records page. (Although I will add here that the CD is not a bad comparison either.)
Fortunately, the album has more than just curiosity, because the songs on it were very good so it is highly recommended for listening, not just for shelf decoration.

Impact Of The Disappearance Of Vinyl Records On Electronic Music Life

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You can love or not the pleasant, warm sound and dynamics of vinyl records, according to many people the crackling of the needle adds to the musical experience while others find it disturbing. The principle of the vinyl believers that they like to feel the music under their hands and put the needle on it.
CDs could never reproduce this experience. With the proliferation and rapid development of timecode systems it has been possible since the mid-2000s to rotate the music under our hands while playing digital formats and and we can touch it directly with feeling.


The disappearance of vinyl records has slowly changed the entire electronic music life.
One of the biggest disadvantages of vinyl was its weight, if a DJ has a longer, more varied set, he had to carry quite massive disc bags. On the one hand, this was not practical for convenience, on the other hand, in those performances which were far away, a serious problem was the safe transportation of discs.
Not surprisingly, more and more disk jockeys have switched to digital technology.
Today practically they can take unlimited audio with them on a pendrive, so you can always have those specialties at hand which may only be possible to show once a year. This freedom was unimaginable for a DJ 15 years ago.

Another great disadvantage for the mortals on earth was their price.
This has made life very difficult for young disc players or collectors with beginner and modest financial backgrounds.
That is why an average disc jockey had to think twice about what to buy.
Djs were forced to focus based on their own tastes and subjective opinions to the best discs and it contributed greatly to create a unique style and sounding.

In this respect, the relatively high price of vinyl records was absolutely no negative.
In addition, the high production and shipping costs of labels and distributors have set up a natural filter system, which basically condemned sub-standard releases to death. Of course, there were always weak attempts.
Every style, producer, label had a better and worse time.

A record label that deals with vinyl records have more limited options as a label that working with online downloadable materials. While vinyl was the number one equipment in DJs hands, even the biggest labels had to think several times about what they were investing in.
If no one bought the disc, they could close the shop after a few failed releases. This factor encouraged labels and producers to do quality work. As time went on, with the advancement of technology, the quality of cutting and mastering became increasingly important.
The selectors didn’t like discs that sounded weak, undemanding and obviously the audience is also more shows more enthusiasm for that dancing sound what they said was “sounds cool.”
Record stores were also filters: it was up to them what Dj got. Fortunately, record stores were largely in the hands of fanatics who had a more sophisticated musical taste than the average businessman.
Day and night they listened to the latest releases. They were pretty much aware of what to buy and order at the big fairs.
In addition, they also knew that they can’t get rid of the disks which are below criticism and will have to sell them at a penny sale.

Even after the spread of CDJs, were still a matter of prestige, for disc jockeys in the underground circles to someone play music from vinyl.
Of course, a lot of the money and time spent did not guarantee that a person would have a taste for music and be able to handle records and audiences, but, at some level, it was a commitment.

Releasing on vinyl for a good label has always been a big word, and it is still true today.
Numerous labels, most of them including classic,oldschool sounds, deal with vinyls in addition to digital formats, furthermore the underground labels that only print a small number of discs are also on the rise again today.

With the advancement of CDJ technology, the number of disc jockeys using timecode vinyl has also declined.
One reason is that it is much easier to drag 2 or more music to a rhythm with a CD (or laptop, autosync button).
In addition, there are a number of options that state-of-the-art CD players offer that are very difficult or impossible to accomplish with vinyl.
Another thing was gone, those who did not want to deal with tempo setting were given a new opportunity.
Although not necessarily to be the best DJ who mixes with the most technically, but who once learns play music flawlessly with vinyl, then it will be possible to do anything.

A generation has grown up who has never heard anyone play music from disc on the spot and they have never tried it, so they are not bound by emotional threads to the crackling black plates.
For them, these things are only memories of an exciting but gone era.

Release to record? Why does anyone deal with this? Is it worth for someone?

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Release to record? Why does anyone deal with this? And how can the record label companies survive ? Is it worth for someone?
Interview with Andrew T Dorn, the founder of Techno Vinyl’s Records.

The answer is that it’s really worth it and not just for a few people and not just for collectors. We were looking for the answer to the question of how can a record label company stand on its own feet in the age of digital music listening and downloading and does it make sense it make sense beyond prestige to release on record nowadays.

You founded the Techno Vinyl’s Records in 2016 What motivated you at that time? What is the concept and audience?
In the second half of our operation we started opening to digital platforms.
At the beginning, the goal was the record (vinyl) release. There are plenty of disks still in existence today. In fact, many materials have never been officially released. Interestingly, we do not have close concepts with our releases. The point is to make the product acceptable. No matter whether it is Techno or House. If there is mutual sympathy between the artist and the label we can easily identify with the release. We never talk into the music because it’s not our job. We make the album cover together with the artist. If an artist make quality and indefectible work we support the creator to the maximum.

How do you see the situation of record labels today nowadays?
To what extent has revenue increased or decreased in recent years, how and what are important the record label companies in 2018?
For years, the decline in vinyl purchasing power has been continuous. It can be said that this is compensated by the advancement of digital sales and / downloads, but this is a vain dream.
More and more releases are need to be released to generate income, and even more for development. It is difficult to solve this by not going to the detriment of quality, but for the time being we can proudly say that this is not a problem for us.

 

How many feet should you stand on? What services should be provided to be worth it?
It must be present on all platforms, can’t be satisfied with it for example a disk is only available in physical form. Many people are not interested in tangible music, therefore it is necessary to be found a particular release in digital stores and stream sites. And of course the reverse version is also true from the same. This depends on the artists what will be the prioritization.

Do you think there is a circle of people who are not so much follow the artists but rather labels?  Does this trust still exist on the consumer’s side in the age of listening to music on the Internet?
If a label is specific, there may be a customer circle which is follow it. In our case, the genre scatter is relatively small, I do not think there would be a music fan who bought all of our releases. But I have already experienced that a particular format has fans. This is nothing more than the record.

And what about vinyl sales? Did you release discs in a physical format of prestige question?
We don’t release of prestige issue in physical format really there is still a layer who are still insist on tangible things. With that, there’s no problem, in my freetime I like to listen to the discs while reading the lyrics and watching the cover. So, fortunately, many people still need physical formats. Vinyl is experiencing a renaissance. The vinyl is experiencing a renaissance. Expensive fun, but we are very proud if we are over a successful disk release.
Beyond the sound quality no last thing is an EP or an LP for gift

What are the great plans of Techno Vinyl’s Records for 2019?
The year 2019 will be busy. We continue the vinyl releases. We will also have some surprises that I can’t tell you yet. The point is to we look at an exciting future.

Source, Note: Laszlo Kohegyi