Inside The Track with Nacho Marco
Nacho Marco has really been making a name for himself in 2015, with a consistant flow of high quality releases throughout the year on Loudeast Records, Lost My Dog, SoSexy, Dieb Audio and Modern Electrics.
His latest 2-track release if the seriously old school infused ‘Outside/Tunnels’ out now on Kerri Chandler’s Madhouse Records. Opening track ‘Outside’ has a real vintage rave feel to the production, whilst ‘Tunnels’ has a groove and saxophone hook that could have been taken straight from the Ministry of Sound main room in 1994. Seriously, have a listen, it’s got CJ Macintosh and Tony Humphries written all over it!
Fresh from his Traxsource LIVE! guest appearance, we sat down with the Spanish producer to discuss the making of this superb release, as we went Inside The Track with Nacho Marco.
Congratulations on your new release. How is it being received in your sets and with other DJs?
Thank you! I’ve been playing the tracks in my sets for a while now and they’re really working. I’m overwhelmed with the reactions of DJs so far, everyone from Laurent Garnier to Tensnake to Mark Knight are loving the release. It seems the EP is going to stay around for a while, which is my main goal when producing music is; to make it as timeless as possible.
What was the main inspiration behind the release and the musical direction?
The main inspiration behind ‘Outside’ was mixing Lil Louis “The Conversation” with Mr Lee´s ‘Get Busy’. The Conversation is a classic that I’m still playing since it was released; that killer bass line was pushing me to re-edit the original for a long time. Well, what initially started as a re-edit of a track mixed with another one, ended being a track in itself with new additions of extra keys, strings and finally a replacement for the original bass line. For ‘Tunnels’, I was inspired by old Kerri Chandler releases, especially by Atmosphere ‘The Lost Dubs’ which is also a classic that never fails in my DJ sets. The main ingredients of both tracks are a 909 and a sampler.
3) Production wise, what is it about the track that makes it work?
For me, it’s all about working on a right balance of the tracks since the begining of the process. It’s something like mixing while you´re composing. I mean, when I start a track, I like to listen to every part as it would sound in the final mix, so at the same time I´m composing the rhythm I try to add dynamics, effects, EQ, pan. Same with the bass line and the rest of the parts of the track, it probably sound a bit messy, but it works for me when producing house music.
4) What is the one machine, program, sound, drum machine, technique that characterizes your sound?
My TR 909. I´ve been using 909 sounds forever, initially from my old Akai libraries on a S3000 sampler and after a while on a real TR909. Nothing can beat that accent, claps, snare, kick. I used it on both tracks in a different way and it´s one of the machine you never get tired of using. Also my UAD Apollo and it’s awesome plugins and I always use those Teletronix amplifiers.
5) What is the one piece of kit that you simply cannot do without?
My TB 303, which I used for the bass line on ‘Outside’. I’ve been a fan of the 303 sound since the acid house days and a user for the last few years. Same as with the 909, I was using different samples, also software versions of it until I got a real deal. Sometimes I use it to create a basic bass line without moving the cutoff or resonance, like I did for ‘Outside’; trying to give the use that Mr. Kikumoto (designer of the 303) thought for the machine.
6) Any advice for your fans on how to make it in today’s fast paced game?
Don’t accept a “no” to your music if you believe in it. Don’t stop sending your music to other labels just because one said ‘no; or if you don´t get an answer; when one door closes another one will open up. Never stop listening to new music, investigating new labels, learning new techniques of production, updating your own style. Be constant, work hard and eventually you’ll get what you want.