Halfway to Digital

Published in the July 2006 issue of DJ Times Magazine
Volume 19 - Number 7
By Emily Tan

If you haven’t heard of Paul Oakenfold, one must ask: Why are you reading this magazine?

From the very beginnings of the U.K. dance scene to the success of his Perfecto label, Oakie’s influence on DJ culture is perhaps as deep as anyone who’s ever mixed two records. He’s played stadiums opening for U2, he’s produced artists like Happy Mondays, and, much more recently, he’s gained notice in Hollywood scoring films.

Although he’s spinning less than he has in previous years, Oakie continues to attract large audiences that come to hear him play his uplifting brand of trance. Still, the veteran DJ hasn’t completely come over to the digital side. As his recent endorsement with Stanton indicates, Oakie uses vinyl half the time in the booth, and he’s perfectly happy with that approach.

As he prepared to drop his latest album, A Lively Mind (Maverick)—a hooky mix of melodic trance and dance-rock riffage—we caught up with Oakenfold at Winter Music Conference. In discussing his latest projects, Oakie explained why he’s relishing the art of DJing more now than ever before.

DJ Times: What gear did you use to record A Lively Mind?
Oakenfold: It’s recorded in Pro Tools, but I also used live musicians. I’d record the drummer, and then I’d loop and edit what he was doing, and loop it again. A lot of the bass on this album is played live. The guitars are live. I’d play a couple of notes to him and say, “Right, work on this.” He’d work on different directions. I’d record it all, edit the parts that I liked and then put them on the record. I recorded this album completely differently from [2002’s] Bunkka, which was much more technical and not live. This album was much more fun to do.

DJ Times: You’re living in Los Angeles now. How’s that been?
Oakenfold: Film scoring is now my main job. I make more money scoring films than I do DJing. Don’t get me wrong, I love DJing, but I felt that when I scored Swordfish, it changed everything for me. I enjoy the process of film scoring. I’m not worried about the whole DJing thing. I absolutely love DJing and probably do more now, because there’s no pressure on me and I’m not traveling like I used to. When you do less, you’re more excited to do it. I’m DJing 25-percent of what I used to DJ four years ago. Less is more.

DJ Times: Who are some of the up-and-coming DJs you’re excited about?
Oakenfold: Nat Monday from England, Liam Shachar from Israel, Kenneth Thomas from Detroit. These are three hot, new kids that I’ve come across. They’re not signed yet. I found them through my travels. They come up to me and just give me music.

DJ Times: How else are you getting your music?
Oakenfold: I record shop online. I shop at Amoeba Music and Virgin. I’m going to Beatport. I’m even gonna start releasing records on Beatport through Perfecto. It’s a good means if you’ve got something that’s underground that you’re not gonna sell lots of vinyl or CDs of, then you put it on Beatport. It’s more accessible.

DJ Times: What’s your DJ set-up these days?
Oakenfold: A Rane 2016 MP mixer with 2016 XP extension board, two Pioneer CDJ-1000s and two Stanton turntables. The new Stanton turntables work really well—they’re almost as good as the Technics. I am still playing half-vinyl. CDs are very clinical and clean, but vinyl still has that rough edge. I like the sound of the Rane mixer, too. It’s like the Urei.

DJ Times: How do you see the health of dance music in the States?
Oakenfold: Well, I played in Birmingham, Ala., on a Tuesday to 2,000 people. I played in San Antonio, Texas, on a Monday to 1,600 people. You’re playing the two worst days and you’re getting that many people…maybe I’m not the average person to answer.

DJ Times: As a DJ, do you think it’s more important to have solid live skills or play great productions?
Oakenfold: The most important thing as a DJ is your choice of records! You can have six people with the same 10 records, but it’s how you play your music that matters. Yes, technical skill is very important, but you can have great skills and not have good tracks.

DJ Times: You said you’re using the Pioneer CDJ-1000—have you seen the MK3 version?
Oakenfold: The Pioneer CDJ-1000 is such a masterful piece of machinery, I don’t know how you can improve on that unless it sprouts legs and makes me a vodka-tonic.