So in that way Logic is easier, but in terms of composing, I prefer Ableton these days. Read Ableton Live 8 review. I really like some of the stuff that comes with it - like the compression. So, sometimes I make a track, take all the channels, render them down in Ableton and then put everything into Logic and mix it all down in there. Read Apple Logic Pro 9 review. There are some really great bass sounds in there. The sequencer is a cool, funky, creative tool to play around with - it enables you to have some creative moments just by trying things out.
Then I produce against the mastering, so that everything still sounds as crisp and cool and not crunched or punched, but is already being compressed. In the end, everything sounds the way I want it without afterwards putting compression on it. The whole experience of me playing music is much more intense because it fits the atmosphere of the moment, of the set, of the venue, and of the crowd.
The electronic music laboratory is packed with old analog gear and the latest Macs running Logic Studio. Then I lay down chords or a bass line or some piano—some stuff like that.
When I feel the musical idea I have is coming across, and I can feel it, I get to properly blowing it up and doing drum programming and better bass line sequences. Van Dyk grabs sounds from the Logic Studio library and records riffs from his old gear. You can use filters—put a gate on it or use the envelope or compression to make it crisp and shine through whatever else is going on.
Van Dyk essentially creates remixes of his tracks live, tweaking them to suit the vibe. New remixes are often born out of that spontaneous intensity. The live performance is influencing the production work and vice versa.
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