Do you remember what your studio setup was like when you first started, and do you think it helped shape your sound and approach as a producer?

I've never given much importance to the type of equipment; for me, it means little or nothing. What really matters is what's inside you.

The same goes for DJing. However, for this style of music, you need classic Rolands, Korgs, Yamahas, SP-1200s, Ensoniqs, etc.

I think the distinctive sound comes naturally; everyone is different, everyone has their own way of being. I like a deeper sound, the journey is very important; it's like a therapy that relaxes me and gives me peace.

Every time I compose, I sit in the studio and, putting my hands on the keyboard, try to find the right chords that give me something deep, the beginning of a journey. I almost always start with the sounds and then add the drums, and I never take inspiration from other tracks.

Everything has to be new; it's simply the art of creating.

Has your approach to composing changed much over the years?

Personally, my process hasn't changed much, but I've had to adapt to new technologies and the evolving world of DAWs.

I've used several, as I said before, what counts is what you have to offer, but I must admit that for many years I've only used Steinberg Media Technologies software. If you're a composer/musician, I think it's the best.

I do, however, have my own workflow, which I follow especially when it comes time to pre-master, which is one of the key steps to making vinyl sound its best.

For some time now, I've also been doing mastering, which is a completely different and complex world than that of a composer.