After he signed on big labels as Never Say Die or Circus Records, we had the opportunity to interwiew the young producer Ganon, from Tours, France. At SampliFire‘s, Ivory‘s or Ecraze‘s side, Ganon is one of the new dubstep french wave leaders, between violence, rythms and pamper sound design. A stunning and varied method. Happy reading !
01 – From Riddim to Jump Up, your style is kind of minimalist, where does this influence come from ?
I never listened to mainstream stuff. First, I started with Electronic Music but at this period I used to rarely listen to songs streamed on radio. It was not so well known Electro Music, I’ve always been searching new artists. I think I kept this underground side with me, also that’s why I turned into Dubstep music, not too mainstream and kind of sharped. I don’t consider myself as a full Riddim artist though, more between a commercial and a Riddim vibe. Same thing for Jump Up music and DnB in a more well known style. I think I made the right choice then ! I started in 2010, like 7 years ago. I started late, I am 27 and I actually started to really listen to music between 19-20 years old. The first songs I heard were Ajapai, P0gman and Megalodon. I knew Riddim music from there, I really get inspired from this !
02 – It’s true we can feel the Megalodon touch in your sound design !
Yeah, mostly in my very first tracks ! (Crazy Party VIP) I used to have a synth which made Megalodon stuff and it’s true that on my SoundCloud account, there were always the same feedbacks : «Sounds like Megalodon», it was funny. It was Megalodon, but to suit my style. Since then I stopped imitating other’s styles and I could improve my own one.
03 – Let us talk about this very specific sound design, very cold and metallic, how does one choose his personal signature?
Hours of geek stuff! Tutorials at first, then try out a lot of things. It is sometimes necessary to spend about 10 hours on the computer on the same day. Then after a while, you get some kind of method for producing from which you build that signature. It is also software testing for a big part: I tried on FL Studio, my computer crashed, so I took a chance to invest in a Mac and try Logic Pro. At that time I knew I would have that cold and metallic print, as you said. But it take years ! 5, 6 years designing sound and one more to work out all that stuff.
04 – Now that you are an international artist, you were in Montreal this Summer. How was it?
It was basically a round trip! The day after I had to mix in Paris, but why not a whole tour later! It was the second time this year, almost a year to the day since the premiere. Montreal is always on fire, one of the capitals for Dubstep, especially Riddim. The crowd is insane, I would say a bit more expressive than in France, but it is double-edged. If they like it, thay will show it, headbang all the way, if they do not though, they will just stop and go burn a cigarette! It never happenned to me thanksfully but I have heard things. For me it is the best audience ever, and Montreal is the perfect city.
I am thinking about settling over there because the samll amount of time I spent there was awesome. People are smiling, the goods of the american mentality, but french speaking! Everything is bigger over there: you like to eat, you will find something, you want to have fun, same story… It is really becoming a goal for me. I do want to do some stuff in Paris: an EP, collabs, then I will be able to go. For now I have connections in Montreal and Los Angeles where I have some projects going on. It may not be the case in a year so I should strike while the iron is hot!
05 – And with all that, do you find any spare time do go to nights out or are you now « forbidden » from being in front of the stage ?
Honestly I don’t go to nights out that much anymore. It happens sometimes that I’ll go out in Tours. I have friends, Oh Mega, who organises stuff and it happens to me to find myself to go there to support my friends! On the other hand in Paris, it has been a while I didn’t go out. Before, I would do all the Animalz, now I have a lot of stuff to work on and I’d rather stay focused instead of scatter around. It’s true that going to Bass nights, being a producer, often gives me inspiration. When I came back from nights, there was necessarily a vibe that would stay in my head that I had the need to lay it down directly. It’s true that it’s an advantage, it enables me to have fun, to see friends , to feel the crowd. It’s also the occasion to meet with fans and it’s a pleasure !
I can’t deny I miss it sometimes, but when you’re a producer you need a lot of time at yours, to produce. Some others, such as Dubloadz or LAXX, are always in nights out even though they find plenty of time to produce. But these guys are capable of producing a track in one day or two. They have the talent to make full and complete tracks, which is what the big labels are willing to get. I think it’s a rhythm to take. I don’t go on tour yet, I hope that I’m only at the beginning, I mix from time to time.
Hydraulix / Barely Alive / Dubloadz / LAXX / Habstrakt / Supreme
06 – You recently signed with NSD : Black Label and Circus Records, how did that make you feel and how did you get there ?
First of all, it’s a pleasure when we present you some huge pro projects like these obviously! It’s been a while I’m thinking about it, it’s also why we make music! We do all that because we love it, for sure, but you also need some ambition! Music means work, it’s not a world where you just get to the top of the mountain just like that. You have to have the talent and you have to work hard, even though I didn’t have any talent at first. I wasn’t a musician at all, I didn’t have any notion of music either. I just stopped my BTS in commercial management to devote myself to music, then I went to seek for information in Paris ! I was hanging around with Thom ( Ecraze ), we worked a whole week. You can make sound with tutorials and a little bit of talent but I think you need someone to show you how to do it, speak to other producers. Before, I would do mixdowns without really understanding and then we explained me truly what it meant and what each thing meant. This, really really helped me.
07 – Let’s speak about mix !! How long have you been mixing for ?
It’s been about 10 years that I mix, I started a long time before producing. I would mix at birthdays (we all started by doing this) directly on pc’s, I didn’t have any controller, it was Virtual DJ, based on old electro. Then, I evolved, I had my fist controller. At that moment I started making sound and left behind the mix to concentrate myself on production. I think that when you know how to mix, you don’t really have to train, it’s mainly an ear thing. Then, I passed on CDJ, when I was at Ecraze’s. They told me « stop your controller, we will teach you how to mix » It’s a commun friend who teached me on 900 Nexus back in time. It changes everything ! For the little story, I was preparing myself for Animalz, it was my second date on CDJ, the first one was in B2B with Ecraze just before. It went quite crescendo overall. Then I enjoyed more producing than mixing.
I love to mix, be with my friends, make the public enjoy themselves, so I still work on stuff for them. But I’m not the kind of person to mix all the time at mine, for the record, I never recorded any of them. I don’t even really owe the material, I still use my first controller in an external sound card! It’s mixing that enabled me to produce, I would mix sounds but they weren’t mine. It’s then that I really felt the need of doing my own music! In general I can play around fifteen tracks of mine in a set, it’s quite cool. And people are also there for that, to hear your tracks, your style. It’s a pleasure to see that especially when you have the chance to produce yourself in front of a crowd that knows about it such as the French or the Canadian one.
08 – And one last question for our friends producing: how do you find inspiration, and mainly, how do you keep it going ?
Going to nights out, exchanging tips. It’s something that we do quite a lot in between us, we share many advices. And the first thing I want to do when I get back is to apply them ! It’s important to go out. The inspiration, it’s not really something you can describe, it comes and goes and it depends on so many different things. If you’re okay in your life, you will be more able of finding inspiration. Testing new softwares as well! When I was bored of Massive, I went on Serum to get new possibilities and new ideas. It rightly enabled me to get better in my paw.
Test some new stuff ! And if you don’t find inspiration alone, there is still collais that can help you or revive yourself with new synths that you will be able to do more work on. Collaborations are a huge integral part of my inspiration. I had a kind of empty year where I did so many of them ! You learn from other artists, it’s complicated to stay on your own. You have to go towards others, ask for some advice, for some feedback, for some critics. I tend to send my productions to Samy (SampliFire) and Andy (Ivory) to ask them ! If I have one thing to say : keep on going! If after one year or two, it doesn’t work, continue working on it. One lovely day, maybe a big artist will catch you, i would probably not be where I am without some encounters. So keep being open minded and don’t give up!
It’s on these wise words that this interview ends. Let’s keep in mind those precious advices : patience is mother of virtue, and the life of an artist is far away from a heathy ballad. Stubbornness and vigor are the key to success to live your passion, the music ( or anything else really), and it’s not a few sessions on Ableton that makes an artist. Such a big dream requires extremely loads of work, of tries and also some mistakes and some luck. It’s with so much pleasure that we could deliver you this interview, a big thank you to Ganon for giving us some of his time ! We’ll meet again soon for new interviews, stay tuned !
BASS IS LIFE, BASS FOR LIFE