Terrence :Terry: is a French producer, DJ and label owner. He started his music career more than ten years ago in Paris where he quickly started making name for himself. He was always attracted to various genres within the electronic music community. Terrence released on some established labels such as 2020 Vision, Robsoul, 1trax, and of course his own La Vie En Rose.
He started his own imprint in 2012 with a simple aim; to have a platform to develop and release a sound that could encompass a whole range of genres, taking influence from his very first experiences in the Paris rave scene. We invited him to our 101 section prior to his forthcoming release on Lola ED's new label dds.
What was the funniest / most bizarre request you’ve ever had while playing?
It’s difficult to remember any one particular request as it happens all the time! I guess one of the funniest would be that typical situation when you think you’re feeling the vibe and you're in tune with the crowd, then suddenly this young girl pops up - she’s there for her birthday with her friends, totally drunk asking you for a pop song from her country or something else that’s totally out of context… it happened to me in France just recently and she asked me for Alizèe!
Can you describe your studio setup for us?
My Studio set up is half analogue/ half digital. It works for me and I’m always keeping my eyes and ears open looking for opportunities to buy, sell or discover new gear. I love new information and bringing new feelings into the studio. Regarding the EP for dds, initially, it was a pack of 8 tracks. They were all of them very different from the others: from House to Techno or Breakbeat as well as some mid-tempo tracks or even more atmospheric tinged with deep house.
I had in mind, to concretize in sounds, the transition I’m going through production-wise with a mini album including all sort of vibes but keeping it true to my roots. Somehow, unveiling ‘Terence 2.0’ character. After some discussions with the label head, we kept only 4 of them including two interludes (Call me Snake & French Connect). Most of the tracks have been made with hardware & virtual instruments:
I wanted to gather the most interesting parts of both worlds and explore from here. The beats are coming from the Xbase 888, Maybe the only rhythm machine that can compete with the famous TR909 and 808 with a decent price, and from the MPC60. I’ve had all sort of MPCs (2000, 1000, 2500) and recently sold my 2500 for the legendary 60 which is closely related to the 3000. It really is something else in terms of colours and grain, swing and signal. It’s a must-have for classic house and hip-hop lovers. Then Most of the bass lines are made with the JP 8000 Roland & MKS 80 arpeggiators with the Korg Radias & Yamaha An1x.
No need to describe this beauty. The more I check videos or photos of other people’s studios the more I see the JP8000 Roland. It's the first fat synthesizer combining digital and analogue and the best one if you don’t have much cash. You can do whatever you want from basslines to atmospherics and pads. Every function - controls, filters etc.. - are highly effective. As we say in French it’s a real “Couteau Suisse”.
MKS 80 is another rack synthesizer from Roland. It’s very reminiscent of a Jupiter 8 - every effect and presets sounds fat. The only problem is that, as it’s old, you need an extra controller for all envelope, filter, LFO, MIDI, oscillations… But it’s worth the extra hassle, this is a beast.
From the same generation than the Roland JP8000, Yamaha An1x was probably its arch-rival. Yamaha sounds completely different to Roland so it’s nice to mix them both together. This was also more oriented towards European techno from the nineties and trance that was a bit cheesy.
Last, All the glitchy & rhymical sound on the background were made with this plugin called Bazill from U-he & Reaktor from Native instruments (amazing companies). Pads & landscape were made with the E-mu Orbit, Korg Radias, Jp 8000 and also with this plugin called Ace from U-he and Factory from Sugarbyte.
Orbit « The dance planet » is a rack synthesizer from E-Mu really “cliché” in a way but it’s a good weapon nonetheless. Especially when you need inspiration or want something unexpected to get your creative juices flowing. The signal is good and it’s so easy to treat it in Audio. The Korg Radias came out just after the famous MS 2000, those synths were not one hundred percents analogue but then Korg added more capabilities to the Radias. It was more oriented towards trance and techno at that time but at the same time, it was versatile. You can use it to imitate any of the mythical synths.
Could you tell us the story about your first gig?
My first gig was at La Locomotive in Paris with my rave idols and first inspirations: ARMAND and SONIC. I was really overwhelmed, it was a very stressful gig. I still don’t know how I managed to get through it, I didn’t have a clue how to mix two records together!
Name three artists that currently inspire you
It’s really difficult to name only three. Every year someone is inspiring you, it’s what electronic music is about, but if I have to, for electronic music at least, then these guys are up there: Jerome Pacman, Herbert, Juan Atkins.
Jerome Pacman « Pakos Project »
Although Jerome has produced some really good tracks recently, I'm a big fan of his work of the 90s, for example, «Pakos Project (1994) » Jerome’s succeeded in making his own synthesis of Rave Techno/ house sounds adding some more groovy and hypnotic sounds and beats.
Herbert « Around the House »
This Album of Herbert « Around the House » changed my perception of Electronic Music. At this time I was into all the glitch and industrial weird sounds showcased by Music for Freaks or 2020 vision, and then Herbert brought something new using those sounds and new textures including the amazing voice of Dani Siliciano.
Juan Atkins « Rebound »
Recently I went back on this track called « Rebound » released in 2004, 15 years laterit'ss 100% playable & contemporary.
Recall the worst experience of ‘killing the vibe’ in the club.
You can kill the vibe for some people but not for others. I have so many memories of when we were playing on Serato/Traktor, it always came with a lot of problems. I can’t remember how many times the sounds disappeared, or there was some disturbance in the flow of my set while playing with this setup. It obviously “killed the vibe” and after that, it’s hard to get back into your flow (THIS IS HORRIBLE).
What do you do before and after your set?
Before my set, I like eating with friends, checking the last wav or records I bought, to think about in which context I’ll try them. After, if the party was nice I like to listen to more records of course.
What’s the worst job you’ve ever had?
Selling mobile phones at a Parisian metro station (Gare de L’est), or selling some fluffs (little bears) at the tube station to save some money for holidays.
What are your favourite labels at the moment?
Well there is a bunch of them amongst which: All In records, Finest Hours, Tresydos, Slow Life, Laate, Origine Rec, Aimed, A_B side, Dmk, Cartulis, Meander, MeloTherapy, Cure Music, Unison Wax, Oscillat Music, Pont Neuf, Amazing Stories, Apollonia and of course La Vie En Rose. 😉
Now Watch out! I’m starting a new platform with my long long long time friend Grego G from Paris (Concrete). It will be special, more info coming soon...
Imagine a cold winter, a fireplace and two glasses of wine—what song would you play?
Maybe a song maybe from Michel Berger, Gil Scot Heron, Stevie Wonder, Eta James, Marlena Shaw or Serge Gainsbourg...
Last but not least. What's the best advice you've ever received?
Believe in your dreams.