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Paganini Trax biography, Paganini Trax discography
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Airplay Charts.With several successful trance singles and remixes under his belt, Maas was best known as the man behind Orinoko's "Mama Konda" and a remix of Paganini Trax's "Zoe," both of which you could find in the record boxes of DJs like Sasha, Carl Cox, and Danny Tenaglia.Then Maas bumped his profile up a notch in 1999 by releasing the club hits "Der Schieber" and "Twin Town" on Bristol's Hope Recordings and remixing songs for Lustral, Southside Spinners, and Novy vs.DJ imaginable, including John Digweed, Seb Fontaine, Pete Tong, Tall Paul, Alex P, Brandon Block, and Paul Oakenfold (who released several Timo Maas singles on his 48K and Perfecto labels).Martin Bettinghaus's vocals, and bass and rhythm guitar parts recorded live instead of sampled or sequenced.It's a wonder that Maas even had time to think during the last year, let alone complete an album of original new material.Recently, he remixed Madonna's "Don't Tell Me," as well as songs for Placebo and Spice.Maas admits he couldn't keep up this pace without the help of his production team, Martin Buttrich and Andy Bolleshon, who oversee operations at Maas's Time Tools Studios in Hannover, Germany.Maas shows no signs of globetrotting burnout as he enters the lobby of L.As he reflects on his best year ever, Maas drops hints that the years ahead of him will be even more fulfilling.Two years ago I never imagined my lifestyle would be like this.Chicago back home to my mom in Germany so she could wash them.My secret for keeping up with the remixes is having two guys back home in the studio.DJ, but I like music with funky bass lines and fat bass drums.There is a huge breaks influence on the last couple of remixes I've done for Muse and BT.But it doesn't matter which direction I go in.Your tunes also sound quite different from most of what's out there.Then we try to do it better.Those things influence me from a mixing standpoint.Sometimes I don't even like it.Now that I've gotten their respect, I feel like I'm going in the right direction.Your remix of "Doom's Night" by Azzido Da Bass was a huge breakthrough.Engel, the artist behind the Azzido Da Bass project, who is a good friend of mine, offered me the remix.The only problem was, it didn't include anything from the original song, because I didn't like it.Azzido is a good friend.They asked me to do another one.Since it was for a major label, we decided to put something interesting in the middle, so we speeded up the bpm from 50 to 250.That was the legendary break.How did you create the wobbly bass sound on that remix?You must know your instruments first; then you can do whatever you want.We tried to create something special, and that involved going back to the basics.What is the story behind your remix of Paganini Trax?We did that first for the Sony dance pool in Germany.They put out about 800 copies on vinyl, and nobody seemed to be interested in it.It's either been that or rereleases of old stuff like Southside Spinners.My Green Velvet remixes are some of the best I've ever done.They were just sitting in their basement doing music.They had no idea where trends were going.We decided to do a song together under the moniker Kinetic A."Borg Destroyer" on Phuture Wax in 1996.Two months after that we did another production, then it turned into more and more projects.Two years ago we built our own studio complex in Hannover, called the Time Tools Complex.Now it has six fully equipped professional studios.I've been traveling quite a lot, so I've been picking up loads of influences.What do you have in your studio?We've always used computers to record, but the sounds we put into them are analog.Lately I've been working a lot with live bass players.That's one of the reasons why my music sounds groovy.Do you have any favorite pieces of equipment?We've got four Drawmer 1960 compressors and 1961 EQs we use especially for bass lines and drums.I've used that synth since the beginning.He sometimes spends a whole night at his audio system creating new sounds.Sometimes we use his sound creations, which are unique.We have some old Russian effects processors and very old analog equipment, absolutely unbelievable.They sound so dirty and funky.Old equipment has its own charm.Digital is too exact and perfect.Martin is the main programmer in our team.He knows how to make things sound louder and fatter.The simpler a track is, the better it sounds.We always start fresh from the beginning and create something new.The BT single was my last remix for a while.After that I'll be working on my own album.Your remix of Muse's "Sunburn" was a surprise.What drew you to that song?It's still there, but we've taken it in another direction.It wasn't as easy as I expected.We started it on a Monday and had to finish it by Friday.Most of the records people offer me are very simple and basic dance things.They just want a Timo Maas remix because they know it will sell.But it's good that we've reached a point where we can decide what we want to work on.We don't do remixes because we need the money to pay our bills."Ubik" sounds quite different from anything you've done before, as well as everything else in dance music right now.Somebody called my music "girlie techno."Normally when someone plays techno, it's very hard sounding, and only the boys dance to it.Maybe it's the groove, or it's sexier.I'm glad I can reach so many people at the moment.It's the best thing that can happen to you as a musician.Getting a great response from the crowd and from colleagues like Deep Dish, Carl Cox, or Paul Oakenfold is very satisfying.Singles
DJ Timo Maas, "The Final XS" (LiTime, 1995)
Timo Maas and Gary D, "Die Herdplatte" (LiTime, 1995)
Dakota Harris, "Wellengang" (Jerk, 1996)
Kinetic A."Borg Destroyer" (Phuture Wax, 1996)
Kinetic A.Peppermint Jam, 1998)
Ian Wilkie vs.Remix is back and recovering nicely from Remix Hotel L.KP, Sony PSP and More From ACIDplanet!Find out how you can win!Downloads
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