Paul Anthony Is Inspired By Approximately 5,000 People A Night
DJ Paul Anthony was one of our most agreeable and informative interviewees at Movement 08, and yet somehow we managed to misplace his footage until now. Our Bad. Joe Voretech caught up with the Chicago-based DJ / Producer and talked about his home studio setup, and why he decided not to buy 30 Virus TIs.
NOTE: This is not the same Paul Anthony of Kenilworth, NJ, though that Paul Anthony is available for weddings and bar / bat mitzvahs.
JOE VORTECH: Hey! This is Joe Vortech at Movement 2008 for Gearwire.Com and we’re talking to Chicago house producer and DJ Paul Anthony. How are you doing, man?
PAUL ANTHONY: Good. How are you?
JOE VORTECH: I’m doing good, having a good time, and it’s an honor to talk to you today.
PAUL ANTHONY: [OVERLAPPING]
JOE VORTECH: I want to basically ask you about your production, you know, what you have been doing lately. How many -- You know, how long you have been producing for instance or DJing for.
PAUL ANTHONY: I started DJing in 1989 as a hobby. I got a little more serious about it in 1995. I started playing parties and reached out till like about ’99 I had already played most of America, and now presently I’ve done 75 cities, 48 states, and 35 countries, so.
JOE VORTECH: Fantastic.
PAUL ANTHONY: And as far as production, recently I just released on Movement Music, me and my partner ZXX, 19-year-old producing prodigy. We teamed up together and found him on Myspace, amazing producer, and we just released on Movement Music a track called “Sub-Rockin”, which hit the top 20 and Beatport’s top 100 electro charts, so.
JOE VORTECH: Fantastic.
PAUL ANTHONY: So, doing real well. We released 58 releases in the last year and a half right now and we’re traveling and touring on the summertime. Right now, it’s has come to support of the United States over here at DEMF or Movement Festival, so.
JOE VORTECH: So, you met this, your partner in production through Myspace.
PAUL ANTHONY: Yeah. For sure.
JOE VORTECH: Do you guys produce in person or do you do, because I know there’s some projects actually produced online where one member of the project does some work in their studio and then emails them or, you know, forwards it on to the other because they might not be in the same place or is he local?
PAUL ANTHONY: We share the same studio together. We’re one town apart so...
JOE VORTECH: Oh great.
PAUL ANTHONY: ...we actually share the studio at one spot.
JOE VORTECH: That’s fantastic.1
PAUL ANTHONY: We spend about 100 hours a week in production when we’re not traveling, so. [LAUGHING]
JOE VORTECH: That’s awesome. That’s awesome.
PAUL ANTHONY: In the past year, we’ve gone 180,000 miles traveling, so.
JOE VORTECH: Wow!
PAUL ANTHONY: Keeping real busy.
JOE VORTECH: So, tell me a little about your studio, you know, what kind of gear? Is it mostly analog? Do you use a lot of digital now? Do you have a preference? That kind of stuff?
PAUL ANTHONY: We master in Pro Tools. We sequence in FL Studio. At my own personal studio that I share with my partner, Mike Gillenwater from the Funk Monkeys, we also do a lot of analog, MPC2000 XL, Virus Indigo 2, Novation A-Station, Novation BassStation, Juno 106, Moog Phatty, a bunch of different analog gear too.
JOE VORTECH: Awesome.
PAUL ANTHONY: Now, what I do is I integrate the two because I’ll prep some stuff on the synths, bring it over and do everything virtual now, so.
JOE VORTECH: That’s cool. That’s cool.
PAUL ANTHONY: The virtual opens up an opportunity to do a lot more effects. On using a VST versus an analog synth, I don’t have to have 20 Viruses. I do have a VST and open the window 20 times, and to me that gives me a little bit more opportunity than spending a hundred thousand dollars buying the same synthesizers over and over again.
JOE VORTECH: Yeah.
PAUL ANTHONY: So, or resampling. Just like I said automation on the actual VSTs for each single one.
JOE VORTECH: Awesome.
PAUL ANTHONY: So, that opens a lot more effects processing, you know, a lot of different things. It’s instead of having 30 tube compressors which will run about $2,000 a piece, I buy one plugin and I’ll open it up 30 times, so.
JOE VORTECH: Exactly. Awesome.
PAUL ANTHONY: So, definitely there’s a lot of advantages to going digital versus analog. I like the thickness of analog too, so a lot of different things. We process things differently in a bunch of different directions, so.
JOE VORTECH: Cool. When you guys are on tour, do you do a live show or do you do a DJ show?
PAUL ANTHONY: We do a DJ show.
JOE VORTECH: Okay.
PAUL ANTHONY: So, we do three CD players, we do two CDJ-1000 MK2’s, and we do two DJM-800’s, so.
JOE VORTECH: Awesome.
PAUL ANTHONY: We do a lot effects, a lot of a cappellas on top of tracks. We definitely do electro house also.
JOE VORTECH: Awesome.
PAUL ANTHONY: So, electro then minimal electro a little bit, not quite the minimal you’ll hear here at the festival but we’re more electro based so it’s got a little bit more buildups. Where a Dan Bell will do a little bit more minimal and stay minimal and groovy, we’ll have a huge drop, a big buildup and stuff, so.
JOE VORTECH: Cool.
PAUL ANTHONY: A little more intense I guess you can say. I mean it depends on which way you look at it. I mean I used to play in big rooms so my inspiration comes from playing for 5,000 people so I’m into the big buildups and the big screams and isn’t that versus a small intimate groove. I mean I like doing that as well but I’ll shoot for the big rooms. [LAUGHING]
JOE VORTECH: [LAUGHING]
PAUL ANTHONY: For sure.
JOE VORTECH: So, when you guys master that, what’s kind of your mastering process? I know basically a lot of people, including myself, when you’re mastering is like in the studio, you know you try a lot of different things, you know, you sequence it, you mix it on, you try a lot of different things, you finally get into a kind of a process you usually use for the mastering. [OVERLAPPING]
PAUL ANTHONY: We do a lot of mastering on our process of making a track when we do it virtually, and from there we’ll take the after project. We’ll look at the wave in like Adobe Audition and see how it looks. If it looks good, we don’t mess with it. If that’s already good, leave it alone. You hear what I’m saying? If it’s not broke, don’t fix it but it needs a little help on the low end or whatever, then we’ll master it out on a digital board, so.
JOE VORTECH: Cool.
PAUL ANTHONY: We use outboard compression, whatever. You know what I’m saying? It just depends. It just depends on what you’re doing, so.
JOE VORTECH: Awesome.
PAUL ANTHONY: Well, our last like 10 projects are mastering while we’re producing has been on place so we don’t have to touch it afterwards. So, once in a blue moon, we’ll do a vocal project where the highs are too tinny or something so we have to break it down post mastering, so. Once you start into your mastering plan, then they know of things that we don’t know so let’s make a little school for it [LAUGHING]. So, I love my mastering guy. [LAUGHING]
JOE VORTECH: Awesome. So, you’re going to start touring or are you already in the midst of touring?
PAUL ANTHONY: I’m in the midst of touring right now. I have the weekend off at the moment, so other than that I got a lot of dates coming up. I’m doing a Love festival in Oahu. I’m going to Bulgaria, playing a club Plasma in Plovdiv. I’m doing Istanbul, Turkey. I’m doing Germany, Portugal, a bunch of different things. I’m going back to Japan. I just released a CD with HMV out of Japan, which is similar to what America would consider Virgin records but in the Asian territory so I have a CD that’s going to be in every shop in everywhere from like Singapore to Bangkok to Seoul, Korea to Osaka to Tokyo, all over the place. So, I actually just got back from Osaka, Japan in January. I was there in July. We’re doing a series of dates. Coming up in September, I’m going to be doing, myself personally, I’ll be doing like 30 dates throughout the Asian territory, so.
JOE VORTECH: You are one of the hardest DJs in the business, man. You are one of the hardest working DJs in the business.
PAUL ANTHONY: Oh, there’s plenty out there that are way more than me. I’m just trying to keep busy doing my thing, so.
JOE VORTECH: Oh hey Paul Anthony, thank you so much for interviewing with us and letting us know, you know, about your upcoming events, your projects, your production, your studio and all that. Anything you’d --
PAUL ANTHONY: Keep on the lookout for Dirty Fabric Digital on Beatport. It’s our own label that we do and recently we’ve released off -- We did remix Steve Angelo Sensation, the group The Funk Monkeys that I’m also with my roommate, Mike Gillenwater. We just did a project with Sebastian Leger remix, Laidback Luke remix. We did two remixes for Harrison Crup and Dajae out of Subliminal records. Eric Morillo re-licensed it. A lot of big projects in the process right now, but definitely look out for Dirty Fabric, 30 releases in. We’re about to drop five albums for a bunch of new artists too, so.
JOE VORTECH: Wow.
PAUL ANTHONY: Aside from our stuff, we’re trying to develop new artists so everywhere from like Greece to Bulgaria, I’m finding producers that are up and coming with no releases out trying to develop them into big artists, so.
JOE VORTECH: Fantastic.
PAUL ANTHONY: Working on the marketing. [LAUGHING]
JOE VORTECH: Cool. Well hey, Paul Anthony, thank you so much for your time, man.
PAUL ANTHONY: Sure.
JOE VORTECH: And you have a great time in Detroit.
PAUL ANTHONY: You too. Have fun.
JOE VORTECH: Thanks man. This is Joe Vortech and that was Paul Anthony, and this is Movement 2008. Thanks guys.
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