Artist Interview | Ivan G.M.| Exist in Sound

Exist in Sound
12 minutes ago
8 min read

ARTIST INTERVIEW Tell us about a project you worked on you are especially proud of?

Honestly, every job I've done so far, from the first to my most recent project, is the result of my great dedication, and I value them all deeply. If I had to highlight one in particular, it would be SINTETICO, a song that, by presenting something different within the current trance, allowed me to gain some recognition in the trance scene both nationally and internationally. In addition, I managed to produce it in just one week, a record time for me in any of my projects.

What's the biggest misconception about DJing and producing?

Being a DJ involves the ability to mix music, whether electronic or other musical styles, using specialized equipment such as controllers or turntables accompanied by a mixer. This task is performed with the purpose of setting the mood and energizing events such as parties, festivals, or social gatherings. In essence, the role of the DJ does not involve greater technical complexity compared to other disciplines within the musical field.

On the other hand, the work of an electronic music producer focuses on creating compositions and tracks that will later be integrated into DJ sets. While it is possible to combine both activities, as in my case, it is also common to find individuals who are exclusively dedicated to one of these functions: being a DJ without producing original material or being a producer without the skills to mix live.

In technical and creative terms, music production is a significantly more complex task than mixing. Producing a song is a process that could be considered an art form in itself, as it demands meticulous attention to detail and deep technical mastery. To illustrate how challenging it can be to create a standout track, I often compare it to putting together a puzzle with a thousand or even ten thousand pieces. The amount of time required to develop a track can vary greatly, from one week to three months or more, depending on factors such as creativity, available equipment, and the individual talent of the artist.

Music production involves countless technical aspects that often go unnoticed by the general public. In my personal experience, I have worked with both physical hardware instruments, such as synthesizers, drum machines, and vocoders, as well as virtual tools. I can say that hardware devices offer significantly superior sound quality to digital plugins. This physical equipment generates brighter, purer tones and allows the producer to directly access its controls—such as knobs for filters or oscillators—without the need to configure parameters or create automations in DAW (Digital Audio Workstation) software such as FL Studio. Although this approach is more intuitive and efficient during the creative process, it also requires greater financial resources and physical space.

Additionally, when using analog equipment and with a trained ear, it is possible to produce high-quality mixes without the need for an audio engineer. However, this methodology is costly compared to current virtual tools. In recent years, I have adopted digital technologies such as virtual synthesizers, sound libraries, and specific plugins for mixing. These tools have significantly optimized production times, although they lack the sonic character and tactile precision that analog equipment provides. If I had the financial resources and space necessary, I would definitely consider returning to analog instruments because of the advantages inherent in their physical nature.

As for the equipment used by DJs, it should be noted that there is a wide range of prices and qualities. Currently, controllers can be found ranging from $200 to $4,000. The most expensive ones offer greater versatility, superior finishes, and a wider range of adjustable settings and parameters; however, this does not mean that mixes made with cheaper equipment lose quality if the DJ has sufficient technical and artistic skills. Personally, if I had to choose between modern controllers and traditional turntables for mixing vinyl, I would opt for the latter. Turntables offer a more authentic and direct experience, free from unnecessary additional elements or control overload.

How would you describe your music production style and genre?

My creative approach focuses on the energetic trance of a classic character. I strive to recreate the style that had a decisive impact on my career, the one that flourished during the period between 2003 and 2008. In this genre, I seek to highlight the melodies using atmospheric pads and acid elements, configuring each composition so that all the pieces fit within a global harmony intended to captivate and generate a hypnotic effect on the listener.

However, my production has not always been strictly limited to energetic trance. On several occasions I have explored different creative approaches, reducing the beats per minute to develop themes closer to melodic techno. An example of this is my previous project, entitled La aurora boreal de Júpiter, where I experimented with different dynamics to expand my musical perspective.

What styles of music do you usually DJ?

Mainly, what is currently known as melodic techno, accompanied by the vibrant energy of trance. I mention melodic techno because certain artists associate it with their style, although in reality it always has been, is, and will be trance—just at a slower tempo. After that, after a while, I enjoy lifting listeners’ spirits with greater intensity, but without ever losing the melodies’ prominence.

As a DJ, analog or digital and why?

I have shown a marked preference for analog, since working with vinyl records keeps the DJ more active throughout the session, fully enjoying every second of each track from start to finish. I identify with traditional methods, typical of the old school, as opposed to the current ones, which incorporate numerous buttons and effects in the digital controllers.

At present, there is a tendency towards exhibitionism, in which, with new technologies, practically anyone can present themselves as a DJ. Perhaps my inclination comes from having been influenced by the era of the nineties, which shaped my style and led me to integrate mixing techniques using vinyl as a base.

I do not question or devalue the modern approach to mixing, but I observe that some artists in the electronic scene resort excessively to the parameters of digital controllers, in addition to including multiple effects that are sometimes unnecessary. I believe that these resources could be simplified without compromising the quality of the set.

Working with vinyl records offers a more tangible contact with music; the direct touch on the turntables is designed to provide a different physical experience, free of computer screens or visual aids present in digital controllers. In this context, the determining element is the rhythmic beat and the tempo, so it is completely dependent on the ear and cognitive abilities to coordinate and assemble each track in a harmonious and precise way.

What do you like most about music production?

When I settle into my studio at night, I start up my FL Studio 25 and, once I have a part of the track ready, I listen to the breakdown melodies. It is from these that the track begins to take the direction I want to give it.

I mainly focus on adding new tracks or synthesizers, creating additional layers to add more depth and robustness to the track, making it gain body and presence.

How long have you been producing and DJing?

I’ve been DJing for about 31 years, although it’s been in phases. The most intense and longest-lasting phase was when my brother and I acquired a pair of Technics SL-1200-MK2 turntables. In his room, we spent hours mixing a huge collection of vinyl records, both domestic and imported, for a decade. At that time, we also recorded cassettes, which marked the beginning of our connection to the old school—something I still deeply adore.

At the same time, I was producing trance using a Roland MC-303 and a Yamaha synthesizer. I split my time between both activities, which is why I’ve been producing for the same amount of time, but always at my own pace: no rush, no fixed goals, just creating songs and testing them out in the clubs in my city. Although I didn’t master them, they sounded pretty good, and people danced to them with the same energy as they do to today’s professionally produced tracks.

Starting in 2012, I decided to take all of this more seriously, taking music and production to another level.

What's your typical work process when producing a new track?

I don’t usually follow a fixed structure when starting a project. Sometimes I start by creating a melody, whether with leads, plucks, or even a combination of both. Other times I prefer to start with the kick drums and then add the bass. My projects don’t start from any preset template. Rather, I shape each piece like a craftsman, building and bringing it to life in stages.

Mainly, I let my ear and intuition guide the process. If the tracks sound good together, I keep building everything based on that perception. However, after many years spent producing and listening to an uncountable amount of trance music, I’ve internalized the genre’s classic structure, which is the foundation I ultimately work from.

Tell us about your studio setup.

My studio resembles the standard that many trance music producers use. The centerpiece is my DAW (FL Studio 25), complemented by a variety of plugins and virtual synthesizers, such as Lennar Sylenth1, Reveal Spire, Dune 3, Spectrasonics Omnisphere, Serum2, among others.

Additionally, I have a Steinberg UR242 audio interface, an Arturia KeyLab Essential 49 MIDI controller keyboard, and Alesis M1 Active MK2 monitors.

I currently refrain from using physical synthesizers and drum machines due to their high cost and the space they require.

Can you share one DJ tip?

TBA SOON!

What other musicians or music producers inspire you?

Since childhood, Jean-Michel Jarre has always been one of my greatest inspirations, thanks to his compositions filled with arpeggios, textures, and atmospheres that transport you to interstellar space.

Later on, as I delved into trance, my favorites have included artists such as M.I.K.E. Push, Talla 2XLC, Paul Van Dyk, Sean Tyas, Above & Beyond, The Thrillseekers, Signum, among others. They all were part of that great wave of emerging talent in the 2000s.

As for current or more contemporary artists, my list includes prominent names such as Darren Porter, BIXX, Alan Morris, Stoneface & Terminal, and Photographer, to name a few.

What are some upcoming events or projects you are excited about?

There are plans for DJing in 2026, although I prefer not to reveal any details at this time; it will be in my city and will be combined with other projects less related to the trance genre. Among these, I would highlight the use of a traditional percussion instrument from my homeland, the txalaparta, which originated in the Basque Country. It is played using cylindrical wooden sticks called “makilak” that strike boards made from different types of wood, producing a truly spectacular sound. Together with another colleague, we create different rhythms while experiencing a unique connection that leads us into a trance.

This instrument not only shines in live performances with duos, but also adds to the sound experience when used as an accompaniment in musical groups.

Any additional projects? For now, I'm focusing on these, along with producing trance music, which is already a considerable amount of work. However, opportunities are always there, and new initiatives will surely arise that I will try to make the most of.

Where can we find out more about your music and DJ schedule?

My music is available on all digital sales platforms such as Beatport, Spotify, Amazon, Deezer, and also on others such as SoundCloud, YouTube, 1001Tracklists, among others.

Currently, as a DJ, you can find my sessions on SoundCloud, on digital record labels, and recordings of events in which I have participated.

As for live or in-person performances, I have done several at private parties. However, you won't find much information about them, as they took place quite some time ago.

DJ MAG INTERVIEW: https://issuu.com/djmages/docs/djmages_060 (Pages 56-59)

🎧Ivan G.M.

💿Thermonuclear Supernova

☢️Melodic Trance

🎨Cover Art: Exist in Sound

🔊Steaming/Digital/Vinyl/CD Dec 05

🔊Promo @zipdj next week!

"Label debut from the massive talent of Ivan G.M. - the hypnotic melody

will take your crowd to a higher state of mind."

"Debut en el sello del enorme talento de Iván G.M. - la melodía hipnótica llevará a tu público a un estado mental superior."

💿Our label on @Beatport: https://bit.ly/2UA1g1c

💿Trance & Electronica dance music label | Los Angeles