London-based producer Paride Saraceni on deck for the latest episode of the Select Cuts series. The producer, signed to the likes of Tronic, Terminal M and Octopus, has impressed incredibly to date despite still being in the infancy of his career. Moreover, with his own label on the way shortly you can be sure the quality productions will continue to flow. He took the time this week to answer a quick-fire round of questions and spun a standout hour of House & Tech exclusively for WWD family. It’s all below!
WWD : One secret weapon that’s been going off for you in sets this year?
I have been playing a lot my new West Village which I am testing out since mid 2014 and which seemed to have been appreciated by many other artists as well. Apart from it I would say that Alberto Ruiz remix of Monika Kruse and Pig & Dan’s “Soulstice” on Terminal M has also been present in many of my sets this year!
WWD : The piece of studio equipment you can’t live without?
My Sony MDR-V700. They are quite simple headphones but they are my tool to hear exactly what I am doing and the way it shoud sound.
WWD : Another one for the budding producers out there. Your top tip to help produce like Paride Saraceni?
Lol, you should never try to produce like Paride Saraceni! 😀 I think that when you try to emulate some other artist’s work you may end up hating what you do. It is important to study and learn from others but never to limit or recluse ourselves into somebody else’s choices and ideas.
My best tip is to spend a lot of time listening to many other records indeed, from different genres, and then, most importantly, to very carefully listen to what you have inside. Your research will guide you to make the most out of what you have, and not of what you do not.
WWD : Finally, the one upcoming Saraceni production we should keep our eyes and ears peeled for?
I will be launching my label in 2016. I am working very hard on this project with my small team since years, but slowly it is coming to shape and will soon be launched with a work of mine named “The Door”, an 11 minutes long journey through ethinc soundscapes, choirs and native percussions, suggesting the discovery and witnessing of some kind of ritual within ruins and nature.