Spanish DJ, Producer and composer, Ian Ludvig is renowned for his Melodic Techno sound.

Hes recognized by some of the best labels in the world for his unique style and sound. We caught up with him recently …

Mike Mannix: Thank you Ian for taking the time out from you’re busy schedule to talk to us at iconic underground. What were your early musical influences that led you onto the decks, and eventually into the studio to produce your own tracks?

Ian Ludvig: Hello Mike, first of all thanks for the invitation and the interview. Since I was a little kid my parents, played jazz and disco music at home so I quickly got used to it. That’s why when I was 6 years old I started playing the saxophone. in the music school and at the age of 14 I was very interested about electronic music that was played in Spain back then. The same year, I got two Technics turntables, and a Pioneer table and when I was 16 started with the production with a Playstation videogame, and basically

that was the beginning in electronic music for me

MM: What DJ’s / Artists / Producers are behind your ever driving passion for the scene, and who would you like to work with in the studio?

IL: There are many that l’ve loved for a long time such as Adam Port, Rampa & me, Solomun, Dixon, etc. When I am producing in the studio there are many artists that I love to work with such as Cioz Edone, Luke Garcia and many more.

MM: Walk us through the usual process of when you are in the studio creating a new track from the analogue outboard, midi, samples and DAW you use and why. What is key in the whole production process?

IL: When I start creating a new track I usually have a melody in my head and I just turn on the synth and play. I don’t use the same working dynamics, and that’s what I love to produce new music, the inspiration. The software that I use are Cubase and Yst and I also have 5 synthesizers from Korg and Behringer.

The key for producing music, as many other fields in life is a mixture of passion, constancy and work hard

MM: With the advent of digital decks and beat matching software, is it too easy for todays DJs?

IL: I don’t think they are at a disadvantage, I found it more fun to play with vinyl, I liked that technique was so important, but the reality is that we are DJ’s and we are here to make people dance, no matter what the method to achieve it is.

MM: What advice would you give the aspiring DJ today / Producer on how to be creatively original in an already saturated market?

IL: Follow what you really like and don’t get carried away by what others produce. When you are comfortable in the studio is when things really work out,

don’t try to do what Solomun does for example, there is already one Solomun, new ideas are needed in the industry

MM: If you ended up trapped on a god forsaken island with only your decks, a crate of spirits and your vinyl fly case to your name, what would be the top 10 essential cuts that you must have to survive and why?

IL: For me the classic tracks that can’t be missed are:

Octave One – Blackwater.
Sharon Phillips – Touch Me.
Moderat – Eating Hooks.
Der Dritte Raum – Hale bopp.
Eric Prydz – Opus.
Daft Punk – Aerodynamic.
Ame – Rei.
Booka Shade – Body Language.
Cristal Waters – Gypsy woman.
Oxia – Domino.

MM: What drives and motivates you?

IL: What motivates me every day in the studio is the desire to keep growing and the feedback I get from people and djs about my music.

MM: What is the future of electronic music?

IL: Electronic music has a very promising future because more and more people are discovering it. Fortunately, since the Covid pandemic is reducing its impact there are more and more shows everywhere however I can’t tell you how it will evolve because

this industry changes really fast

MM: Whats next for you in 2022?

IL: For the rest of the year there are a lot of gigs to come and a lot of music to be played, and I’ve just released my latest EP on Bedouin’s Human By Default for the first time, three emotive and cinematic house cuts.