Dephicit Interview – Glitch Hop Production

This is an interview with Dephicit – an esteemed professor of ghetto glitch bass funk (fact). Influenced from every type of underground, psycadelic and floor filling dance music, James Stafford aka Dephicit has been fulfilling the dark desires of the citizens audio receptors with chunky rhythmic bass and twisted riddims since 2005. In this interview he shares some insights into glitch hop production.

In clubs, festivals or party’s of all kinds, expect high energy live DJ performances that are sure to get your bass face out and the knee caps up.

His live sets are accompanied by Summer Bright (live saxophonist) and feature turntablism where possible.

Dephicit has releases out on Adapted, Riddim Fruit, Skanky Panky 
and Empathy Records.

What music did you grow up listening to? 
I was surrounded by rock and bits of other stuff but I was never really into anything especially, but always liked the funky bits of old 80’s records, until I was 15(ish) when I first heard the legendary prodigy. The big bass and heavy breaks just killed it, and from there I discovered drum and bass and dubstep, which took up a large portion of my younger days.

When did you start producing and how did you get into it? 
After me and my good mates got into dance music it was a sure thing that we were going to get into vinyl, and from there I took the plunge and started getting sets in my local city, which got me the experience to know how a track should sound and what it needs to get knees up on the dance floor – hence staring producing. There’s nothing quite like playing a tune you’ve spent weeks on and seeing people go wild for it…

How do you approach a tune? 
I’ve been doing a lot of creative implication work at university recently which has really helped me to realize that there is no right or wrong way to do it, and by subjecting yourself to a single way of approaching composing you are cutting off certain ways of thinking and fresh creative routes. So basically starting with different elements of a track will take you in new directions and keep the creativity flowing, that’s something I would recommend to anybody.

Do you have a tune to date that you’re most proud of? 
I’ve got a lot of new bits that are going to be released in the next few months with Empathy, Riddim Fruit and Adapted that I’m really happy with, but release wise Atmo, Clef Residue, as I was lucky enough to record and edit the saxophone parts into a Neve desk in a commercial studio, then use the desk to overdrive and mix down the stems, and after all of that we got to spend the day at an amazing mastering studio complex in a lonely valley and master it then cut it to vinyl.

What do you do when you’re not feeling inspired? 
It can be really hard, but I’ve found the trick is to not force it. What comes with that is the relaxation that you need to have a go. Its really good to give yourself as long as you can when you are up to it, not just an hour in the morning/evening, as you will find it much easier to link ideas and progress naturally.

Do you do much resampling and frequency splitting to get your bass sounds sounding so delicious? 
Resampling is really interesting for me, and the sound you get from it is really popular at the moment. It can be a bitch if you don’t know what your doing as each stage has to be done right. I have used it, for example the basslines in my Quade remix were ridiculously effected and resampled to get away from the original sound but keep the power and add other worldly modulation. But most of the time no, you can get just as effective sounds by using the subtitles in nice filters and being smarty with your wave shapes.

If you got a chance would you write pop stuff for a major label (if the money was good?) 
haha funny you should ask. It is good money, and yes I would 😉 depending on if you were going to be blamed for the commercialisation of a whole genre or not. Its a bitch trying to make money in this industry, and if you’ve got bills to pay who wouldn’t.

What’s the boring, workhorse plugin/piece of kit that you use all the time? 
I use Massive as everybody does, as it is just really bloody powerful as a starting point. I also use my Virus TI a lot, neither of which are boring!

Dephicit Interview – Glitch Hop Production Tips

What’s the coolest bit of kit you’ve got and do you actually use it much? Blatantly the virus TI, I try to use it as much as possible. I don’t know if its just with logic, but the midi syncing on it is a c**t. Seriously. Access have really not done much to sort it out either, and I shout at it as much as I make sweet love to it. Its a love hate relationship.

Do you master your own releases? 
I can do at a basic level as i’ve got some amazing analogue saturation plug ins and limiters (not UAD or DSP) but generally the labels pay for it and they do a better job so I will leave it to them.

What production technique do you think is really overused or annoying? 
The skrillex whiney bleepy synth that appears in a lot of tear out dubstep/glitch hop & moombhaton (still not quite sure what that is). I respect the guy, his production is wikid and he’s got some mad skills, but as soon as I hear that ear bleeding pitched up synth the track is off.

What do you think are some of the biggest mistakes people make with production generally 
when they’re in their first year or two? 
Getting too many plugins. Its far better to have 10 plugs that you know inside out and are getting the best out of, rather than 1000 amazing plugs that you’ve only brushed the surface of (cough *waves – although they are awesome!)

Who else do you think is really pushing the genre in new directions? What are they doing differently to the rest? 
Ahh too many to name, that’s why this genre is so freakin sick – everyone is putting there own slant on it based on where they have come from musically. 
But I’m not too keen on this push towards tear out dubstep. Koan Sound as stupidly sick as they are, have bridged the gap between dubtep/drum and bass and glitch hop, which is cool but people are taking it a bit too literally for my liking, and the funk is being lost and replaced with super gnarly basslines. Don’t get me wrong there’s nothing wrong with a nice fat bassline, but I reckon you need the funky flavours to balance it out, which of course a lot of people are nailing so hats off to them!

And go to his Facebook fanpage for more goodies and info here!