As I’m playing, I’ll kind of guage based on people’s reactions what direction I should go in next. A lot of the time, I don’t think too much about the genre - I think about the flow of energy I want to create in the room and then choose tracks that suit that vibe. I can kind of get sense of what people will like based on that. It depends on the night, the club and who else is on the line-up. When you play a set, are you doing it on the go, based on how the crowd are reacting? I know a lot of DJs will feel the same - there’s some tunes where I’m like, “When I play this, it’s gonna go off.” Like you wait for the right moment you start teasing it in and then when you finally drop that tune, you just know what’s gonna happen. So does it feel like you’re in control of the crowd when you’re behind the decks?ĭefinitely. That’s a really interesting way to describe it. I loved that they could so skilfully translate their love for music into a set that would make someone’s night. On nights out, it was great seeing DJs creating this incredible flow of energy throughout the night with music. I went to Bristol - and like any good Bristol student, I decided to learn to DJ. So I was like, “Okay, I guess I’m not musical.” I knew I was creative, but I just never found the right outlet for it until I went to university. I tried playing the guitar instead but it was pointless because all my favourite songs were electronic. I ended up making a 30 second track that was complete shit. I downloaded FL Studio and tried all summer to produce something. Pendulum, The Prodigy and Chase & Status were my idols back then, but it wasn’t until I was 16 that I tried making my own stuff. I was really into jungle, dubstep and drum 'n' bass as a kid. How did you first get into DJing and what motivated you to pursue it over other forms of musical expression? Alongside the interview, he's delivered a typically energetic Impact mix that fires through 65 tracks in a flurry of blends and bassweight. Kiran dives into his approach to DJing and production, sharing his secrets behind connecting with a crowd and crafting an unforgettable experience his brand of humour and struggles with social media, and the pressures and expectations surrounding representation in a predominantly white industry. We spoke to yourboykiran to unravel his DJ origin story and the motivations that led him to pursue this path. Now an A&R, DJ, producer, presenter, curator and member of the DAYTIMERS collective, he's played everywhere from Glastonbury and Boomtown to Bareclona's Razzmatazz and broadcast sets on all the leading radio stations in the dance music sphere, including NTS, Rinse FM and Balamii. It was a revelatory experience that changed the trajectory of his creative pursuits, and ultimately pushed him to bring his high-energy tracks to nightclubs in his home city of London and beyond. Nights out witnessing skilled DJs weave together his favourite tunes to create an exhilarating atmosphere on the dancefloor captivated him. His first musical idols included iconic names like The Prodigy, Pendulum and Chase & Status, but his own adventures into the world of music didn’t properly begin until the age of 18, when he discovered his calling in the city of Bristol: DJing. He channels this spectrum of sounds into dynamic, pacey productions and DJ sets that cause maximum impact in the club, With a profound love for jungle, drum 'n' bass and dubstep from a young age, his style today has expanded to explore a wide range of influences from Baile funk, Jersey club, Asian Underground, UK garage, UK funky and dubstep (also UK) to electro, footwork, rap, pop and more. You can further expand on this idea by running them all through different effects chains.The unifying theme across yourboykiran's musical output is the goal of turning dancefloors upside down. Do it a few times, and you've got a library of bass wobbles that all follow the same bassline. Get some variations in your bass sounds by bouncing your samples to audio, tweaking the synth a little bit, and bouncing it back.Then high pass the top end using an equalizer (at around 70 Hz) and low pass the sub (at around 78 Hz). Take your bass patch, copy the entire track with the synth on it, and then on the copy, use only one oscillator and change it to a sine wave.When you start distorting and running the top end through a whole bunch of effects to dirty it up, it muds up the bottom end if it's not separated.

Double track your wobbles into the top end and the clean subs at the bottom.When you get more experienced, start double-tracking each wobble and adding other delays, distortions, and effects to create a collage tapestry that is a piece of electronic music.

Fl studio tutorial dubstep beginner