The graduate math student at the University of Amsterdam has been around in the dancescene for at least 17 years now. When he discovered the techno, influenced by Steve Rachmad, it became clear to him that this was the kind of music he preferred. Ritzi soon found out that success would not come to him by itself. Hard labour was to be done.
After years Underground Liberation is still growing with already 12 releases on the catalogue. A new chapter in his musical career is written. It is obvious, if you try hard enough, eventually you will succeed!
Underground Liberation is a techno label from Amsterdam, managed by DJ & producer Ritzi Lee. It is a reference to the underground techno scene he likes so much. It is a reflection of the sound from his DJ sets, and the way his techno must sound like. Hard-edged, alternative and funky with influences from Detroit USA, UK, Germany, and his hometown Amsterdam.
Besides Ritzi, presenting people like Orlando Voorn, K-Hand, Scan-7, Jamie Bissmire, Paul Mac, Ben Sims, The Advent, Robert HOOD, Kevin Saunderson, Robert ARMANI, Ken Ishii, Planetary Assault Systems aka Luke Slater, and much more, the label has a clear statement that it will never leave it's roots, and keep on developing the sound that feels right. Undergrond Liberation is literally feeling the freedom in underground music from the heart!
It's wonderfull to see how techno music is created and played each time in a unique way. If you compare me with other DJ artists you will notice how we all interpret the same records differently. And that way it adds a personal touch. Playing techno music is being creative in sound manipulation, emotions, personate something. It's always a challenge pushing boundaries during live DJ sets, and reaching the ultimate chain reaction in the crowd. No matter how small or how big the crowd is.
Since the existence of techno music it has always been part of a community with a strong family feeling. I love to share this joy with as much people as possible for the cause of the machine funk. Sharing the technology with the community is the ultimate goal to keep this alive, to pass it over to the future generations. It's not about fame, or who the best dj or producer is. We all deserve the respect for any kind of contribution given.
So keeping the strong family feeling alive I wish everybody love, peace, unity and respect and TECHNO! :-)
Hardware drumcomputer designed in 1984, with just one patch of characteristic sounds: bassdrum, snaredrum, lowtom, midtom, hightom, open hat, hihat, rimshot, claps, rides, crash. around 1984 roland sound engineers recorded 200 of the best drummers in that time, and made a unique mix where the famous 909 sounds appeared.
Virtual analog synthesizer containing all patches from the other Triton editions plus some modifications. Also the extra tube distortion module makes the Triton Extreme sounding anything else then any other sythesizer on the market.
Room correction system, making any monitor speaker sound perfect for mixing in any acoustic situation.
Through any DAW software this is a very sweet controller for mixing, with extra long faders and automation control during arrangement of your tracks. any parameter inside your DAW software can be mapped on the faders and knobs.
Stereo / dual mono compressor suitable for giving extra impact on the kicks, hihats and claps. I would consider this a creative sound sculpting module. The focusrite is hooked parralel on a patchbay to make it as flexible as possible in my setup.
I always use this eq on the endmix in combination with the TK-Audio BC1 compressor. Turning the knobs on this thing gives your track a total other dimension in sound. More open and dynamic. Allthough proper knowledge on eqíng is required.
Behold the revival of the old Lexicon 500 reverb, but with improved algorhythms from the original designers. extreme precision, and just wonderfull reverbs, that is impossible to reproduce with any software plugin on the market.
Also on the patchbay i use some little external multi-fx's. call it a little secret to make that typical sound.
This software proved to be multifunctional for producing music, and doing live or semi live DJ sets. In the studio i use Ableton Live as DAW mixing tool for my hardware sounds, and as MIDI sequencer. And sometimes as sound sculpting tool if there is any remix jobs to be done. ;-)
Modest audio WAV editing software. I only use this to check the levels, and if the recording is done properly. Sometimes as cut and paste, and subtile limiting tool.
In the pre-digital ages DJ's used to play with vinyl. Now in the digital age we still have DJ's preserving the old craftmanship of DJ'ing. I'm one of those DJ's. The pleasure of mixing vinyl pure on feeling and pitching in that beat makes you feel closer to the music.
Same story as with the Technics decks, only here the pitchcontrol is a little more subtile than from the Technics, which makes mixing with this more technical. If you can mix with Vestax tables you can easily mix with anything!
The new discovery of the last 2 years, and already becoming the new DJ CD player standard. I use this in combination with USB sticks. The tracks are saved as rekordbox database standard. Rekordbox is the software database tool to maintain all your MP3's and WAV's.
A verry handy compact 4-channel rotary mixer with kick ass EQ technology inside, which blows any other DJ mixer out of the market on sound quality. I've got the edition with extra AUX sends to hook an extra FX processor on it.