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In Depth Interview with Serge Orvin about his track End of Time with Kanallia on Big Toys/Freegrant

Serge Orvin is trance music composer & DJ from South Korea. Along with Kanallia will release on Big Toys/Freegrant Music the superb End Time. We requested an interview to find out more about this upcoming artist and we are glad he replied and you are able to enjoy his answers! 

Serge Orvin: First of all, I want to thank the label, ‘Freegrant Music’ and ‘Flux bpm online’ & the people in charge here for giving us the opportunity to interview with our latest song. Also, thanks Kanallia for translating this interview from Korean to English. We’re having a very meaningful experience. It’ll be remembered for a long time. 

Dimitris: When did you start your involvement with electronic dance music and which music style you are more affiliated with and why?

Serge Orvin: I’ve started making music on 2005 with Remixing K-Pop. I like dance music, but i have been exposed to Trance since 2006. Trance genre has some fascinating things like, unique euphoric feeling just like tracks from ‘Armin Van Buuren, Ferry Corsten, Above & Beyond, Andy Moor’  Very clearly-settled song form. Our main style is ‘trance 2.0’ though, but I have a plan to do more variety genres. 

Dimitris: Did you had the opportunity to attend any kind of music production course or are u completely self taught? Do you consider that is essential for any artist to complete any production course?

Serge Orvin: I’m using FL Studio, and I’ve been studying completely ‘by myself’. I used FL Studio 5 first, and it was very difficult to access the knowledge of it; also very difficult to get information because of language barriers at that time. However, I’ve studied a lot for a long time so I got used to it, now I sometimes give useful information for my colleagues based on my long experience. I’ve taught ‘Kanallia’ (co-producer of this new track) about basic techniques at the beginning of his music works. There are more users in Korea now than before, so everyone can access various information. I think the ideas of necessity of ‘Music-Production Course’ can be chosen as needed. You can learn how to use the program by yourself through the manual, but you can’t know how to make songs by using it alone because it’s different between Processes of making a tune and Usage of DAW. 

Making a song needs a lot of senses & experiences. If you want to save time, I think it’s a good idea to choose a course that teaches you how to write songs. These days, there are many places that teach good courses like, ‘Youtube’ that you can freely access. If you’re a bit lazy to find, I recommend ‘Sonic Academy’ which has elaborate training course in one place. I think you can get a good education because really talented – famous artists do the tutorial.

Dimitris: In which label was your first ever release and how did you manage to attract the attention of the label?

Serge Orvin: There are two things : Commercial and Non-commercial label, but I’m gonna talk about the case of former one. I’ve made a debut on ‘Purple moon records’s sub label, ‘Garnet Planet’ in 2014 with ‘Big-room House’ style. Thankfully, this song was supported by ‘Rank 1 – Radio Rush 054’. The Big-room genre was the trendy style at that time, so I think it was attractive-point of my works for the label supporters in my opinion.

Dimitris: Please pick for us your Top 5 tracks that you have produced and you consider them as being highly important for the progress of your career.
Serge Orvin:

1. Serge Orvin & Li-Ion - Enthusiastic (Original Mix)

2. Serge Orvin - Get Bass (Original Mix)

3. Alex G. - Won't Leave You Again (Serge Orvin Remix)

4. Kanallia – The Savior

5. Bayaba & Kanallia - Zest (Original Mix)

Dimitris: Let's focus on your latest release. Please tell us from where did you got the inspiration for the track and what kind of music influences is including?

Serge Orvin: I got influences & inspiration from musics on "Anjunabeats", "Elliptical Sun Recordings", "Enhanced Music”, "Emergent Cities” cause their quality of music is so great that I can set tracks from those label as ‘reference’ of my track.

Dimitris: How long it took you to produce it and was an easy or difficult process?If you have faced any difficulties please tell us about them and how did you resolved them?

Serge Orvin: It took about 2 months to finish. I’ve did prototype of it (structure, sound, mix &  master) & my partner, ‘Kanallia’ took it a bit to make this sounds better. However, it wasn’t just easy work. There are lots of conflicts during ‘Collaboration’ than you’re working alone. It’s really hard to proceed when each person has different view of their collaboration track because when it happens, someone should give up their opinion. 

Here’s I want to tell someone who is in similar problem-situation: Calm down & consider the opposite as much as you can. It can hurt your feeling but he / she (the opposite) is your partner working same project with you. If you choose solution that makes co-worker leaves you, then you’ll gonna regret a lot about it. That’s really absurd choice. When the problem situation is done, then your work-efficiency will sky rocket.

Dimitris: Which was the biggest challenge that you faced during the production of this superb track?

Serge Orvin: Everything was challenge, there was nothing easy (laugh), yes, especially about ‘Mixing’. In short, it‘s always ‘Dilema’ because it feels like, all things great but we have to chose one way (one person’s opinion of mixing). However, it doesn’t mean that the other persons opinion is ‘wrong’, just different. When I was thinking about the processes of we’ve been, I was lacking a lot, but I feel sorry and thankful that my partner respected my opinion.

Dimitris: Can you describe to us the steps that you went through the production of this track and of any other track?

Serge Orvin: First, I create (or, created) the ‘Chord’ to build the base structure for the track and make melody, then focus on making ‘Kick’, ‘Bassdrop’, and ‘Breakdown’. For the Bassdrop, I usually make my own preset to make sort of, ‘Signature sounds’. Breakdown is the most important part of the Trance genre, so I focus on Fx & Lead synths to make dramatic sounds.

Dimitris: When the track finished did the label accepted it as it was produced or did the label recommend you to do some changes or fix certain things?

Serge Orvin: Fortunately, easily passed with no changes. I feel really thankful to our label, ‘Freegrant music’

Dimitris: Is this track an original composition or is it based on a template from another track produced from you or another producer?

Serge Orvin: Not at all, it’s all original. The way we reassemble what we’ve already done in the project is not our preference. Actually, I don’t think that’s necessary. When you look at our projects at the beginning, you may see a little settings that settled for mixing but nothing else. If I did in ‘Template’, I wouldn’t have written this song in two months. We’re not a ‘Stamper’.

Dimitris: Is the quality of this track higher than your previous one? If yes in what ways this track sounds better than your previous one?

Serge Orvin: I do all the best for make it better than before, but it’s not always satisfying. Isn’t it what all producers feel?

Dimitris: Do you have any friends or relatives that you send them the track before sending it to a label or if you are DJ did you test it in your gigs? If yes did you have to do any alterations as a result of the crowd reaction?

Serge Orvin: Haven’t used for DJ gigs but only gave feedback each other between me & Kanallia while proceeding the project. Of course I got a feedback when I decide what to use on kickdrum & bass when I made the Prototype version.

Dimitris: Please describe to us the studio that you have produced the track? What is your favourite hardware and software set up? Do you have in mind any new gear that you wish to get in order to raise the quality of your production?

Serge Orvin: I use hardware series from ‘Yamaha’, ‘Presonus’, and ‘Nektar’ in my studio & Software VST series from ‘Lennar Digital’, ‘Native Instrument’, ‘FabFilter’ stuffs. It’s Windows OS based software because I’m not a Mac user. When I talk about what’s in mind, I tell that I wanna get ‘Control Surface Console’ that I don’t have now.

Dimitris: Do you master the track yourself or the mastering is task for the record label? Do you understand mastering as being essential?

Serge Orvin: I do it on my own. I think basic mastering skills are essential for everyone whether it’s not good as professional. However, no matter how good the mastering is, the sound won’t improve much if the mixing-balance is not good. Producers should make almost – perfect balance in the mixing process.

Dimitris: There is a growing trend of vinyl coming back for good. Would you like to see this track released on vinyl or any other of your future tracks? Do you prefer digital files or vinyl?

Serge Orvin: Would be meaningful for my personal collection, but digital files can reduce production costs of the source. I think there are their own advantages & disadvantages.

Dimitris: Do you have any future releases planned and when will be released?

Serge Orvin: I’m preparing album in order, and Kanallia have signed his new tracks on some labels & one of them gonna out in February. So please look forward for it!

Dimitris: Please note down your favourite Top 5 tracks at this moment!

Serge Orvin: Paul Van Dyk & Jordan Suckley - The Code - (Rafael Osmo Remix)

Seven Lions feat Rico & Miella - Without You My Love (Myon Definitive Mix)

Jason Ross - Don't Give Up On Me (feat. Dia Frampton)

Dimitris: Do you produce a radio show/podcast as well? Please tell us here all the details about it. If you don't have one please tell us why you don't think is important for your career.

Serge Orvin: I’ve tried to operate it at first, but unfortunately I’ve stopped in some reason. If I get another chance, I’ll try it again.

Dimitris: Best piece of advice you got in relation to your career so far and best tip you learnt recently to make your tracks better.

Serge Orvin: Always try to learn from everything, cherish your colleagues around you.

Dimitris: Please give us here your tips or more elaborated advice for any new artists who may read this interview and wish to get involved with the electronic music industry.

Serge Orvin: It’s seems look great, but it’s going to take a lot of effort behind the scene. Sometimes it’s hard and frustrating, but keep up to improve your skills. Only the artists who are ready can seize the opportunity.

Dimitris: In 2018 the electronic music talent AVICII died and this has alerted several artists to become more health conscious. Are there any lessons to learn as an artist out from this sad event?

Serge Orvin: It’s a great pity that he left. Artists suffer from the stresses of being chased & trying to live up to expectations of everyone like, listeners & label owners and so on. It can be really harmful for health so every artists need to be more relaxed and take care themselves.

Dimitris: Please give us your messages for our readers?

Serge Orvin: Please pay close attention for our new tune, ‘End time’! Hope you guys like it.

Many thanks to Serge Orvin for his answers and Kanallia for translating the interview! 

Many thanks to Freegrant Music / Big Toys for organising this interview. 

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