Doc Martin on mixing vintage and modern gear, and why you should try releasing your music independently

California’s Doc Martin has cemented himself as a house music veteran, with almost 40 years of experience in the studio and behind the decks, and running his own label, Sublevel, for 25 years. The producer and DJ has performed around the world, alongside iconic acts such as Larry Heard, Frankie Knuckles, Jeff Mills, Carl Cox, and even Daft Punk in their early days; but Doc Martin hasn’t slowed down after decades of success, and has continued creating and performing for the love of the game. This year, he’s releasing a slew of new original music, remixes, and collaborations with the likes of Harry Romero and D’Julz. With such an extensive career, we’ve taken the chance to access Doc’s workspace in this issue of Studio Files, to learn how he balances vintage and modern gear, why he’s streamlining his setup, and what advice he’d give to producers looking to release music on their own terms. Hey Doc! Your DJ career has taken you across the globe and onstage with some musical icons. How much does this impact your creative decisions when you sit down and make music in the studio? I try not to get caught up in what’s hot at the moment. I’m pretty genre illiterate when it comes to that. I might hear elements that excite me in different styles of music, and bring them into a song or groove I’m working on. Before social media, different cities and countries had their own musical vibe. England, Germany, Japan, New York, Chicago, and Detroit all had their own thing going on, for example. That was one of the things that was exciting to me: experiencing different sounds and vibes from city to city. You’ve seen and been part of some massive changes in the dance world. What can the new wave of producers and DJs learn from earlier eras of electronic music? There are a ton of new producers who are coming up with fresh ideas, but there are people who’ve been at this for a while who you can learn from. The most important thing is to have your music be a reflection of you. Sometimes songs come together in a day, sometimes it’s weeks or months. I wouldn’t use AI just because the notes fit; you should try to experiment. You might come up with something that is completely your own. Image: Doc Martin Your latest release is a remix of Jeremiah’s Move — what’s your general approach to an edit or remix? The original was a record that I played through at least three copies of. This was a staple at the Sublevel parties. I wanted to keep the integrity of the original while giving it that West Coast vibe. I added congas, drums, stuttered hi-hats, fattened the bass up a bit, and played a dub-style keyboard part in the background, with a few acid edits and ran it through my Soundcraft board. It was more of a re-edit with post-production added to it. I wanted to keep the integrity of the original. Tell us about your studio. My studio is located in a storefront by the beach in Oceanside, California, between Los Angeles and San Diego. It started as a place where I could do pre-production, and it transformed into a lot more than that — I can really take my time and experiment with sounds and effects. It’s a mixture of analogue and digital equipment, and after all this time, I’m still learning how to get different things out of my gear. I’m pretty much self-taught, so I have my own way of doing things. I’ve always said that I’m just a DJ who makes records. Your gear collection is practically a museum — particularly in the drum machines. How often are you reaching for the vintage Roland drum machines, and what do they bring to your music? I use my vintage gear a lot and will run them through effects. I love my Studio Electronics SE-1X, and use it a whole lot. The bass is so warm, and hits in all the right places. I’ve found that my Roland machines all have their own personality. Whereas modern gear often all sounds the same, so then it’s up to you to make it sound different. I will also still use my TC Electronic Fireworx effects if needed. As most people know, there is no right or wrong; it’s just what works for you! TR-909. Image: Doc Martin Tell us about how you use the DJM V10 — this isn’t a DJ mixer for the lighthearted, right? I absolutely love this mixer. I did product testing for this with Pioneer DJ. I love the compressors on each channel, which help make a tighter blend when mixing newer tracks with older ones, which I do a lot. The crossover on the mixer is also a plus. The way you can blend records together on this mixer is super smooth as well. In the beginning, most people would see it and get intimidated — so many knobs and features — but I think now it’s become an industry standard. I love the AlphaTheta Euphonia 4 Channel Rotary mixer as well. I have an affection for rotary mixers, as I helped with the development of the Rane MP2015 mixer. View this post on Instagram What’s been the biggest investment in your studio? I’ve been very fortunate when it comes to acquiring equipment. Finding unheard of deals on gear. Getting a 909 for