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Initially drawn into music as a child after many raids of his father's vast rock vinyl collection, which ranged from the Beatles to Pink Floyd to Hendrix to Joy Division. Andrew purchased his own set of turntables as a freshman in high school back in 1996 and began practicing the art of mixing records immediately after. Initially mentored by a successful hip-hop DJ while playing various mobile gigs and parties in high school, these experiences taught him the art of reading crowd response through music. His experiences in music soon began to change. Attending the Drop Bass Network Parties in Wisconsin along with a number of parties throughout Chicago, Detroit, and across the states, he became equally influenced by Kurt Eckes' legendary Drop Bass parties and family techno campouts, as well as Richie Hawtin's heady parties of the second half of the nineties. The various sounds of house, techno, electro, hip-hop, and IDM became a sort of obsession for Andrew and friends, following the movements at various events across the country, from Chicago to Detroit, NY to LA.
With having held full-time positions at Shure Audio, Steinway Piano, and Native Instruments, as well as a bachelor’s degree in Audio Arts and Acoustics, these positions have allowed Andrew to continue on in an intimate relationship with music and audio. Over the years, he has also helped organize various electronic events with Meiotic Chicago and other friends (primarily in the Midwest). Some of the names Andrew and friends brought out include Four Tet, Matthew Herbert, Metro Area, Telefon Tel Aviv, Moodymann, Deadbeat, Swayzak, Daniel Bell, Egyptian Lover, Jeff Samuel, Solvent, Ryan Crosson, Barem, Safety Scissors, Seth Troxler, Keith Kemp, Bruno Prunsato, Andreas Tilliander, Sassmouth vs. Punisher, and many more.
Aside from his current focus on mixes, remixes, re-edits, synthesis, and MIDI-based performance, Andrew also maintains his passion of creating mixes of music through DJing. With a love of all “great” music, his DJ sets can very versatile and diverse, ranging from downtempo, dub, idm, hip-hop, rock, soul, disco, house, techno, and everything in between, depending on the crowd and atmosphere. Andrew makes a point to steer clear of genre pigeonholing and saturation, but always likes to reference his electronic influential roots of Chicago, Detroit, New York, Berlin, Cologne, Manchester, and Chile in his DJ sets and production work. He has opened for artists such as Ellen Allien, Modeselektor, Michael Mayer, Matthew Dear, Jeff Samuel, Solvent, and Skoozbot, among others.
Andrew currently works full-time for the Berlin-based Native Instruments in their Hollywood, California office.
DJ/Production Gear/Hardware/Software Used:
Currently using:
Pro-Tools LE and M-Powered, Ableton Live, Traktor Scratch Pro, Kontrol X1, Maschine, Roland Edirol 24-bit field recorder, Max/MSP, Absynth, Reason, Reaktor, FM8, Audio 8 and Audio Kontrol 1 external soundcards, M-Audio UC-33 MIDI controller, M-Audio 88es MIDI keyboard controller, Jomox X-Base analog drum machine, Allen and Heath Xone DJ mixer, Technics 1200 turntables, Shure needles, Sennheiser, Sony and AKG headphones, and Waves Renaissance for compression. Also lately have been using NAIM audio products for critical listening.
Partial list of some stuff I've used in the past:
API Legacy analog mixing console, Neve and SSL mixing consoles, Digidesign Pro-Tools Control Surfaces and SYNC I/O for visual media sync with SMPTE, Neumann U76 vintage microphone and various Shure, AKG, Audio Technica microphones, Universal Audio 1176 compressors/limiters, DBX 160 compressor/limiter, BBE Sonic Maximizer, Electrix, Analog Filter, Ensoniq DP/2 parallel effects processor, various Genelec and Rogers studio monitors, various Lexicon reverb and effects units
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| Copyright © Andrew Kevins 2008 |
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