RS: This also relates to another great quote you said, that you were constantly bothered by nineteen-year-olds that want to be a remixer, and that's their goal- to be a remixer.
Ellis: Well I just think it's lack of knowledge. Personally I don't really like the title but I think that what happens is, that people want to get into the industry so they do whatever it is that they can. That's a title however way that it evolved and has stuck with people and I guess that they've accepted it. When realistically what it is, is it's not necessarily producing, I mean you are producing a track, that is what you're doing, but the nuts and bolts of it in music is it's arranging. Arrangers in real music, you know in pop and all these other things, that's a living, that's a job. Somebody comes in and they make new music arrangements, and that is what remixers now are doing, is they're coming up with new arrangements of these songs. That in itself is a skill, but to call it remixing can note something that isn't necessarily accurate. So people don't know any better and they say well remixer, that means that person did X, Y and Z, because that's what they're bombarded with. But that's usually for a lot of people, just one side of something. And as a career, why would you want to be part of the afterthought of something and not part of the process in the first place? That to me doesn't make any sense. There is a big difference for example with someone like a William Orbit, or even for example Beck or Fatboy Slim that to an extent, yes, they've done remixes but they also get called to do the real thing. You know, it's not viewed as the same way. When William Orbit did his remix or certain things here and there, it's not the same thing as getting a Victor Calderone remix, it means something completely different.
RS: Yes.
Ellis: I think the part of that is what they've kind of carved out for themselves, and I think that you think of them as remixers as an aftermath. Like oh, that's right, he did it. But you more equate them with doing, producing Madonna, or you know, producing Pink or any of these things because that's what they've put up as the forefront. The other stuff, I mean anybody that produces, programs or plays is capable of doing remixes. But that's not something that you necessarily call to do the album. If that's what you aspire to be and if that's really what you like, the concept of being the afterthought of something and of not really being included into it, then more power to you. It's not for me but it's not my place to say that it shouldn't be for other people.
RS: You gave some advice to people about learning lots of skills, do you have one out there? You want to give that quote again?
Ellis: Sure. If you're starting out in music and what you want to do is to be a part of the music industry as a musician, then you have to have some music. Learn to do something in music, play instruments, and learn your software. With today's technology, you don't have to be a concert pianist virtuoso playing at a professional concert level. That's not your goal but you cannot write songs, arrange, remix, or produce if you have no musical ability. Yes, you can find other people to work with, but if you always want to be stifled or be dependent on somebody else, then that's the road you take. If you want to really do it and you have visions in your head that you want to see come into reality, you have to have skills and learn to play and program. The building block of all of this is music and music theory. You don't have to be the most learned or studied musician, but have to know what the ballpark is before you can get in the game. That would be my advice.
