caribbean
“Lately, sets that are at least three hours long are the ones I like the most because I can really chart a course and take a musical journey that would be much more reductive with less time. The peculiarity and unique- ness of my sets is precisely the intensity. I seldom put tracks that are fillers. Normally, when I do long sets, they are either all night long or after a DJ who has warmed up the floor with a less incisive sound, so I can start from my more techno side and take the evening to higher levels.”
Keeping energy high at that pace requires strategy as much as stamina. For T78, the solution lies in the bond between the studio and the booth.
“I don’t have many problems keeping the energy level high on the dancefloor be- cause I always structure my sets in a way that they give their best from start to finish without giving up. Even the music I produce is a reflection of what I will then do in the performance. You have to consider that 90% of what I propose in my sets is exclusively music produced by me, so since I’m in the studio, I already imagine the crowd reaction during the creative process. That makes things easier because I know every second of the music I play.”
And then there are the moments when everything aligns, when DJ and crowd lock into the same pulse and the night tips into something unforgettable.
“It’s when I make a sequence of 15 or 20 minutes of my classics that everyone wants to hear. Those tracks connect the new audience with the ones who have known me longer and unite everyone in the ritual of dance.”
Outside the booth, T78 is still devou- ring music. Inspiration doesn’t come from silence; it comes from digging.
“Inspirations come from everywhere but almost always from other music that I listen to. I’m an assiduous devourer of music, from when I’m in the car to when I’m in airports and in my headphones. Every moment of my day is marked by music.”
His approach to production has evolved over the years, shaped as much by life as by technological advancements. The early days were slow, confined to hours in the studio. Now, with a relentless touring schedule and three children, he has learned to carve creativity out of chaos.
“Once I dedicated only the time I was sitting in the studio to production, but now life goes much faster. I’m always on tour, I have three children, a very intense life that doesn’t leave me much pause, so I try to op- timize everything even when I’m on the road. Every moment is good for producing music. Luckily, I never run out of ideas, and then I finalize them in the studio with complete tranquility.”
That urgency has also crystallized his fu- sion of Mainstage Techno, Hard Techno, and Hard Trance into a personal language rather than a hybrid of trends.
“I grew up loving all of those sounds. For me, they’re not separate worlds; they’re different shades of the same energy. When I put them together,
the crowd, because people from different scenes come together because of that mix.”
FUTURE & OUTLOOK
T78 is not shy about the pace he keeps. While others carefully plot their release calendars, he thrives on constant creation.
“Maybe you should ask me when I’m going to take a break from producing, because I’m constantly coming out with something. Every month, there’s a remix, a collaboration, or an EP. I’ll give you some examples. Recently, I did a remix for Nostrum of the track ‘Blow Back,’ one of the most iconic Hard Trance tracks of the 90s. There’s also a collaboration with Charles B and Sunlike Brothers, a Hypertechno track called ‘Pater Noster,’ and soon a Hard Trance project with Johannes Schuster called ‘Body Control,’ coming out on Hilomatik, the label of Hi-Lo. On my own label, the long-awaited sequel of ‘Bom- bacid’ is dropping, called ‘Acid Train,’ with Roberto Molinaro and Motvs on T78’s own label Autektone records... And as Activator, my harder alter ego, I’ve done a track called ‘Rave Shit’ with Hardstyle legend DJ Zany on Verknipt Records.”
This non-stop output is part of a bigger vi- sion, one that sees Hard Techno and Hard Trance evolving together but also diverging into distinct lanes.
“For now, the two genres can coexist pea- cefully in the same scene, but I think that in the future, Hard Techno, which acts as a container for a series of hard dance genres, will create its own scene. It will probably slowly stop playing important roles on the mainstages of festivals around the world. That’s what I hope Hard Trance will do, becau- se I consider it perfect music for huge space arenas and much more acceptable for a larger and general audience.”
Even as the sound grows, he is reluctant to call himself a leader.
“Honestly, I’m just doing my thing. But I see more DJs pushing into this tempo and sound now, and if I helped open that door, that’s cool. The scene needed it.”
Asked to define the next chapter in one word, he doesn’t hesitate:
“Elevation.” it feels natural. And it shows in
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