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In 90 per cent of the cases, I start from scratch. Do you have tracks ready that you ‘sell’, or do you usually work with a DJ or artist from scratch? Sometimes I get asked to do ‘top secret’ work, but I usually end up declining those offers. That’s when they turn to social media to spit about it. The problem starts when artists explicitly say they are producing their own stuff and people find out they aren’t. If an artist nowadays says he’s working with several producers, most people are totally fine with that. I believe that the stigma is almost gone, it’s definitely a lot less than it was five years ago. The Force is strong with this one: Maarten’s dedication to Star Wars is virtually unparalleled Do you think the stigma of using a ghost producer has gone? Are you ever asked to do top-secret work? Quite soon after, in 2011 I scored a big hit for one of the artists which propelled everything even more. The word got out and more artists started approaching me. Now, I wouldn’t be responsible for marketing the track and it gave me the opportunity to reach bigger and even more diverse audiences. I was already producing under a lot of different aliases, so for me, it was a no-brainer to do this. One of them started an artist-management company and approached me if I could produce some tracks for a few of the artists he represented. Most of the ex-employees started their own businesses soon after. I believe it has been a combination of things happening at the same time. You became known as one of the most ‘famous’ ghost producers, with many major acts turning to you for production. Then after in 2007, I had another breakthrough moment for my career. I was given the opportunity to produce and release music in a lot of different genres, which was a perfect setup for the in-house labels as well as my own label Square Beats. This was, of course, a dream-come-true moment.
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I got the chance to start producing music full time in one of the Digidance studios. I’d say I reached that point back in 2005. What would you say was your breakthrough moment when you knew this was your career? From this point on, my productions got more serious and I started to release my first tracks. In 2001, I started working in the warehouse of a record company called Digidance, which was run by the ‘Klubbheads’ back then. I started my education at the SAE College for audio engineering and switched my DAW from FastTracker to Reason, then to Cubase SX. Then, at the end of the 90s, beginning of the 2000s, my musical taste also shifted towards Belgian trance, but still keeping a deep-rooted love for the harder styles. Music production stayed my biggest hobby for a long time. It didn’t take long until I started experimenting as a hobby using the music production program called FastTracker on MS-DOS. I believe this was the biggest influence in my musical career.
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Did you learn instruments first as a child, were you a DJ, or did you start out with programming and synths?Īs a young kid in around ’90 to ’92, I got fascinated by the Dutch hardcore scene in Rotterdam where I grew up. Tell us about your journey into music production.
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Now, after a few years living in Aruba, he’s back in his home country of the Netherlands and has custom-built his dream Star Wars-inspired studio. He may have made his name in the industry helping with production for some of the world’s biggest names in EDM, but he’s also a successful artist in his own right, releasing under his now relaunched Jeckyll & Hyde alias among many others. Search for Maarten Vorwerk online and you’ll find hundreds of theories around his ghost-producing prowess – depending on which of these theories you believe, there was probably a time where Maarten’s touch was peppered all over the DJ Top 100 and the pop charts, too.