Name: Reggie Dokes
Nationality: American
Occupation: Producer, DJ, film and TV composer
Current release: Reggie Dokes's We Was Bad is out via Contrafact.
Recommendations: I use this really cool synth plugin that is free by Dexed. I have started to incorporate it into a lot of my productions now.
And to switch it up now as far as creating I will be using the Maschine Mikro MK3 byNative Instruments.

If you enjoyed this Reggie Dokes interview and would like to stay up to date with his music, visit him on Instagram, Facebook, Soundcloud, and bandcamp.  

The views of society towards technology are subject to constant change. How would you describe yours?

As an artist who came up during the analog days, I was very resistant to the change, specifically DJing. However, over time I started to embrace how the technology made it less taxing in the process of recording and making music.

With DJing, I did not have to carry my records around in any case anymore. I have Kai Alce to thank for that inspiration.

What are currently your creative goals and how are technologies helping you reach them?

One of my creative goals is to collaborate more with like minded artists or producers on projects. With the technology that is available at our fingertips, collaborations can be done a lot more efficiently.

However, nothing like being with that actual artist or producer in a room. Tapping into that creative spark, or inspiration that can come from being in the same space is undeniable.

How and for what reasons has your music set-up evolved over the years and what are currently some of the most important pieces of gear and software for you?

I am not a really big gear head or geek. I really don’t have the space to have a ton of keyboards in my home studio.

When I first started producing music, I was inspired by Kenny Dixon Jr. aka Moodyman and Jay Dilla to keep my setup minimal. I always felt if they were making incredible music like that, with not a lot of gear, less is more for me.

I keep it simple. The main DAW I use is Ableton Live Suite, the plug-ins I use are Output, Spitfire Audio, Kontakt and Serato Sample.

Have there been technologies which have profoundly influenced, changed or questioned the way you make music?

I think it is safe to say now, there are developments in music technologies that have influenced the way a lot of us work. Again, it has certainly streamlined the recording process from how it used to be in earlier years.

With all the ideas I have floating around in my head everyday, I find the technology developments in music helpful and inspiring.

From my point of view, the three key factors which have driven music technology over the past decades are mobility, affordability, and (easy) usability. How important are these for your own work – and did I miss any?

I would have to agree with your three key factors that influence music technology.

Mobility is definitely a plus in music technology. It allows one to create ideas in a room or on a bus. It allows one to collaborate with another across town or from another country. Affordability is also a key factor. With all the current and ongoing developments in music, you don’t have to spend a ton of money to make incredible music.

With usability, depending on the DAW you are using, I have found some more user friendly and exciting than others. I won’t get into giving names..Lol..

Technology is usually associated with innovation and progress. Are these also important considerations for your music? What is the relation between innovative tools and "innovative music"?

Yes, technology is usually associated with innovation and progress, and it is an important consideration for my music.

I love creating interesting and chunky drum patterns and incorporating ethereal sounds to create a mood or mental texture.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that and the relevance of limitations in your set-up and process?

I try not to go into the creative process with a limited mindset. I understand and believe technology allows me to explore this expansive world of possiblilties. However, I don’t lean into the technology so heavily, that I forget to infuse or incorporate that human touch or feel.

Live instrumentation and not quantizing everything helps with that situation.

The choice in creative tools can be overwhelming. Are there ways to deal with- and embrace this wealth and channel it to support your creative goals?

Creatives in music have to understand that the technology changes every week or every month. Many times it is hard to keep up.

I think you have to start where you can and what your budget will allow. Become proficient with what you currently have and build when you can.

The sound sculpting capacities of current music technology are remarkable. So is the abundance of high-quality and ready-to-use samples. Which of these do you prefer and what does your process of working with them look like?

I use both in my creative process. I find that some samples I run across can be inspiring, and will influence me to create the ideas of a track. However, I will use sound sculpting or effects to manipulate the sample.

It is very rare that I will use the sample as presented now. It is always a springboard for me into a world of inspiration.

Within a digital working environment, it is possible to compile huge archives of ideas for later use. Tell me a bit about your strategies of building such an archive and how you put these ideas and sketches to use.

As a composer for television and film now, it is important for me to build a catalog of interesting sounds. Sound design has become my latest passion. So in that space I will make it a point to explore my neighborhood or city and record live sound. You have to build a sound library.

Working on my first film called “God Said Give Em Drum Machines “ directed by Kristian Hill, helped me to understand how important it is to build archives of ideas.



In many of our 15 Questions interviews, artists have emphasised the happy accidents as a result of human imperfections and unreliable machines. What's your view on this and how does an element of surprise enter your productions?

I love it when that happens. I record a melody and it is not what I intended. Listen back and say , “Hey that works for me … lol”

Production tools can already suggest compositional ideas on their own. How much of your music is based on concepts and ideas you had before entering the studio, how much of it is triggered by equipment, software and apps?

It really depends on what is happening in my creative mind that day. Sometimes I will have ideas already, and other times I am looking for inspiration from the equipment or software I use.

It is probably safe to say that I lean more towards my ideas going into the creative process.

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations and possible concrete plans in this regard?

For me I get it, but I think the battle here is not allowing the technology to make you a lazy composer. I use it as an aide and not a crutch.