Exclusive Interview: Meet the Man Behind the Music, Drum N Bass Legend, Optical

Get ready for an inside look into the life of one of the true pioneers of drum n bass music. In this exclusive interview, we talk with the legendary DJ, producer, and musician, Optical.

‍With over three decades of experience in the music industry, Optical has significantly impacted the drum and bass genre, influencing countless producers and DJs with his unique sound and innovative production techniques. From his early beginnings as a DJ to his evolution as a producer, Optical has remained at the forefront of the drum n bass scene and continues to inspire and excite fans all over the world. As one of the masterminds behind the groundbreaking album "Wormhole," he redefined the sound of drum and bass and set a new standard for production quality. This interview gives you a glimpse into the journey of a true drum n bass legend and will help you understand what drives one of the most influential figures in electronic music.

Looking back to your teenage years what music were you listening to?

DJ OPTICAL: I was into any music I could get hold of but particularly early Electro/Hip Hop, Funk, Reggae, Ska, Punk and Jazz....also I had my Mum and Dad's record collection to listen to which was lots of The Beatles and The Who and also Irish music from my Dad and world music like Osibisa and also hippy music like John Mayall

When did you first start making music and can you tell us about your first ever live set and where was it?

DJO: Both me and my brother (Jamie Matrix) started out playing instruments in school as kids and then at the beginning of the 80's we discovered trackers on the Spectrum computer we had....they could only play 8 samples under 0.7 seconds on 4 tracks....so no way to make a real song! My first DJ gigs were at free parties and squat raves in London in the late 80s....my first really big gig was at Castlemorton Free Festival in 1992

You've been quoted as saying your favourite musical era is the 1970s. Which 3 artists from this time, would you choose to collaborate with today and why?

DJO: Jimi Hendrix, Miles Davis, Herbie Hancock....because they are the 3 most amazing musical and creative minds....and also way out there which is what I like about good music

You had your first release in 1992 as 'Little Matt'. Can you give us the background as to how that came about?

DJO: My first job in the music business was making cups of tea and cleaning up the studio at Great Asset Distribution in 1992...the label manager there asked everyone in the building if they thought they could come up with an idea for a label and make two tracks to be the first release so I got my friend Stephen Tungay (who designed the Virus Logo) to come up with a design for Phat Chuna Recordings and I made the tracks with my friend Seb Uprock from school....it was total rave music....and I was 19 years old so it felt like a big deal but I think we sold like 50 copies....which was huge lol

People may not know that your brother Jamie Quinn, known by his stage name Matrix, is a drum n bass producer, DJ and founder of the record label Metro Recordings. Have you been involved in any projects with him over the years?

DJO: I love my brother and his music has always been so inspirational to me....but when we get in the studio it tends to end up being a bit of a battle as I just want to distort the shit out of everything and he wants to make incredible cinematic rolling music....so we have only made a couple of songs together but he released his incredible first LP "Sleepwalk" on Virus and I had some of my first Optical releases on Jamie's label "Metro Recordings" in 1997. He was involved in making Chameleon LP too and also was part of the live band tour that the record was made for. He is the ultimate champion of deep chords and smooth funk in all of dnb....fact!

Early on in your career, you worked as a sound engineer and producer across quite a few different studios. Was there a favourite studio for you in those early days and a particular recording/production session that has really stuck with you?

DJO: All those studios had different mixing desks and speakers and gear and so they all sounded very different....which in itself is good training if you have to move between studios and still be able to mix a song to a good standard. Also between 1991 and 1998 there were a lot of technological advances in the cheaper end of pro gear, especially in sampler technology.....so my favourite studio was always the one that had the newest sampler at the time really....but my time at Pirate Club/Fokus studios around 1993-95 was probably the most incredible.....where Leviticus - The Burial was made. My ultimate favourite studio of all time was my place in Soho which was built over 6 months in late 1996/97...where Wormhole and all the early Virus songs were made

You are attributed for doing the engineering and production work on Grooverider's 1998 album 'Mysteries of Funk'. The year prior the track 'Piper' (Grooverider Mix) by Jonny L had been released. Were you involved with that track as well?

DJO: Yes that was made in my studio in Soho....both I and Groove loved the original song so it was really cool to remix it. I just wanted to keep the same rhythm idea as Jonny L had but try and bring the sound of that studio which was just so clear and solid and banging, to make it have super attitude. I was involved in all of Groove's remixes and releases between 1997 and 2000

What changes have you seen in the Drum n Bass landscape and environment since you first kicked things off?

DJO: I think after 31 years since my first release then that's not a fair question as it would take days to answer.....but mainly.....it's grown into a worldwide movement that brings people together with pure joy and good energy...something we all need right now

Can you tell us about some of the achievements you are most proud of not only with your music but also where you have been involved with composing, producing or as a sound engineer for other artists?

DJO: I think Virus has to come first as the thing I am most proud of in general. Making "Mysteries Of Funk" with Grooverider and "Wormhole" with Ed and also "Saturn's Return" with Goldie were some of the really great experiences I have had. Anytime me and Ben (Ed) make music I am proud of it always!

What's the one piece of tech you couldn't do without?

DJO: Boring answer....Speakers, Sound card, Computer, Software.....but as you can make music with an old broken 3 string guitar you bought for a tenner and a fork to bang on the table next to you and your phone mic......if you practice a lot......then the real bit of tech for anyone out there that matters is your "Imagination" truly ;o)

Your partnership with Ed Rush is one of the great musical collaborations - in any genre. Where and when did you very first meet?

DJO: We grew up like 1 mile from each other in West London....and we were both into the same music and also both starting out on releasing songs and DJ'ing in 1992....we met through Nico (owner of No-U-Turn) and also through spending a million hours waiting to cut plates at Music House in Holloway in the early days....pretty soon we realised that we were really into making the same kind of music and I think from the very first few tracks we worked on things just clicked

In 1998 you and Ed Rush started Virus Recordings which is hugely successful to this day. What was it that seeded the idea for you to partner up and start a recording company?

DJO: We both had offers from major labels to sign up in 1997 but they wanted to focus group us and style us and try and limit our music styles, and the labels we worked for like Metalheadz and Prototype and 31 had their specific styles....and we had the studio in Soho now all to ourselves so we were in there almost every night of the week experimenting, so towards the end of 1997 we had so many tunes that were not right for the other labels and not right for doing some major label deal either....so we took a risk in the end and decided to create our own label to release what we where doing and that's where the idea for Virus was born....we had the first two singles and the design of the logos all made by the end of 1997 and the first release was officially on the 18th February 1998....VRS001 Medicine / Punchbag

In terms of producing, who would you say your influences are?

DJO: So many great people so it's not fair to pick some out but got to mention Dillinja as the one who made me realise how incredible a sampled bass could really be....and in the very early days....Tim Taylor, Pete Parsons, and Simon Vispi (Intense) for lessons in mixology and sampling

Listening to your back catalogue your own music has really evolved. What do you think are the main influences behind this shift in your sound?

DJO: Well if you made the exact same tune for 30 years you would go nuts right? Technology is always shifting and techniques too, and also most of all, the way you feel at that particular time and space in your life....and as life goes on you hear so many new ideas and cool new sounds coming from all the amazingly talented people out there and it makes you want to try new things and keeps your imagination firing away into another place you had not been yet...anyone's music is about their journey in life and expressing your story at that time I think

Your album Wormhole is regularly (and rightly so) credited with being the greatest drum and bass album of all time. What are your memories of actually making this album and when you look back, did you know you had created something that was so special?

DJO: We had no idea we were making an album because half of the songs were recorded in mid to late 1997 when we didn't even have Virus as a solid concept, we were just making music that we loved and just for fun at that point....and we still had no idea that Virus as a label would work out until we saw the reaction from the first two singles...so really the idea of doing Wormhole didn't really come together until April 1998 and we realised we had 8 tracks and if we did two more we would have enough to do a proper album. So much of how that record sounds is down to the studio I built with my best mate Al Bruce...it took 6 months of crazy work to make it happen....we have a 25th Anniversary Vinyl Boxset of Wormhole coming out in April which has a full description of how the studio was made in the booklet it will come with

Your body of work is outstanding. If you were to pick the three that you are most proud of, which would they be?

DJO: Firstly that's super kind of you to say....I have spent 30 years making music and I have always tried my best to make each song say something hopefully....I think "Dark Skies/The Shining" for finally getting to explore my own identity and not producing for anyone else....and "Satellites" for showing that our studio in Soho was actually from another planet.....and "Lokuste" for being the most reece ever and being the pinnacle of a studio riot...we spent like 8 hours just making the reece go from one place to another and back again and then into total distortion madness....proper fun music making

Which three musicians would you invite to your home for dinner?

DJO: Same answer as before.....Jimi Hendrix, Miles Davis, Herbie Hancock

When not Producing or DJ'ing, what do you like to do away from music?

DJO: I'm a full-time single dad to two amazing teenagers and I like to make art and also when I get the chance do absolutely nothing except lay on the couch and watch Netflix

What's hot on your playlists at the moment?

DJO: Can't give you my DJ setlist.....and music is blowing my mind always every day.....but as far as what I play in my sets.....I'm gonna mention Audio, InsideInfo, Burr Oak, Magnetude, Skantia, Prolix, Mefjus, BSE, Pythius, Teddy Killers, Gydra, Neonlight.....I could go on a lot more as I'm a DJ and that's my life and there are so many more amazing artists in dnb out there too

For all those upcoming DJs and Producers, what is the most rewarding part of what you do?

DJO: I guess the ultimate reward is when you have really tried your best to make a song and then finally actually playing the song you made to a room full of people who go totally bonkers when you play it and you and everyone is all just lit up and in a moment of pure goodness and energy and joy together....that is magic and it makes all the hard work worth it

Tell us what exciting things are in store for you (and I guess us) in the future.

DJO: It's 25 years of Virus this year so we have festival stages across the world and some amazing London birthday events and new music and all kinds of cool stuff going on!!!!