We were lucky enough to catch Glimpse for a few quick questions ahead of his upcoming Australian tour.

The British producer has made worldwide waves with his organic thought process and production style. It was difficult to come up with questions for such an intellect, who until he found his love for music, was studying sculpture at a well renowned English college. Here are a few facts about the prolific producer who has gone from strength to strength since his first release back in 2004 on his very own label.

• Glimpse has been nominated for DJ Mags Best British Producer two years in a row.
• He started his own label, Glimpse Recordings, nearly eight years ago.
• He's live show has taken him to such venues as Womb in Tokyo,Panorama Bar in Berlin, Fabric in London, Chicago’s Smart Bar, Cocoon, and more underground institutions around the world.
• He recently introduced the legendary TR-909 into his live set which (as you find out below) has turned an ordinary live show into an experience many will never forget.
• Glimpse has releases on the best house/techno labels in the world including Crosstown Rebels, Planet E, Cadenza, Cocoon, Get Physical & Buzzin' Fly

Your live show revolves around the legendary TR-909, what else is involved in the set?

In my live show I use Ablton Live synced with TR-909.  Its a simple set up that works well for me as its allot more similar to the way I produce in the studio.  I can jam on the 909 over tracks changing there feel dramatically or play only on the drum machine.   It means there are allot more option in a live context.

Do you feel since the introduction of the 909 into your set, people are much more open to what you play, or that they might not take so long to get into it?

The 909 is a point of interest for people I think just because you don't see many of them in clubs these days.  My particular machine was made in 1984 when I was 4 years old.  They are incredible pieces of equipment and despite there being hundreds of 909 sample packs out there nothing can come close the real thing.  They also all sound slightly different due to the way they are made.  You will never find two machines with the same attack or decay.   In a live context on a big sound system nothing comes close to them in my opinion.   There are hundreds of other drum machines out there that do hundreds of different things but the 909 will always be the choice for me.  It does exactly what it says on the tin and 90% of my favourite records were written on it.

Obviously 909's aren't the most common drum machine nor are they cheap, do you often worry when travelling with such an iconic piece of equipment, and is the 909 you use on the road the same as the one in your studio? Do you have any horror stories apart from the Jager/Nord incident?(Ouch!)

I only own one 909 so I use it nearly every day in the studio and gig with it on the weekend.  It is quite temperamental and is not designed to travel or to be chucked on and off planes by baggage handlers.  So its always a bit worry for me when I get to a club wether its even going to turn on.  There have been lots of times when it has not worked which is really annoying as I then can't do what I intended in the show.

According to your interview with HAHA you had your first child in January of last year (2010), how has it been balancing the life of a world renowned producer and a great father?

Obviously lots of things change when you become a parent.  Your priorities change dramatically and certain things take on different meanings.  Its definitely the best thing that has ever happened to me though.  Nothing negative can come from having children.   Getting back from gigs on a sunday night and being exhausted can make monday mornings a bit tough though.

As mentioned in your RA Interview you said that making honest music that comes directly from the heart is how you become a great producer. Did you find that around the time of your child being born that your sound was completely different?

I think my level of output got slightly less as to be expected but luckily my album was finished and I had some releases backed up so things ran pretty smoothly.  Regarding my sound though I think my sound will always change as I get older and come into contact with new different music and new situations.

You put together a fantastic package for Loopmasters pack titled "Deep Analogue Techno."  Whats the process going into putting a sample pack like this together, are they sounds that you have created and used over the years or was each sound engineered specifically for Loopmasters?

The Loopmasters project was really interesting for me, going over lots of old projects pulling loops from them.  Due to the way in which I work recording long stretches of audio.  The loops were all already there they just needed to be cut up.

It was quite a nice break from producing tracks.  I mainly found it to be an exercise in file management more than anything else.  I don't believe its good to be in the studio every day trying to write music for clubs.  Its not natural and leads to things going stale in my experience.

We're looking forward to having you here in Australia, anything on your to do list while you're here or did you cover all bases the first time?

Im only going to be there for about four days so not much time to do anything apart from play, fly and sleep.  Hopefully next time I will have more time.  Can't wait to see you all down under XX