We all have seen the announcement on his socials. We all watched the short videos of his updated concept of 'studio-in-a-case'. We all booked tickets to at least one event where he will be doing this. 2020 is the year of Giuseppe Ottaviani 3.0.

New decade, new gear. Having changed electronic music’s live performance game once, Giuseppe Ottaviani does it again. We've seen him create music, in-club, in real time, launch that music (Evolver album), doing some stellar shows with Live 2.0. But now, he steps up his game, advancing it to give the musician near limitless control over each & every sound he delivers.

Giuseppe expands: “trance starts and finishes with its music and our shared experience in hearing it. That’s what sets our sub-genre apart and makes it unique. The artist who can customize the floor experience to the audience to the greatest degree is the one who’ll reap the greatest crowd response. That thinking has been central to everything I’ve done for many years now and without doubt is the driving force behind the Live show experience. My goal is to make every element of the music played exclusive and unique to the set, the night and the moment. Live 2.0 was heavily geared towards that, but I think through 3.0, I’ll be within touching distance of that aim”.

While its previous version was all about creating new music live on stage, he continues, Live 3.0 is about individualising the performance of the music that the previous version helped birth. Performing a track generally means you can play it a number of different ways. With 3.0 though, that’s rendered near infinite. Adding or subtracting sounds depending on the setting, time of the night or read of the crowd - every track played can - and will - take on a new profile, effectively being tailor ‘remixed’ to that moment.

What’s inside the case --- 

To do this, from its casing up, Giuseppe’s completely rethought his technological marvel. With performance at its heart, it has for the first time a striking lighting/visual aesthetic. “With 2.0 people couldn’t see me play its keyboard component as it was desk level and within the box. With 3.0 the two keyboards and the drum machine are raised up high, which will naturally brings a far greater connection between what the audience sees and what the audience hears”.

Technically I will have one laptop running 6 stems per track, which will harness full control of the kick drum, bass, leads, pads, vocals and drums of every single track. The second laptop will hold all my keyboard sounds and additional loops & effects. In this way I can, for example, mute the original kick drum of the track and play a break-beat loop from the drum machine, or I can mute the lead and play a different melody on my keyboards, or even solo the vocals, applying something in their place… Sonically, it’s gonna be the wild west!”

Where & when ---

Throughout 2020, at festivals and arenas around the planet, Giuseppe will bring the tracks you love, albeit sounding studio-box-fresh and with the additional anything-can-happen thrill of live. Edging musician and machine that much closer together, Live 3.0 rolls out Q1, 2020.

For more information and updates, connect through the links below.

Happiness refresh: Maria Healy - Bay Breeze [GO Music]

I knew about the track coming and I was sure of a love at first listen. Maria Healy just released a new track: Bay Breeze with GO Music on January 25th and it's pure happiness!

This track is something refreshing. At least for me. It instantly put a huge smile on my face when I hit play. It turns each small moment into happiness. Into playfulness. I enjoy how this track makes me have a little dance party on my desk and how it brightens my day; my night; my everything. I enjoy slightly banging my head right and left on the beat. This is a track that makes you put in on repeat.

This track is a happiness refresh. If you feel down, or just don't have a good day, a good moment, this track is a right one to press play to. Or only if you just want to smile like stupid (like me actually right now), hit play. That is exactly what I am doing for the last couple of hours, since I bought my copy. :D

Maria is an artist I follow pretty much lately and I am in love with her work. I am looking forward to see her behind the decks at Luminosity this summer. Looking forward to hear this track while dancing in the hot sand of the Zandvoort beach.

I enjoyed seeing her sign this with GO Music, a label we all follow religiously. Not only because of Giuseppe, but also of his right sense for good music and awesome artists. Maria really deserves this signing and I am looking forward too many more!

Support the artist and buy your copy:


Follow Maria on her socials: Facebook, Instagram, Twitter, Soundcloud.

ADE '18 memories: Solarstone presents Pure Trance - a pure night to remember

It isn't easy to talk about one of the greatest nights of ADE. It isn't easy to keep yourself cool for a couple of days (weeks) and try not to write 100 articles about it. It is not. But it is easy to remember what happened and get the goosebumps again and again because of the memories of a Pure Night to remember. On October 20th, at Postillion Convention Centre Amsterdam Solarstone celebrated his birthday with a Pure Trance Night.

Being my first ADE year, I was nervous with each event I attended. Do not ask me why, because even I don't know. I am nervous when it is about and its first experiences. I heard a lot about last year's events, so I was curious about 2018's ones. 

Understood that last year,there were some issues regarding the location and facilities, but this year people were happier. Heard no complaints around me and I had a nice experience. The space was pretty fancy, but the lasers, the music, and the people made it a real trance party. 

When I got to the party, Orkidea was playing. Orkidea was warming up the crowd even more, after Hal Stucker. And he was doing one hell of a job! I've always enjoyed his music and listened to some of his sets. But experiencing it live is something out of this world. He was the right man for the job. I am not soooo much into the progressive sets, but from time to time some manage to amaze me. And hit me in the feels. I experienced joy, smiles and lots of fun with my friends. I do not remember too many tracks (you know I can't remember too many tracks), cuz I focus on the feelings I experience on the dancefloor, but I remember Orkidea's remix of Coldplay - White Shadows. 

Then, the Pure Trance man took the decks and did what he knows best: amaze the crowd. Solarstone celebrated his birthday in style and threw an amazing party. I've seen Solarstone a couple of times and he always delivered. Played a couple of my favorites, but the ones that reached most of my heart are: Solarstone - Thank you and Solarstone - Love Theme from Blade Runner (Pure Mix).

The whole night was an emotional rollercoaster. And when Giuseppe Ottaviani joined Solarstone on the stage for the Pure NRG set and begun theirs set with "Age of Love" I went straight to Crazy Huma on the Dancefloor mode. I was crying, I was enjoying the goosebumps of this track, I met new people feeling the same as I did. Age of Love if one of my all time favorites, so to start a set with that one, meant only one thing: the set will be PERFECT. And it was. 

I made these gifs to capture the madness of the sets. I could not take any photos, since these guys were enjoying their work too much to stay still. Both PureNRG and Lost in Noise sets were definitely my favorites from that night. Closer to my soul in style, closer to my soul in music. 

It was a crazy night, an amazing night to end the ADE experience with. I couldn't thought of any other party to chose for this. What are your favorite memories with a Pure Trance act or party? 

GO again to heaven and back with Giuseppe Ottaviani and his 'remixed' Alma album [Black Hole]

What this man does to trance music, it pure magic! Giuseppe Ottaviani is the man to follow when we are talking about everything trance. He is a master man and he really knows everything about how to amaze the simple listener every day! Got the chance to interview him a while back and those 30 minutes are something I will always cherish for the rest of my life. When he first release Alma [ the album], I went to heaven and back while listening to it. When he announced Alma [remix], I pretty much did the same thing.

Giuseppe’s M.O. for the project was simple: take every track in ‘ALMA’s system and send it in a new direction. This he ensured through creative, hand-curated remixer picks that, alongside the aforementioned artists, came to include the likes of Omnia, Tenishia, M.I.K.E. Push and Robert Nickson, and latterly operators like Sean Tyas, Henrik Zuberstein and Monoverse.

Naturally Giuseppe also rolled up sleeves to give some of the album’s cooler and lower tempo tracks, the OnAir treatment. No less than five of ‘ALMA’ trove received clubbier upticks and conversely the Italian’s applied a rarer ChillAir mix to the Eric Lumiere-sung ‘Burn Bright’.

The album’s second coming arrived July 13. All things ‘ALMA’ will never be quite the same again!

So, exactly who’s remapped what?! Well, under his Henrik Zuberstein cloak, John O’Callaghan’s reimagined ‘Primavera’ as a coolly progressive number, complete with a drop that’ll put sundown shivers down your spine. Maintaining the prog theme, Monoverse runs a temperately bubbling acid line right through his refit of ‘Slow Emotion’. The Kyler England sung ‘Firefly’ meanwhile has been given a mainline redux by Omnia, whilst Tenishia supplies extra boom to the bass and emotive edge to Tricia McTeague’s song on ‘Loneliest Night’. Both Ruben de Ronde and Giuseppe have re-sketched ‘On The Way You Go’. Ruben deepens its soundwave, dramatically drawing out the break, while ‘On The Way’s harmonies are allowed to soar higher and curve further through G.O.’s OnAir mix.

Title track honours go to M.I.K.E. Push, with the man bringing added floor bite to its production, and giving the track the most epic of post-break paydays. ‘Ozone’ is another ‘ALMA’ alumni that’s been served two ways. Markus Schulz carves out a rhythmically hypnotic groove for his mix, before hitting release on its gliding, aerodynamic melody. Craig Connelly meanwhile puts his own spin on Giuseppe’s harmony, pressing the advantage by gating up the big synths and catalyses them through snare drum roll.

Given a number of remix options for the album, Robert Nickson went straight for ‘Brightheart’. Christian Burns’ chorus assumes an even more anthemic profile, when set against the Dutchman’s pads & synths. Sean Tyas refits ‘Slow Emotion 2’ with a boisterous and typically euphoric overcoat, which augers Giuseppe’s unveiling of the third ‘Slow Emotion’. A tougher excursion in the series, its tempo shifting dynamic is every bit as effective, surfing an uplifting break through to its tech-attacking conclusion. For ‘ALMA Remixed’ Giuseppe then serves a five-strong volley of his own OnAir elevations. In turn, ‘Wait Till You Miss Me’, ‘Miracle’, ‘Home’, ‘Countdown’ and ‘Aurora’ each take to the skies. For its concluding swansong, Giuseppe drops the house lights and cools the heels of ‘Burn Bright’, adding pathos, stirring splendour and denouement atmosphere to the album.

You can pre-order/stream Giuseppe Ottaviani – ALMA [Remixed] here today:

Giuseppe Ottaviani – ALMA [Remixed]

01. Primavera (Henrik Zuberstein Remix)
02. Slow Emotion (Monoverse Remix)
03. Firefly (with Kyler England) (Omnia Remix)
04. On The Way You Go (featuring Thea Riley) (Ruben de Ronde Remix)
05. Loneliest Night (featuring Tricia McTeague) (Tenishia Remix)
06. Ozone (Markus Schulz Remix)
07. Alma (M.I.K.E. Push Remix)
08. On The Way You Go (featuring Thea Riley) (OnAir Mix)
09. Brightheart (with Christian Burns) (Robert Nickson Remix)
10. Ozone (Craig Connelly Remix)
11. Slow Emotion 2 (Sean Tyas Remix)
12. Slow Emotion 3
13. Wait Till You Miss Me (featuring Sue McLaren) (OnAir Mix)
14. Miracle (with Paul van Dyk featuring Sue McLaren) (OnAir Mix)
15. Home (with Jennifer Rene) (OnAir Mix)
16. Countdown (OnAir Mix)
17. Aurora (On Air Mix)
18. Burn Bright (with Eric Lumiere) (ChillAir Mix)

Giuseppe Ottaviani: You need to produce good music, but you also need a little bit of luck in this industry [Interviewing artists]

Happy trancer is happy! I finally had the chance to meet THE music man, Giuseppe Ottaviani and have a proper chat with him. After years and years of listening to his music, I couldn't lose his return to Romania for Timeshift Bucharest Music Festival. It was a great honour to have this interview with him and it still is. I find the talk to be inspiring and it definitely made me think of the future and what I can do more about my love for trance music. He will forever be one of my very special music crushes.

I was lucky enough to see him setup all the hardware and prepare for his set, and to hear that yes for my interview. We went in a more quiet place and I enjoyed every minute of it. Even before I started asking all the questions, he answered to some of them. But we actually digged deeper, we talked about his background, his love for this music, his inspiration, his work and many more.

Giuseppe is a very kind and patient man. He took his time in answering my questions and he avoided none of them! I had fun, Giuseppe had fun. And the set he played that night is indeed a set to remember. Seeing him on the stage and his new Live 2.0, was something I will not forget too soon. I know this interview may seem long for some of you, but it is definitely worth it! Enjoy!

Who is Giuseppe Ottaviani and when did the idea of producing music first occur?

I think I started with trance music around 1996-1997. I started with all the gear, actually. Back in the day, only a computer, a laptop wasn’t enough. You needed a synthetizer, computer, mixer, other hardware and figure out how to connect all the stuff together.

Then I met new friends (Andrea and Jacopo) and we started to make music together. And ended up calling ourselves Nu NRG. We made this project back in 1998 and started releasing some tracks with a small Italian label. In 2000, we got signed to Paul Van Dyk’s label, Vandit, because one of those tracks was pretty good. (smilling) Finally. They liked it, asked for the license for Politics of Dancing 1 and yeah. That was it. We stayed in touch, got invited to play at Love Parade in 2002 and that was the starting point of my music career.

Easy (laughing). And lucky. You need to produce good music, but you also need a little bit of luck in this industry.

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How would you describe the day by day Giuseppe Ottaviani? How would you describe your life?

It is hard to split music from my private life. Because music is part of my private life. It is my hobby. It is my favorite hobby. And now because it is my job, it is actually taking a lot of time of my life. But normally I have a family. I have 2 kids. And I just do normal life. Normal dad life. I am family guy.

I also hang out with friends. When I can. Because it is not easy. Between my job and my family, it is not that easy to stay in touch with all the friends I want to. So I had to scale down the number of friends. Somehow. To the very very extremely absolutely close friends. (laughing)

It is like a day job for me. I used to make music during the night, before the kids. But this is not possible anymore. I just work on a simple day time schedule. Like a normal office guy. Finish around 6, spend time with my family, go out on weekend if I am free. Normal Family life.

My favorite question of all: Why trance? Why did you choose this music genre?

Because I am coming from classical music. I have about 9 years of classical piano education and classical music is the music I grew up with. Because that is the music my parents used to play all day long.

I have a weird background because I switched from classical music to pop music, to rock music and then eventually went into German techno music. Very minimal, dark and I used to love techno music. I still love it. But, back then I said ok. I love the beats, I love the energy but I am missing the melody from classical music. So, when Adagio for Strings by William Orbit came out I said: ok. Hold on. I like it. I really like this. Basically,  the remix of Ferry Corsten for Adagio for Strings brought me here. That was the track that made me slide. This is it. It just fits.

What should be your biggest musical accomplishment when you look back in the past till now?

Well, I made it here. (laughing) It is like 16 years since I am in this business. Which again it is not a business. It is a hobby. The best part is that I am not feeling like working. I am having fun. The best thing is that it’s been 16 years that I am not working. But I am getting paid. And this is quite nice.

Which single track that you’ve produced has had the greatest impact on your career?

I have 2 tracks. The first one is Dreamland, and it is together with NU NRG. That was the track that allowed us to be signed to Vandit, Paul’s label.

And then I have my first track as a solo artist, in 2005 which is called Linking People. That was the track, after we split up, the track that allowed me to stay within the Vandit Records family and that made my career. Because I had to start again. It was the starting point of my solo career.

How do you actually, produce your music? What is the inspiration behind your tracks?

Well, before at the very beginning, I didn’t had too many bookings of course. So I was just looking at the other big names, their gigs, looking at the crowd, and then I was inspired by the DJs, playing in front of such big number of people. And I was just pretending to be myself playing for the people and getting the inspiration to make music. Now when I finally have my crowd, I just go play, get inspired and make music the day after.

Do these tracks tell a story?

It is really made by inspiration. Depends on the party, the country, the crowd reaction. Everything. It does not necessarily tell a story, but it is about a particular moment of my life, in that particular place, with those particular people. Every track I do is linked to a certain place.

For example. 2 years ago I made Musica. And that track was born in San Bernandino, for Dreamstate. The first Dreamstate I ever played. And it is linked to that place. Linked to Dreamstate. And it will forever remind me of that very special moment.  I made another track on the plane going to Liverpool. And I called the track Liverpool. I played a rough demo at the event I had and it went great. I just told myself. Liverpool it is. And that was the track.

Do you ever experienced the creator’s block? And how did you snapped out of it?

No. (Laughing)..  I have an idea. I always start with a melody in my head. Especially with my new setup, I improvise in front of the crowd. If I hear a sound, it can be even a distortion, something that inspires me and let me hear a melody, I just play the melody and record it straight away. Even at home, whenever I hear something in my head, I go to the piano I have in my living room, hit record on my phone, play it and then listen to an older stage.

And it is always about getting inspiration from the outside. world. I was in Miami 3 years ago, one car passing by, with loud music (you know those cars with big stereos, very loud music coming out) and I heard a little piece of a melody which started looping in my mind. I do not even know what kind of music that was. I was just listening to this and it just started looping. And then I made a track for my Magenta album. Which is called Waterpark. So you know… It just happens.

We last saw you at Luminosity Beach Festival. And we enjoyed a lot your set, but also your Pure NRG set. How did you actually had the idea to play a part of the Lambada on the set?

(Laughing).. Well, it is summer time. We play at the beach. Let’s do something extremely stupid and play Lambada. And it was fun.

We prepared the set. We decided what are we gonna do, what are we gonna play and after a couple of glasses of wine, we just had a very interesting conversation:

Hey, what do you think if we play 30 seconds of Lambada?
Ahh. That will be nice. Yeah. Ok. Let’s do it.
You sure?
Yeah. Let’s do it.

That was the first and the last time we do something like that.

How do you prepare for a set? Together with Solarstone?

You know, with Pure NRG, we do not play like a normal dj set. We do not go on a fly. We need to select the tracks we want to play. The sequences we want to play. We need to know what are we going to play. We just decide we are going to play this and that. You are going to play the drums in that track., I will play the keyboard. We need to organize, to plan what are we going do.

How is it? Working with Solarstone?

It is cool. Whenever we make a track it is either me flying to his studio, or Rich flying to my studio. But definitely we spend time together in a studio.

I saw an interview about Prophecy being the first online track. Are you planning to do more? Because that sounds really good.

Thank you. But, Prophecy took us some time. Because working online it is not that easy. It doesn’t actually feel the same. Because music has to do a lot with feelings. And we didn’t really fell right working online, for some reason. Also, because we are friends, we hang out together. We spend time together and have a very good time. And we make more music. Almost, one track per day, when we work together.

I am not sure if I can ask you this. But what can you tell us about the Go on air label? We saw that the last Hot or Not compilation is actually the last one…

Yes. It is the last one. Because the Go on air radio show it is not a weekly show anymore. The new concept, the new Go on air show it is monthly one and it is a live recording of one of my gigs. So, there is no reason to release a Hot or Not anymore. Because Hot or Not was connected to the old radio show and it is like a talent selection of music. And it is not going to happen anymore. Something is changing. I can’t tell you, to be honest. But it is changing into a very interesting and good way.

Under a new name?


About the live 2.0 show… How do you prepare? The same flow as preparing with Rich?

No. That is the thing. I do not prepare. It is completely different than a Pure NRG set. I do not prepare with my live 2.0. because it is my music, of course, plus all the live improvisation I do on the stage. It is called improvisation. So, I do not prepare.

I just prepare the hardware part. I do the sound checking. But as soon as I jump on the stage we will see about the rest.

What would you say to someone new in the industry? To someone that just starts producing?

The quality should be at a certain level. It doesn’t need to be amazing. Because you can always fix something in post-production, with mastering and stuff. But it must be at a certain level. You can’t actually, pretend to produce music on your iphone headphones. It is not going to work.

But then, as a label owner. If you are a new one, and you want to grab some attention, do not send 10 demos at a time. Sometimes, I say something like: This one is nice. Ok. But not still there, and then he immediately sends me another one, and another one… and then another. Saying: I am really quick. I can do a track in one day.

No, you can’t. It is not that easy. You can’t do it in one day. Fix that, make sure you spent enough time on one single track and then send it.

I am looking for an idea, but it also has to be at a certain level. Because if you have a massive idea, but it sounds bad, that means you need to sign the track but also get someone who can remix the track. Which is not ok. It doesn’t show the skills of the producers. Because at some point if you want to invest in a producer, then the producer must be able to deliver a finished product. One time is ok to get a remixer. Second time, not really.

Any upcomers you actually know and support?

Well. One of them is here (showing at): Starpicker. I signed a track from him because it got a lot of votes on Hot or Not a year ago. And then I was like: ohhh, this should be a single release. But I had no free slots in the singles release, because I was planning all the other ones. I said ok. Let’s put it on the Hot or Not EP, and then suddenly Armin played it as Tune of the Week. And I was like: There you go...  After that, he reached me out for a second track and I said let’s do a single release this time. And it was good. And now I am just wait for the third one…

I know this is one of the hardest questions to ask someone. But can you tell me a top 3 trance tracks of all time?

1. Like I said, Adagio for Strings – William Orbit (Ferry Corsten Remix). This is the track that brought me here. That brought me into trance music.
2. Of course. There has to be Paul Van Dyk -For and Angel. Because it has to be. Seriously. That was the track from which I got the inspiration for that classic pluck sound that I am still using and that really influenced my sound, since ever.
3. And something more recent, I am really, but really in love with Ferry Corsten pres. Gouryella – Venera (Vee’s Theme). I even texted Ferry: Hey, remember me to give you a hug when we see eachother next time. Because it is an incredible melody. Definitely, one of my favorite Ferry’s productions.

Can we go to 5?

4. Aly & Fila with Ferry Tayle – Napoleon. – beautiful one.
5. A track that I am playing right now from 1996. Robert Miles – Red Zone. I know it is not Children. But it Is Red Zone, Part 1. A very beautiful melody for me.

With which artist, would you like to swap the places for one day if you could?

Neah. I wanna be myself. I do not care. Seriously. I like to get inspired by the others. I like to watch what others do. And I love to listen to what they do. But I want to do it in my own way.

What do you think about the trance community?

It is great. It is a real family all over the world. And it is a strong family. People think that is an underground thing. But it is not. It is a global movement. I am lucky enough to play all over the world and I can tell: the trance family. You can really feel it.

What do you think about the statement trance is having a big comeback?

It is true. (Laughing)… For comeback, it means it is getting more attention than before. Because it never left. But it is definitely, getting more attention. Thanks to a lot of factors. But also thanks to the americans pushing trance quite a lot now. A thing that it was impossible to imagine a couple of years ago. Personal opinion, is that Dreamstate is the best thing that happened to the trance music in the past 5 years, or even more.

P.S. Everyone has a hidden talent.

I can make an absolutely, great carbonara. Laughing…

THANK YOU, Giuseppe! Thank you for accepting the interview! Thank you for being such an amazing music man!

And thank you guys, for reading this till the very end. You all rock! Trance on!


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