KD: You started at a really early age both mixing, and producing. What was your first production that you incorporated into a set? You know, something that wasn’t released?
SG: Celine Dion – Unison - did it at a small studio while I was at UQUAM. By 18, 19 started to do radio shows, don’t know what you would call it now, adding samples and beats to tracks.

KD: That’s still remixing.
SG: Well yes, that’s true.

KD: We obviously have to integrate CD’s into DJ sets as a lot of the latest music isn’t pressed on vinyl. Do you like working with CDs?
SG: I love it – everything’s quicker – with acapella you can find the right pitch, you know.

KD: It’s more efficient.
SG: Yes, exactly. Vinyl sounds better, of course, but because of the efficiency I love CDs for DJ-ing – and when you travel. It’s not too heavy – I’m getting old.

KD: Oh, me too, me too. What do you think of the progression of technology where DJ-ing is concerned?
SG: Oh I love it - when I first started, all my equipment cost me over $35,000, but now the same would cost like around $1,000, so it’s really accessible to everybody. It’s great – not a closed circuit anymore – many more people can be involved with music.

KD: You’ve played at major venues around the world. Deco Lounge in NY, Stereo in Montreal, The World in Vancouver, Ministry of Sound in London, Salvation in Miami), and now Sonic. Out of them all, where do you really enjoy spinning?
SG: The most? Sonic and Stereo – for the sound systems – and the place. Stereo is more my home in Montreal and Sonic, when I first was there, oh it was so good - I loved the space.

KD: Did you ever play there when the space was dubbed Boa Redux?
SG: Been there once, but I never played – I had an exclusivity contract with Fly – so I never played anywhere else – although they were pretty good to me – so out of courtesy as well.

KD: What are the personal factors that determine how well you’ll perform at any particular event?
SG: Feedback from the dance floor – some can do without it. I know lots that can do without it. But me I need the connection. This is what they what they want to hear, so you’re there to make people dance and have fun, so you adjust.