Few artists navigate the space between the dancefloor and the deep-listening experience quite like Professor Dictabeat. A Guatemalan-born, Amsterdam-raised DJ and live performer now based in Berlin, he brings a truly global perspective to electronic music. I’ve had the pleasure of knowing and sharing the decks with him more than once, and I can say from experience: whether he’s playing records or tweaking analog synths, he’s someone who lives and breathes music.
Before making the move to Berlin in 2010, Dictabeat was already a well-respected figure in the Techno and Electro scenes, with nearly a decade behind the decks. These days, he’s taken things even further, channeling his multi-instrumentalist background into a dynamic live Electro act performed entirely on analog hardware—a rare and refreshing sight in today’s digital-heavy scene.
In this interview, we dive into his musical journey, the influence of his diverse roots, and how he crafts sets that resonate with casual listeners and hardcore heads alike.
Let’s get into it.
To start things off, could you give us a brief overview of your musical journey?
When and how did you get started, and what are you currently working on in your music
projects?
I started off as a DJ in 1999 in Amsterdam’s first DJ cafe called Vaaghuyzen. I used to work in
the coffee shop across the street from it. The coffeeshop was called El Guapo, and many of the
DJs from Vaaghuyzen always came to buy weed in my shop. One day I asked, “How do you
become a DJ?” and one DJ answered, “Get 10 of your favorite records, get a pair of
headphones, walk into that bar and ask the owner kindly and politely if you can practice here.”
Which I did, and by dumb luck, I ended up finding all 10 of my favorite songs on vinyl and found
out later they were pretty hard to find because they were unique pressings. I bought cheapo
headphones and walked into the bar with full confidence.
Me: “Heya. One of your DJs sent me. You mind if I play some records here?”
Bar owner: Do you even know how to DJ?
Me: “Sort of.”
Bar owner: Looks around his bar, sighs… says “fuck it the place is empty. Go on and practice
but only till the official DJs show up”.
And so I did. The local DJs there really took me under their wing. They were super inclusive,
supportive and encouraging, and I kept growing as a DJ until, at some point, I started organising
my events and ultimately live music and song releases and remixes, and it’s been like that
for 20 years now.
As both a DJ and a live electronic music performer, how do you differentiate between the
two approaches? What does each bring to your creative and performance process?
I believe that as a DJ, one of your privileges is to introduce music fans to things they’re not
aware of, in the same way an art gallery curator brings pieces to the people, allowing them to
discover new art and enrich their lives.
DJ-ing has always allowed me to expand my world view, as music is cultural, sometimes even
political, it carries history and weight, and discovering music can help broaden your scope and
connect.
As a Live performer, I take everything that’s always made me feel, and make it my own so I can
introduce a sound that is distinctively me. I do my best to release authentic-sounding music and
hopefully inspire others to discover more music.
How do you keep your live performances fresh, dynamic, and engaging for your
audience?
For every live set I get booked, I write a brand new set. I often include already released songs,
but do a live rendition of them. No live set you’ll hear from me will ever be the same. I want my
fans to enjoy the songs they know, but to be surprised by every new take on them. Plus for the
promoter who’s having me as their guest will also know that what I wrote for them is uniquely
made for their event.
In what ways do your personal experiences influence your music? Have there been times
when you felt misunderstood by your audience, and how do you typically respond to
criticism?
I don’t necessarily get misunderstood by the fans, but definitely by promoters.
A lot of promoters seem to create events that are based on trends and focused on specific
genres and on the circle of friends they have in their network.
My music is mostly its own thing that includes genres like electro, synthwave, dark wave,
techno, and disco, but when you have an eclectic mix of genres and make it your own, it’s often
difficult for promoters to fit you. The fans, however, unmistakably love it.
I try not to pay too much attention if I get ignored or rejected by promoters. If they’re not ready
for it yet, they might come around later, but I will never adapt my sound to fit in. That’s a big no-no for me.
How do you personally define success as an artist, and what fears or challenges do you
face when releasing new work?
I’ve never tried to join the rat race or try to fit in. I’ve always said, “What I share is what you get.”
You can take it or leave it, but what matters most for me is that I love the music I make, so that
when I perform, I can perform wholeheartedly and show you a piece of me authentically.
The music business is flooded with people who want to follow formulas, join mainstream
sounds, become famous, or get rich. I have no such ambitions. I feel that when you make what you
love, the music will find its way to its fans. There will always be like-minded people who dig what
you do, and if my music makes people as happy as it does me. I call that success.
As far as fears go, the only fear i have is getting stuck in a shitty situation where a recordlabel
controls my music and how I make it.
Is there a piece of work you’ve created that you regret releasing?
When I just started, I released a single with a Belgian producer. It was a cover of a bootleg
house track. I co-produced and did the vocals on it. Only after the song started gaining traction.
I realised I did not like where the track was taking me, and had I continued, I probably would
have been more successful or even famous, but I would have been releasing mainstream dance
music. I never wanted that, so I made sure the track is no longer for sale, and the name I’ve
done it under is hidden.
And do you believe true originality still exists in electronic music today?
Absolutely. Just not in mainstream channels. Most creativity these days I find in places where
record labels aren’t around to ruin its excellence. Twitch is a great example where entire synth
communities thrive on making music that makes them feel alive. Full of originality, but also
nothing you’d ever hear on the radio, because it’s not marketable to a mainstream audience.
Even if it sounds great.
There are also music communities on TikTok and Facebook pages where I enjoy roaming
around.
To what extent does your public image reflect your true self as an artist?
I’m not sure, but at the same time, I do not care either. I’m known for being someone with a poor
filter, and I’ve angered plenty of people for speaking my mind. However I do not feel like I have
to suck up to people to be liked. I make my music, in strong combination with my values, and I
am vocal about it too. I am a human first, then a musician, and I believe this should reflect in
everything I do as an artist. Especially if I don’t know who I might be influencing, I feel it’s
important to at least try and remind people of their humanity before everything else.
Looking ahead 20 years, what do you imagine the future of electronic music might look
like?
The way technology has been evolving, I feel there will be many “revivals” going around in
circles between analog and digital instruments. But also, a lot of old genres are being rebranded
as new genres. I just hope and wish that newer generations will care less and less about being
famous and more about creating and leaving behind something of value, rather than
mass-produced, generic-sounding trash with hopes of fitting in.
How do you see yourself evolving with those changes?
I’ve always respected old technology, but I embrace new technology just as much.
I always want to see what the new gadgets are, what other possibilities I have as a musician to
express myself, but also to try and push my boundaries and embrace change.
I rarely listen to purist opinions or gatekeepers. They contribute nothing to the progression of
music, and I firmly believe expression is paramount to being all you can be as an artist. Letting
yourself be limited by being rigid is not for me.
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