Masha Dabelka.

You work with three turntables. Is there a moment in a set when the third record really opens something up for you musically? What do you hear then that you would miss with two decks?

Yes, that does happen. But if I’m honest, I mainly do it to keep myself from getting bored. It’s pure fun, or a challenge. Though perhaps I generally see every challenge as fun – I’ll have to think about that for a moment.

I don’t think it necessarily opens up new musical possibilities or another dimension. In general, I prefer a purist approach to DJing, without special effects or unnecessary gimmicks. A single track that really interests me usually already contains everything I need. And perhaps I put so much energy and concentration into the three turntables because I don’t normally dance while I’m playing. Sometimes I probably even look so serious behind the decks that people come up and ask if I’m all right.

Turntablista graduates can also be heard on RES.RADIO. After their lessons, what do they need to turn those first public sets into a practice of their own – and where would you like to see more support from the Viennese scene?

For appearances on RES.RADIO, my long-standing and wonderful radio partner, my graduates really only need one thing: the desire to do it.

But if they want to start DJing in Vienna, unfortunately simply being a DJ often isn’t enough. You also have to contribute to the scene in other ways: organise parties, put cultural projects into practice, do streams, form collectives with other people, or get something else off the ground. And all of that leaves you with less time for the music itself. It’s quite a paradox. Or perhaps I just think like an escapist dinosaur. For the new generation of DJs, community might be the most important thing, whereas for me it’s the music. I spend so much time at my school with my students that it feels completely normal to prefer spending the rest of my time alone – looking for new music or producing my own tracks. I do go to parties as well, but rather rarely.

So I always advise them to invest in their own musical taste and look for people who share a similar musical vision. It’s just bloody difficult on your own.

In my opinion, the Viennese scene should generally be more open to difference, take more risks and, above all, let a few more unknown people into its precious, closed circles.