I do get freaked out sometimes. I have kids hop my fence, get into my back yard, and just start screaming at me.

I get to listen and enjoy music that is partially mine. Maybe influenced and guided. I created some simple outlines, but ultimately, I'm hearing a derivative work.

I didn't come up as a DJ, so I don't play by DJ rules.

The way I see EDM right now, it's a healthy industry for sure -- minimal work for maximum profit.

Virtual reality, to me, seems to have a number of different tiers. Entry-level-tier VR is this experience: on a phone, some simple head-tracking, and some quick and dirty, game-engine-quality stuff.

I'm a video game enthusiast. I love video games! They were a huge part of my upbringing in their early form, when I was all about 'Dig Dug' and 'River Raid.' As they evolved, so did my music-making, and we just kind of grew up together like cool friends.

I'd be pretty saddened to hear anyone say, 'Yeah, listen to this... God, I'm awesome, the way this all sits together,' about their own work.

When I'm working on something and need to take a little break, I'll go down and play some video games.

Going out and being nice to the world at large doesn't make me feel good, so I replace that with things, with technology that does get me excited and does get my brain spinning, until one day it stops spinning, and then you can bury me.

Usually, companies, when they approach other people to do VR, they're like, 'We're gonna offer a virtual reality experience' -- to me, that usually means they're gonna put a bunch of 360° cameras in a room, film something, and wrap the video in a sphere so you can head-track and look around. To me, that's not virtual reality. That's 360° video.

The industry has always had a problem with the 18-to-25 market, but EDM is perfect -- a unique identifier for a group in that mental and fiscal state; in their youth, but free to do whatever they want. We filled that void.

Everybody's all up on the EDM bandwagon now, because it's, like, another viable conduit for traditional pop music to ride for a bit so they can get out of their little stagnant pool and make a dance hit.

I get anxiety from a noise or some scuffling at the side of the stage. I hear stories all the time, from as minor as Dillon Francis getting smacked in the head with a flying beer can to Dimebag Darrell.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That's what makes me feel like an artist.

The label does what's good for the label. Always.

I'm not a DJ. I play live and think we put on a show. That's it.

EDM is, like... Event-Driven Marketing, I think, is the acronym there. It reminds me a lot of disco. That had some hang-time, like, 10, 15, 17 years tops... Not too many people are forward-thinking about electronic music. They're just kinda like, 'Now, now, now -- do it, do it.'

I was a bandwagon jumper. If everybody in high school listened to it, so did I.

I like to consider myself an all-rounder, and I'm not trying to be King of the Scene or anything. I'd like to do everything, from writing film scores to producing pop albums.