Big Reg
We had a chat with Big Reg where he shared his production processes, gamechanging tools, views on gatekeeping and making a living within the electronic music industry.
BIG REG is a London-based DJ, producer, and promoter whose roots in UK underground music stretch back almost two decades. Rising through the North of England club scene, he held key residencies at institutions such as Bigger Than Barry at Mint Club, Canal Mills, and The Garden Party — helping shape some of the most important dancefloors of their era. For over ten years he has also been a resident at Hideout Festival in Croatia, performing annually to international crowds and sharing bills with many of electronic music’s most respected artists. This long-standing role has solidified his status as a trusted, adaptable DJ with a truly global reach. Now operating out of London, BIG REG runs Extra Smooth — both a party and a label focused on groove-driven, genre-fluid sounds that blur the lines between house, techno, and UK bass. His sets are known for their depth and versatility, balancing low-end energy with subtle, off-kilter rhythms. His productions reflect the same ethos: music for real dancefloors, not trends.
What is the one thing that you always do when producing that if you didn’t, it wouldn’t be a BIG REG ’track?
"At its core, a BIG REG track is defined by pure physical weight. The non-negotiable anchor in every single production is a deep, menacing, stinking bassline—the kind of raw, driving low-end that you feel straight in your chest and that's built specifically to punish a proper club system."
When producing, are you more in the box or do you use Outboard gear too? Could you share with us a single unit or tool that is a true game changer for you, and why?
"Strictly in the box. I run Ableton Live for the layout, but the actual heavy lifting happens with the Reason Rack VST hosted inside it."
As for a tool that i use that is the biggest game changer for me, it's a toss-up between Reason’s Subtractor and Monotone bass synths. Subtractor is where I get that raw, abrasive filth and texture, while Monotone gives me that pure, chest-thumping weight. Dialing those two in inside the rack is where the low-end actually comes alive—if it doesn't move air on a proper system, it doesn't make the cut."
Gate keeping is one of the main obstacles for up and coming artists. Promoters book the same dj’s over and over, and labels are more receptive
to established names, making it hard for lesser known artists to get a chance to shine. How long did it take you to breakthrough and what strategies would you recommend for up and coming producers?
"Honestly, as a self-proclaimed washed-up, semi-famous international DJ nearing the 20-year mark, I don't think I ever had a traditional 'breakthrough' moment.
My path was built on pure longevity. Holding down a 15-year residency with Hideout Festival in Croatia and playing institutional Leeds nights like Bigger Than Barry and The Garden Party taught me that you don't need a massive, sudden break to build a proper career.
Gatekeeping is real, but the best way through it isn't waiting for a handout from a big label. Learn the craft of DJing first, make music with serious low-end weight that demands attention on a system, and build genuine relationships with local crews. If you deliver every time you step in the booth, the doors eventually open."
How do you feel about music producers having to DJ in order to bring in an income? What would you need to be fully dedicated to music production?
Do you think it’s still possible to make a living strictly from production?
"It’s a shame, really, because half of them shouldn't bother getting behind a set of decks in the first place! Great production talent doesn't mean you know how to hold a crowd.
Until streaming actually pays a decent wedge, relying strictly on underground record sales to cover your bills is a complete myth."
How is making a living from music affecting your creative output? Do you feel as free as when you started?
"Let’s be real: without a trust fund to back you up—which feels like the default for half the industry these days—surviving off underground music in London is almost impossible.
I work full-time on a building site to pay my way. Grafting all day, taking time off to tour, and squeezing in production late at night can feel like a real slog, and yeah, it tests your energy. But it protects the music. I don't need to chase trends or play safe to make rent. Every tune I make is built purely for the floor, and when that sub-bass hits a dark room, all the physical graft behind it is instantly worth it."