For DJ and Remixer Morgan Page, the third time is STILL a charm. His remix of Jody Watley’s “I Want Your Love,” is the third #1 Billboard hit recently following his mixes of Delerium “Angelicus” and Nelly Furtado “Maneater.” He’s way into Stylus RMX now he says, “My friends and fellow producers kept telling me to get it, and I kept saying - ‘yeah, I’ll pick it up later.’ I’m actually kicking myself for not having bought Stylus RMX earlier. For me, there are only a handful of plug-ins out there that really help you write better music, and this is one of them. My favorite thing about Stylus RMX is how naturally it has integrated into my studio, and the time it saves me when creating a new song or remix.”

As a teenager in rural Vermont, Morgan Page started electronic music with his work appearing on local college radio and then on commercial stations in Burlington, this led to his own Saturday night radio show that gave Morgan access to a huge collection of electronic music sent to him each week. He got a Tech-House obsession from Terry Lee Brown Jr.’s “Chocolate Chords”, Swayzak’s “Snowboarding in Argentina” and Barada’s “Strategies For A Deeper Design” and finally got an internship in NYC at Plastic City recording. Thus began his studio building with an Akai MPC2000, and a few borrowed synths.

His college radio career took off at WERS 88.9 FM in Boston, with a three-year stint hosting a weekly mixshow, finally becoming the station manager of one of the largest and most influential college radio stations in the US.

We asked what elements Page usually gets from the record company when he starts a remix, he told us, “Usually I get a DVD full of every part recorded in the original session. Ninty-percent of the time a Pro Tools session is provided. It’s often way more than I need. I prefer to have only a handful of stems to work with to keep things simple. Less is often more, and many times you find yourself doing more creative things when you are provided with fewer parts. I usually use vocals and guitar parts, then do everything else from scratch.”

Once he gets the tracks into his Pro Tools LE 7.3 system he says, “I just recently added Stylus RMX to my session template, so it’s the first thing I turn to when starting an original track or remix. Once all the parts for a remix are time-stretched to the desired tempo and sweetened (I use a handful of EQ, compression, and stereo expansion plug-ins to put some life back into the parts), I start layering kicks, snares, and hi-hats from Stylus RMX. I start first with one-hit percussion parts, then add in what I call the ‘engine room’ elements: rhythmic loops that make the track move, and often sit low in the mix. The ‘Easy’ mode in Stylus RMX is really helpful for keeping these loops sounding clean, and it’s incredibly user-friendly. You don’t get distracted with LFOs, filter-types, and endless options unless you really want to dive in.”

Sometimes he uses Ableton Live to warp the original track and sets the tempo either up or down to find a natural sound that works. For a House style remix he uses 125-127BPM but he also does more “left-field mixes” as he calls them, where it’s “anything goes.” Although he sometimes has to keep the original tempo, because he says “the original tracks lose a lot of their integrity when they are time-stretched.”

For remixer Page, Stylus RMX is about working fast and getting the right sounds which he often uses via a MIDI controller to play individual hits. Then he records the audio onto a track from the output of RMX. “I’ve played around with MIDI files, but I prefer to record the output from RMX, and layer one stereo pair at a time. I’m starting to take advantage of Stylus RMX’s abilities to use multiple outs, and trigger loops through those outputs with dedicated compression and EQ on each AUX channel. I’ll record these one-hits and stack them manually as chunks of audio in grid mode. I use all of the Groove Elements, and very few melodic loops from Stylus RMX. Although - that is always a fun option - to try ‘ghosting’ and later swap out a melodic part that people might recognize if they are familiar with Stylus RMX.”

“To me, the Sound Menus are my favorite. I grew up making beats with an Akai MPC2000 and an EMU E6400. I always made my beats from scratch, and it helped me learn production from the ground up, but I never used loops. As I got into Pro Tools - and eventually started using Stylus RMX - I found that I could retain my ’sound’ but speed up the production process ten-fold. To me, it’s all about getting your ideas down quickly.”

Page has been exploring the Video Tutorials for Stylus RMX recently and says they are helping a lot. He found new areas in the software and started trying new things. “I really like the sound of the FX in Stylus RMX, and I’m planning to use those dynamics processors more as I dig in deeper with the program. Also, I’ve been trying out the edit groups recently, which are very handy for customizing the sounds you get from Stylus RMX.”

Now, at the young age of 26, Page is a sought-after producer and remixer with a host of remixes under his belt for Nelly Furtado, Stevie Nicks, Ashlee Simpson, Dolores O’Riordan, Ultra Nate, Delerium, Grammy nominee Wax Poetic (Norah Jones), and dozens of critically acclaimed EPs out on labels like Bedrock, SAW, and Force Tracks.

Top level DJs regularly play his remixes including, Sasha, Deep Dish, Danny Tenaglia, Dave Seaman, Hernan Cattaneo, John Digweed, Mark Farina, and Jason Bentley. And his music has crossed over to movies, TV, and retail including: Sephora, Victoria’s Secret, Chanel, Adidas, Nike, Abercrombie & Fitch, Ecko Clothing, and The Showtime Channel.

Page has his own project due out later this year, for more information stay tuned at his website