EDM Ghost Production at ADE 2018: Interview with Alex Larichev

At Amsterdam Dance Event 2018, Alex Larichev spoke openly about a topic that most people in electronic music prefer to discuss only in private. In this interview, he describes ghost production as a practical part of the modern dance industry, explains why many producers choose fixed fees over uncertain royalties, and shares what it takes to run an agency that connects global clients with a distributed network of creators. The conversation is controversial by nature, but Alex frames it less as a scandal and more as an economic reality shaped by how labels, artists, and audiences behave today.

Alex’s story is also personal. He talks about building a career with releases on major trance labels such as Armada, Enhanced, and Flashover, yet still not being able to make a stable living from music alone. At one point he worked a regular retail job selling SIM cards, and the contrast between “label releases” and “real life income” becomes one of the key themes of the interview. For Alex, the world of ghost production is not a shortcut to fame, it is a way to turn production skill into reliable money without chasing the DJ lifestyle, touring circuit, or constant public branding.

Alex makes a clear distinction between ghost production and co production. In his definition, ghost production is work for hire: one person creates the track, another person releases it under their name, and the producer is paid a flat fee with no public credit. Co production is different because it includes credit and typically some form of publishing participation. Alex insists this difference matters because it changes the entire risk profile. Royalties can be slow, unpredictable, and sometimes meaningless if a release does not perform. A fixed payment today can be the safer choice, especially for young producers with immediate bills and limited financial runway.

He also argues that the industry itself pushes people toward this model. In earlier eras, a strong track could be enough to open doors. In the interview, Alex recalls a recent meeting with a big label where the conversation quickly moved away from music quality and toward social media, follower counts, brand presence, and visual identity. The expectation was not just a good record, it was a complete marketable artist package. For producers who do not want to become a public personality, or who live far from major scenes and face logistical barriers, ghost production becomes a rational path. It lets them focus on craft, speed, and consistency rather than building a personal brand that has to be maintained every day.

Alex describes how his ghost production business started in the simplest way possible. After his mother passed away, he faced a decision between returning to retail work or trying to make music pay. A friend named Vladimir built a basic landing page that showcased Alex’s released tracks and offered production services. Within about a month, Alex received his first order worth 400 euros. That first payment was not a huge amount, but it proved demand existed and gave him enough confidence to commit fully. From there, the business grew into a wider community that included producers from Russia, Ukraine, Belarus, Kazakhstan, India, and Brazil, with Alex acting as the organizer, seller, and quality gate.

The interview becomes unexpectedly human when Alex talks about who these producers are. He says many are young, often 15 to 26, working in basic bedroom studios and living in difficult conditions. He shares a story about a producer named Alec who has cerebral palsy and hearing loss, cannot work traditional jobs, and has to push headphones extremely loud while producing. Despite those limitations, Alec creates successful dance tracks that sell. For Alex, this is the strongest argument that ghost production is not only about DJs “cheating”, it can be a real income route for people who would otherwise have very limited options. He mentions producers using their earnings to improve their lives in tangible ways, upgrading equipment, improving living conditions, and in some cases buying a used car.

Operationally, Alex explains two main product formats. The first is a track shop model where pre made tracks are available for purchase, similar to browsing a digital store. The second is custom work where clients provide an idea or direction and the producer develops the track with feedback loops. Alex believes custom collaboration produces better outcomes because it reduces misunderstandings and aligns the final result with the client’s intent. Financially, he describes a standard 70 30 split where producers receive 70% and the agency takes 30% commission. In terms of scale, he cites roughly 500 producers contributing to the track shop and a smaller core in house team of five producers handling custom orders.

He also gives a simple view of demand. The client base is global, with around 40% from the United States, around 20% from Germany, around 20% from Italy, and the rest spread across other markets. Clients are not only DJs. Alex mentions movie production companies and game developers looking for music that fits their needs without complicated royalty structures, effectively treating the output as practical, ready to use licensing.

On ethics, Alex acknowledges the uncomfortable part, the absence of credit. He claims the model works because many producers prefer guaranteed fees over uncertain royalty outcomes, and because clients buy time and consistency. He adds a detail that underscores how rarely the system bends toward recognition: out of thousands of clients, only two offered to include him in credits voluntarily. He also notes how attitudes have shifted. A few years earlier, promoting ghost production at conferences could trigger hostile reactions as if it were a dirty secret. By ADE 2018, he felt the conversation was becoming more pragmatic, with mainstream figures acknowledging that co producers and behind the scenes help are common.