DJs and producers in electronic music have insane touring schedules. The combination of less gear to transport from city to city and less recovery time needed between shows means that artists can easily remain on the move.

To play at the Brooklyn Electronic Music Festival, which kicks off Friday, producer/DJ FaltyDL has to ... pretty much just walk out his front door.

“I joke — I call them walking gigs,” the South Williamsburg resident, 33, says. “If it’s in my neighborhood, I don’t even take a cab. And a lot of my friends can come out, my friends in New York, and as we’re getting older they can’t really travel [for shows]. If it’s an early set, it’s really the best.”

amNewYork caught up with FaltyDL, aka Drew Lustman, before his Nov. 10 date at the Panther Room to talk electronic music in the city and how both he and his sound, an eclectic mix of everything from garage and house to modern, woozy R&B, have changed over a decade-long career.

What does electronic music look like in New York in 2016?

Physically, what clubs and all, I couldn’t tell you because I hardly leave the apartment. Sonically — again, couldn’t tell you. I think there are a lot of people a good 10-15 years younger than me making very interesting music in lots of DIY venues and places and homes and whatnot.

Who are you looking forward to seeing at the festival?

Most acutely is the night I’m doing with Benjamin Damage. He’s a good friend of mine, I really love his techno, so that’ll be fun. ... I’m hoping I just get to hear some new artists that I’ve never heard of before. I’m sure there’s a bunch of names on the list that I know and that I look forward to seeing, but I hope that they’ve booked some young, deserving talent that could use the platform.

You released 2015 album “The Crystal Cowboy” under your own name. What’s the difference between a Drew Lustman album and a FaltyDL one?

It’s a bit more experimental and free. ... But I’ve messed around with a lot of different aliases in the past, and there isn’t a whole lot of difference to be honest. They all sound like me. I’m not too precious about separating them.

How has your style changed since the start of your career?

I think I’ve slowly moved away from my original sound, a more club and dancefloor sound. There’s definitely still tracks that work on a dancefloor on [latest album “Heaven is For Quitters, which came out Oct. 21], but I think I’ve gotten more melodic, more musical — [though] I wouldn’t say softer or gentler. If you’re making real honest artwork, it reflects what’s going on with you, so I think I’ve been reading more books and listening to more music that isn’t dance. I’ve been exploring more and that’s coming out in the productions.