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10 questions with Zoo Brazil
For a decade John Andersson - aka Zoo Brazil - has steadily carved out a reputation as one of dance music's most innovative and respected producers. He has released on heavyweight labels such as Systematic, Strictly Rhythm, Yoshitoshi and Pickadoll and remixed for artists as varied as Fatboy Slim, Human League and Dannii Minogue. We travelled to the Swedish superstar's sonic lair to talk about multiple monitors, perfect pianos and why digital and analogue really can get along.
What's been the highlight of your year so far and what have you got coming up?
I recently released my new album 'Please Don't Panic', which is going well. I've also just got back from the WMC in Miami where I played back-to-back with Wally Lopez on the Space Terrace which was unreal and amazingly fun. At the minute I'm working on some more pop-orientated productions with some major acts that I can't talk about yet, as well as some more Zoo Brazil stuff for later in the year.
It's been a busy start to 2010 but it doesn't look like it will be slowing down any time soon. I'm doing the Creamfields tour of Australia in April and May and after that I'll be on tour with Tiesto. That will be huge but I'm not a trance guy so it will be interesting to see how it works out!
What is the key ingredient in a track? Breakdown? Style of production? Bassline?
It can be all of those things - it depends on the track. Sometimes it can be a nice bassline, other times it's a mad breakdown you want to hear over and over. Once in a while it's the overall production quality. If you get them altogether you get a hit.
When building a track how do you normally work? Do you start with the drums and build from that?
When I do Zoo Brazil stuff I spend a lot of time getting the drums and bassline sounding good and sitting well together, as it's these elements working together that keep the dancefloor moving.
For pop-orientated productions I tend to focus more on the melody and vocals, making sure they're working well together in the centre of the mix.
I don't have a rigid way of working. Inspiration can come from a crazy synth sound or nice beat or sample. When I start out with an idea it's not unusual that I'll go off on other paths and end up with something which I really like but that's completely different to what I thought it would be. I think that's important though: to be able to go with the flow and follow your instincts and still end up with something you love. It helps that I know my studio set-up inside out: it allows me to work fast and follow new ideas as soon as they come to me.
Do you mainly use analogue or digital soft synth sources? Do you think analogue makes a difference?
I use both and I used to collect analogue synths. Analogue and digital are two completely different worlds but I think they can work really well together. Analogue sounds are much warmer, deeper and somehow more human, and yet sometimes you play around with a digital soft synth and get exactly what you're looking for from that too.
The main downside of digital is that every digital synth sounds the same - and ships with the same factory settings, whereas in the analogue world no one Korg MS20 is ever the same as the next. Each has its own unique character which it imprints into the track it's used on.
So yeah - used imaginatively I love digital synths, and the new worlds of sound design they've opened up. But I also love the fullness and warmth of analogue. That's why I think a mixture of both is best.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
Getting a monitoring setup you can trust is tricky, but it's incredibly important - as is getting to know the strengths and weaknesses of different sets of speakers.
I use three sets of monitors, all giving me different perspectives on the mix. My main writing speakers are a pair of Dynaudio BM15As that I usually have cranked up pretty loud to give the mix a club feeling. Alongside them I run my beloved Westlake BBSM-4s, which are amazing for the middle range. The mixture of the two works really well. When I'm deep in mixdown I also power up my Auratone speakers, in mono only. They're excellent for mixing vocals and for fine-tuning the balance between tracks. Later this year I'll be purchasing some ATC monitors which I've had my eye on for some time now.
What sounds do you find are the hardest to create from scratch?
For years I was searching for a great grand piano sound. I spent weeks mixing my FM synths with samples and tweaking oscillators to breaking point. I gave up when I found the Yamaha CP-80 Stage Grand Piano which I love. Nothing beats that human touch when you hit the keys - the soul and sound of it is really special.
How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?
I master some of my own records because these days it's pretty easy to do it if you good ears and good speakers. However, sometimes I like to give my tracks to someone else to really go into them; it's hard to kill your own babies sometimes!
What's your opinion on processing the mix bus? Leave it clean or drive it to the extreme?
It all depends on what you're looking for. If processing it works then sure, why not? Other times it might not work. Just listen to hear what sounds right.
I hate working with people who say things like, "Oh, we need to re-do this part because it's in the red," and when you re-record it the part loses its magic. It might be 'wrong' for a track to clip, but if the sound you get is great who cares? Brian Eno and Flood have been massive influences in that regard. I remember reading interviews with them as a kid and they'd say things like: "We routed the live kick drum through the guitar amp, through the piano amp and back to the delay EFX to make it sound like a bass," and it just blew my mind. It is exactly the way I love to work - anything goes.
So back to the mix bus - yeah, go for it! Anything can work!
What do you believe is the secret to your success as a producer?
I've always made music I love and I'm always in the studio: I'm there nine to five every day I'm not on tour.
Any advice for aspiring producers out there?
Listen to yourself and don't just copy what's hot in the charts this week. Make music that you like and that you - not the trend-setters - think is cool. Invest time in creating your own sounds because it's a great way to sound unique.
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More from Zoo Brazil: www.myspace.com/zoobrazil
(c) 2010 Sounds/To/Sample