Recently, I had the pleasure of interviewing up and coming producer Treznik. Based out of Miami, his sound is anything but the typical Miami deep house sound. Mixing aspects of neuro, bass, funk, and glitch together, Treznik creates a cornucopia of rich and lush textures that challenge the conventional notion of what is possible with sound design.
So let's get right into it, how long would you say you've been developing your sound for? How would you describe your sound?
I started in 2009, but I started taking it seriously about 2 years ago. I learned music production entirely online, mostly Youtube videos and stuff like that. I use Ableton, and everybody here in the studio I work in uses Ableton. I have a lot of influences from drum n bass, old house records, old funk records, which all sore of juxtapose each other, and I think that really makes me opening to making any type of sound. I am really fascinated with sound design, and right now I would say that just getting a good list of samples and getting to know the gear comes first and foremost.
You are a part of the Kings Head Records label family, how did you come to join it?
I met Ben through a mutual friend in college, and I had actually known him since high school. We knew each other through mutual friends, so we never actually got to talk a lot one on one. While I was still in college, he came down to Charleston and told me that he and his brother were going to start a label, and this was 2 years before it actually happened. About a year after that, I was given the chance to come down to Miami and produce professionally, and I haven’t looked back since.
We actually interviewed Ben Wash a couple months back, do you work with him frequently?
We’ve been working on releases and collaborations for about a year, and the Yuppie EP was actually made while I was still in Charleston. I haven’t been doing this for that long, so signing to Kings Head was a big deal for me. I still learn by watching Youtube videos, just to solidify things I know.
After looking at your Facebook page, we see that you've been posting screenshots of your latest EP, Exonym. How important would you say fan interaction is?
I thought it was just another way to connect with my fan base, I really try to stay as transparent as possible in that regard. As far as the screenshots go, those are really for the ableton enthusiasts, so that people could have a visual connection to what they were hearing. I was always interested in tutorials and showing the techniques behind sound design, so I wanted to give my audience the visual aspect of the song. Its definitely content thats worthy of being on a Facebook page, I think. Producers tend to be secretive of their talents, because ultimately it takes 10 years to become a master of your craft, so why would you want to show all of that online? However, since I’ve only been at this for about 3 years, I still want to show as much as possible, and release as much free music as possible.
So about your EP. The sounds on it are extremely varied and diverse, how did you decide the structure of your EP and what sounds would be encompassed on it? I would have to say System Image is my favorite tune on the EP.
I usually have about 20 tracks laying around, and I try to condense it down to about 4-5 tracks. When I start something from scratch, I feel depressed when I can’t seem to finish that idea in one setting. So I think the best way to approach it is to make as many sounds as you can at one time, and then just pick the best ones. You’ll have way more options with this approach. The influence would be this guy named V-Sauce, he puts out youtube videos about natural science and stuff like that, and he had a video about “exonyms”. Exonym is the name given to a group of people by outsiders. For example, if we were talking about Germany, the exonym would Germany, and the endonym would be Deutschland. For this EP I was going for that space-funk sound. All the tracks are different genres and tempos, but the main focus was just heavy sound design, and testing more of that compared to a melodic sound.
The mix down is SUPER clean on it.
Thank you man, I really strive for clean mix downs and mastering. I may be disillusioned, but I believe that a good mix down and master is only gonna bring you closer to the big leagues. You want to make sure that your mix down sounds good on any sound system thats it’s played on, from car speakers to mac speakers.
Any Advice for up and coming producers?
I would say bounce everything to Audio. With audio, you are limitless as far as what you can do with the sound, and it can allow you to have more control over each and every individual sound. Some of my favorite producers work exclusively with audio. Noisa works exclusively with audio, the actually have two project files for every track; one for mix down and one for arrangement. I think that’s a great way to work because the mix won’t distract you while you’re arranging your track. Also, mix down as you go, and try to get every piece of audio sounding as good as possible from the get go.
Any mix down tricks you always use?
Each sound deserves its own place in the mix. If you look at one of the screenshots that I posted, I believe that the track has about 124 tracks. Each one of those tracks is for a different sound. In the past, I would place the same types of audio on the same track and would have problems mixing down. When you separate everything out and bounce every track to audio, your mix will be a lot cleaner.
What can we expect from you, as well as kings head records, in the future?
I am always in the studio, but I believe I have a couple of shows in Miami in the near future. We are also planning a small Kings Head records tour around Florida for this summer, so that should be fun as well. Other than that, just working in the studio! I strive for quality vs quantity. I also have a Youtube Channel that I’ve started with a couple of tutorials on it, so people should check that out as well!
Be sure to support Treznik by purchasing his EP on iTunes when it is released on April 27th!