Roman Zawodny mixes it proper

Roman Zawodny mixes it proper

29 January, 2010 | 5.18AM

• Written by: elektrax
• Filed under: Music News : elektrax recordings, roman zawodny

Brand new interview with Roman Zawodny.

1. Where and when did it all start Roman? How did you get into the techno scene, promoting, then DJ’ing and producing?

First off I would like to congratulate you, Simon, on the success of your Elektrax label and to tell you how thrilled I am to be part of the Elektrax booking agency. You truly have your fingers on the pulse of today’s global underground techno scene. I see big things ahead for you, your labels and your agency. Top notch!!

Growing up in Los Angeles, then Portland, Oregon, I was musically inclined from my early years, playing the flute in the Portland Youth Philharmonic, then in England at Eton College as co-principal in 1991-1992. As I became interested in music theory, I was also exposed to the blossoming electronic music scene in England at the time it was being offered on such labels as Reinforced, Formation, Suburban Base, and Moving Shadow. I came to England heavily influenced by legends like Chicago’s Fast Eddie, Tyree Cooper and Mr. Lee . . . I was fascinated by catchy rhythms and acid house melodies. In my dorm room at Eton, I remember watching the Concord taking off from Heathrow Airport while listening to Green Apple Pirate Radio, and the likes of Brenda Russell, Colin Favor, and Colin Dale playing what I would soon find out was called techno. My life was changed from that point on.

When I came back to the USA in 1992, I began my formal education at the University of Washington in the psychology department while at the same time continuing to buy music in the techno genre. My first DJ gig was in 1994, playing on a local radio station in Seattle. A well- known club promoter by the name of Mike Mercer heard me and called the station to ask who I was. Mike ran the biggest night club in the city and wanted me to perform. Gigs became more and more common from this point on and in 1996 I started throwing warehouse parties to showcase my own DJ skills alongside legends like Tyree Cooper, Mike Dearborn, Paul Johnson, Steve Stoll, DJ Skull, Adonis, DJ Dan and Terry Mullan. I brought producers and DJ’s whom I respected while educating the kids going to parties about real techno and house music. In 2002 I started producing with a good friend of mine, a talented sound engineer by the name of Anthony Moscatel in Seattle. He was working with Donald Glaude at the time and was just about to release a remix on DJ Preach’s Relic imprint. I basically lived at his studio learning the ropes from him, while gigging on the weekends throughout the USA and Canada.

After a couple of years in the studio working with Anthony and another talented producer and good friend, Adonis Ducksworth, I ventured forth to buy my own gear. At this point I began working with Chris Cowie in England running F1 Recordings alongside Gaz ( currently Dirty Planet Recordings A & R). When Proactive music went out of business a couple years back, I started up Reldz. Now I have a new label called Mad Hatter-HRD with Mad Hatter label bosses Carl Anians and Nick Hussey.

2. Have you been known under any other aliases or always Roman Zawodny?

Up until I started producing seriously in 2004, I was known as Roman or DJ Roman…but now I go by my first and last name.

3. What is your current setup and how do you achieve this funky, tribal, hard-edged, peak-hour sound?

I use a Dell PC with a good sound card, a Yamaha mixing board, two KRK monitors and a midi-controller. I achieve this particular sound by countless hours of switching sounds out in my sequencing program until I find that perfect combination. It’s all trial and error, a vision and a relentless internal drive to push for something interesting and catchy. Music is my life.

4. How do you master your tracks? Is it mainly hardware, software or a combination of both? Do you have any favorite plug ins?

I send my tracks off to Phil Caine for mastering at Mad Hatter Mastering and Recording Studio in the UK. Not sure what he uses but he has formal training in the field and pays attention to my specific requests. His contact is: philcaine7 (at) hotmail.co.uk
My favorite plug in would have to be the PSP Vintage Warmer. There are so many plug ins that I use. . . Waves are the best.

5. Do you play vinyl, digital or both? What’s your idea of the perfect DJ booth?

I play vinyl and digital at the moment. Its so lovely to mix in classic acid tracks with new material. People love it. My perfect DJ booth would consist of an Allen and Heath mixer, three Technics 1200’s, three Pioneer CD DJ 2000s and two Mackie monitors all at the proper height for a 6′2” DJ. Let’s not forget about the cooler as
well with some refreshments and a couch for the guests to rest comfortably while trainspotting.

6. Where do you buy your music?
Beatport, Juno and Trackitdown.

7. You have been part of Reldz, now you are behind MH-HRD, how different is the sound on those labels and what do you want to push on MH-HDR to stand out from other techno labels?

Since leaving Reldz I have focused on pushing a sound that is edgy, tribal and futuristic. I want to concentrate on this underground vibe and get artists that really jack the house back into the mix. Minimal and hardgroove techno have recently saturated the market and now I want to bring people back to the roots by featuring EP’s from techno soldiers like Lester Fitzpatrick, Wyndell Long, JC, Beatcompute, Jerome Baker, James Hammer, Steel Grooves and myself. I’m really into keeping it pumping and energized. Dance music with attitude. I’m not into the overproduced sound as much as I was with Reldz. I support what Reldz is doing now, but I feel it’s time for a large group of producers to get back out there again, and I want them to have a home to release their material.

It’s time to bring the jack and old school flavor back into techno. There are plenty of labels pushing hardgroove and minimal sounds . . . the market is saturated with these styles. I’m featuring artists that have more of a personalized sound. Artists should be encouraged to have confidence in their own musical style. Each person has a distinguishing voice within. Mad Hatter-HRD is the place for high quality artists to show what they are made of, without feeling pressure to conform to a popular style of the moment. We’re pushing creativity and individuality. There’s something special going on here.

8. How did you get involved with Elektrax Music and the Sydney label Elektrax Recordings, run by DJ Hi-Shock?

Last year Simon approached me to remix the great Spanish producer C-System. After accepting the request, a few more projects came about from the Aussie mastermind of Elektrax, and since then it’s been an ongoing productive relationship. He is not only a visionary producer but one of the most innovative and respected label owners to come out of Australia’s electronic music scene.

9. What vibes can we expect to hear on the upcoming Proper Agenda promo DJ Mix and how are you going to mix it?

The vibe is going to be intense yet smooth. My goal is to paint a picture or tell a story with the different tracks given to me. I’m going to take a few days to listen to the different compositions and come up with a set that effortlessly takes the listener from one place to another. I’m quite excited about this dj mix as the music is
all unreleased and the stakes are high. The pressure is on and honestly this is when I do my best. I will be using Pioneer CD players and a Pioneer mixer.

10. You have done heaps of tracks and remixes for Elektrax Recordings, tell us what’s coming up in the next few months?

I’ve done two remixes for Scotland’s E383 on two separate releases alongside Pacou, Alan Oldham, and Dj Hi-Shock, plus two other original tracks that are sharp and pack a punch. I like the direction that Elektrax is going at the moment and I am eager for the day when I will come to Australia to meet with its creator, Simon AKA DJ
Hi-Shock to share ideas about music promotion, distribution and to work on some joint projects in the studio.

11. Which other artists/DJs do you currently enjoy working with or remix, and what’s the attraction of these particular people?

I particularly enjoy working with Beatcompute in Sweden. He’s a relatively unknown name at this point , but my goodness does he have talent. His drum programming and synths are raw and unpredictable. His music has strength and clarity that’s perfect for prime-time dance floor control. My good mates JC, James Hammer and Jerome Baker also from Relentless music in Minneapolis, Lester Fitzpatrick and Feedback in Chicago, Steel Grooves in Austin and Antony Dupont from France are also a great inspiration to me. C-System from Spain and Kenyu from Slovenia are also good mates of mine that I talk to consistently about techno from every angle. These are
knowledgeable and driven producers. Each brings something so unique to the table. Jerome Baker has such natural musical feel, rhythm and experience; JC, such intelligent production and enthusiasm with a cutting edge feel and hard work ethic; and James Hammer is the ultimate perfectionist who encourages all of us to achieve new levels.

Steel Grooves has also proven to be a major positive entity in the US techno scene, always pushing forward with his sound while reaching out to fellow producers to unite them. After meeting with him in Austin this fall, I brought him on board the Mad Hatter-HRD label to assist with signing new material and promotions. All these men are key players in HRD and have EPs coming out in the near future. It’s an amazing brotherhood we have here and I’m honored to be a part of it.

12. What are your thoughts on the digital download phenomenon (positives and negatives)?

The capability to download music is a brilliant technology that allows people to share music faster and more efficiently than ever before. However, there are many variables involved which make it difficult to gauge the financial benefit to producers and labels. It’s a well know fact that file-sharing and piracy have devastated the
incomes of music producers in all genres. Another negative aspect is that unfortunately the quality control and mastering are not as consistent as with vinyl releases.

13. Do you think digital download and digital files will eventually replace vinyl for DJs?

I don’t think vinyl will completely go away but I see no reason why digital downloads will slow down in sales. The reality is that digital makes sense. It’s easy to distribute, produce. store and play.

14. A lot of techno producers refer to music released back in the 90’s. What do you think about those days and what labels/producers did you like back then?

In the ninety’s I was into material like Essit Musique, Profan 3 by Mike Ink, Afu #2 Ides Sweet and Sour EP, DJ HMC, Djax material, and Drumcode releases with Hyperactive. These guys were making amazing techno tracks ahead of their time. I would say my favorite track was Armando’s Land of Confusion.

15. Techno artists like to say that they produce for the love of music, not for money and that these days digital releases are really more of a tool to promote their name in order to score gigs, because that’s where the real cash is anyway…so…here comes the final question. Why do YOU make techno music?

Techno is the rhythm of urban life today. For me the reward is in creatively crossing that space between observing, feeling and producing the record of that rhythm.
A new track can speak about where we’ve been and suggest where we might go. There are many stories to tell, many tracks to write.

• (0) Comments
• (335) Views