To celebrate the launch of the Red Bull Studio we thought it only fair to cosy up with some of our music idols. Our first producer is RBMA lecturer and D’n’B pioneer Ben Zinc, a man who knows the Red Bull Studio very intimately.
As a treat, the east Londoner invited us into the world of Crack House and D’n’B, to Super Sharp Shoot the sh*t about how he uses a mix of analogue and digital equipment, to create some of the biggest electronic anthems know to man.
Separating Moog from Mackie, Zinc gives us the low down on what works for him and unravels his production process. Not forgetting his sure-fire way to test out a banger, and who he would like to see collaborate in the Red Bull Studio.
Gear heads be prepared to gasp at his collection of digital treats, and reminisce over classic kit that has cemented and supported his sound over the last two decades.
How old were you when you started producing and can you pin point a specific track, person or moment that got you into the studio?
I was about 20 when I started producing, and at that time you had to have a full analogue recording studio, so it was really hard to get into a studio. The person that made it possible for me was a guy called Bizzy B [hardcore legend], he had a basic studio in Leyton that he let me hire really cheap!
When you were younger, were there ever any opportunities for you to use a fully stocked studio for free?
No!
Now days when you are working in the studio what is your favourite piece of kit?
I guess nowadays its a Mac, ‘cos you can do pretty much everything on em’. Hardware wise I love my LA-2A compressor.
How long did it take you and on what equipment did you use to lay down tracks like Super Sharp Shooter and Casino Royale?
Super Sharp was using an Amiga computer with tracker software, an Akai S950, one FX unit and a crappy £200 mixing desk, recorded to DAT[digital audio tape]. When I did Casino Royale I had quite a bit more kit, a Mackie 24/8 desk, an E-mu 6400 and some outboard eq/fx. Both tracks took 3-5 days each I reckon.
When making tunes do you like to leave it and come back, or bang 'em out?
I work on rough versions on my laptop when I'm on the road, but ‘cos I use so much analogue gear on final mixes I have to finish it and move on, no going back.
Is there a difference in the way you approach laying down housier' tunes to D’n’B?
Not really, I have to pay a lot of attention to the kick and bass not clashing in house, but other than that it’s much the same.
When you are in the studio are there any rituals or things you do to get your creative juices flowing, have these changed over the years?
If I get stuck, I find and process samples - that always gets ideas started.
Was there anyone at the Red Bull Music Academy you particularly enjoy working with?
One of the great things about the Academy is that pretty much all of ‘em are a pleasure to work with, there wasn't one.
If you were stranded on a desert island what piece of kit or instrument would you take from the studio?
Probably a Mac or Moog Voyager.
Are there any techniques you use to test out your tracks?
Play ‘em at Plastic People or Fabric.
Who would you like to see recording in the Red Bull studio this year?
New people who may not have the chance to use such a good studio.
If you could put any two musicians (dead or alive) into the Red Bull Studio to jam, who would you choose and why?
James Brown and anyone else : )
Check out more mixes and interviews on the Red Bull Music Academy site
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