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Producer Sessions is a series from Dancing Astronaut meant to shine a brighter light on the producer community. Each volume will guide producers toward professionals in their field.
ZEKE BEATS released his Bad Robot EP off Zeds Dead‘s Deadbeats imprint, an experimental bass three-tracker that thrusts dance music’s more mischievous side to electronic music into listeners’ faces. With the horrifying, but fun lead single “Bad Robot” to the drilling bass sounds of “Fire Tonight,” and through the dizzying basslines in “The Mammoth,” this taste of music provides a peak into whats coming next from the up-and-coming low end conductor.
Prior to the EP, ZEKE BEATS contributed to the Peekaboo & G-Rex remixes with one of his own that contained an assortment of bass spinning sounds that certainly prove dynamic in the Australian producers unique sampling choices.
Below, ZEKE BEATS answers producer-focused questions about the EP.
Why did you call the EP, Bad Robot?
The single itself really sounded devious, mischievous and super robotic, so naturally I thought “Bad Robot!” Once that was established the whole artwork and branding of the EP really took shape.
Do you have a typical production process? If so, what is it?
I generally try to make a heap of overwhelming bass sounds. When I find something I really resonate with I generally become super motivated to keep going. Most of the time I use a blank skeleton and building upon that!
What was your collaboration process like with Avance?
It was fantastic. I was touring Australia and we met up in Sydney at the Poster Child studio and made the main parts of the song that one day! After that we sent back and forth a few times online to finish it off. It was a really fun track to make.
What was your go-to synth for the EP?
I didn’t really have a go to synth. I like to use a different array of synth, vsts, and hardware synths. Those being serum, operator, massive, and a little phatty.
What was you go-to MIDI controller?
I don’t use any midi controllers for production, just the inbuilt keyboard in Ableton.
Any special VST that really took the production home?
Fab filter proQ and Ableton’s glue compressor
Which song took the longest work and why?
“Fire Tonight” took the longest, mainly because I wanted to go more in depth on the second drop. I had already had a completed version of it but then went back to the track and totally transformed that section.
How would you define your sound?
Visceral bass which pushes the envelope of electronic music.
What DAW do you use and why?
Ableton because of it’s efficiency and super fast work flow.
What was the most difficult sound to conquer on the project?
Just generally trying to get the cleanest mix downs possible really, there was no one single hurdle.
Do you have any unique studio habits?
Hmm not really unique but I do like my coffee
What is your favorite in-studio snack?
Coffee and avocado toast lol
What is next for ZEKE BEATS?
I’ve got a few amazing collaborations in the works and generally a ton of new music ready to be released. I’d just started my Bad Robot tour 2-3 weeks ago which has been so unreal. Another couple weeks to go. But that’s about it. Lots more music, original & collaborations, and a lot more shows!
Photo Credit: Turk Photos