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[MUSIC PLAYING]
MALE SPEAKER: So I'm here with Zedd, DJ/producer
extraordinaire.
AUDIENCE: Hi, Zedd.
ZEDD: Hey there.
MALE SPEAKER: His resume includes remix work for Lady
Gaga, Skrillex, Black Eyed Peas.
And recently he did some production
work for Justin Bieber.
ZEDD: That's right.
[CHEERING]
MALE SPEAKER: And so to ask what I'm sure is on everyone's
mind here, what's Justin Bieber like?
ZEDD: I think he's great.
He's talented.
And he's way more talented than people
probably think or know.
It's easy to hate on someone just because he's famous.
But if you think about it, he's, I don't know, 18,
or how old he is.
He knows how to play instruments.
And he knows how to sing and make songs.
It was great.
MALE SPEAKER: He seems like one of those, like Justin
Timberlake, who has a potential
to transform himself.
ZEDD: That's what I think he's going to be.
Because when he's, I don't know, 21, 22, I can totally
imagine him being like a next Justin Timberlake.
MALE SPEAKER: I have to say, though, I never expected to
see yourself, Nicki Minaj, and Justin
Bieber on the same track.
ZEDD: I did not.
I mean, I make this track and I sent it to Max Martin.
And in the first place, it was the biggest honor for me to
work with Max Martin.
And then we were going back and forth who
would fit the song.
And I wasn't convinced first, just because I probably had
rather a female vocal in my head, just
when I made the song.
But when we met Justin in the studio, he nailed it.
I couldn't say anything.
I was really surprised and really, really happy.
MALE SPEAKER: Yeah, I know EDM in general has just
experienced such a resurgence--
not resurgence, emergence-- in the past three or four years
when you really started doing your production.
Do you think it's had any sort of growing pains?
Or do you think it's fit into that role quite nicely?
ZEDD: Well, I don't know.
The thing is, as you say, the last two years were probably
the two biggest years for electronic music.
But before that, I've never really been so much into
electronic music.
A lot of people ask me about the change.
And it's really hard for me to say, because I've been making
metal, literally, four years ago.
And I was a drummer in a band.
And I used to play in front of 50 kids.
It was a completely different thing.
And I just got into the scene right at that time when
everything started to explode and people really wanting it.
So it's hard for me to really judge the change, I would say.
But you can't deny that kids really like that kind of music
at the moment.
MALE SPEAKER: I know you got your start at a
very, very young age.
You started playing piano when you were 4 years old.
ZEDD: That's right, yeah.
I started with classical music.
And my parents loved listening to King Crimson, Genesis, Yes,
Deep Purple, Rainbow, that kind of music.
So that's what I just automatically started
listening to.
And also started making music like that in my band.
Electronic music was the very, very last step.
MALE SPEAKER: Do you still remember the first song that
you learned when you were 4?
ZEDD: What is that?
MALE SPEAKER: Do you still remember the first you learned
when you were 4?
ZEDD: The first electronic song?
MALE SPEAKER: No, the first song you learned on piano when
you were 4 years old.
ZEDD: I don't really know.
I mean, I started just hammering on the piano.
That's how I started, a mix of fighting and playing, I guess.
And it was really more like classical music.
And then I just started.
I have the first recordings.
I'm afraid of showing them to people.
But maybe at some point I will, where I'm 5 or 6.
And I have the first songs on a keyboard.
Really cheesy and really bad, but awesome at the same time.
But I don't remember what it was.
MALE SPEAKER: And your first band was Diorama?
ZEDD: Dioramic is the band I played in.
MALE SPEAKER: And you were, what, 13
years old at the time?
ZEDD: I started when I was 12.
And basically my brother founded that band.
And at that time, the rehearsal
room was his bedroom.
And his bedroom was next to my room.
And I never played the drums before.
But I hated that I was in my room listening
to him making music.
So I just walked in and decided I'm
going to play the drums.
Done.
Next.
And that's how it actually came up.
MALE SPEAKER: You guys were assigned to a label, even.
ZEDD: Yeah, that's right.
MALE SPEAKER: I mean, it wasn't just some basement sort
of project.
ZEDD: I mean, it started as one.
But then we signed to Lifeforce,
which is a metal label.
And we released an album.
And already when I was Zedd and touring a lot, I flew back
from the States from, I think, the tour I played was
Skrillex, straight to the studio, recorded the album on
the drums, and flew right back, DJing.
And now it's just way too difficult to do both.
So I can't really be in the band.
MALE SPEAKER: Do you think your background as a metal
drummer, do you think it all influences the music you're
working on now?
ZEDD: I personally think so.
There are songs on my album where I really think you can
actually hear that I spent a lot of time
being in a metal band.
And you could easily play those whole songs in a band.
So I do think that it does make a difference.
And yeah, I'm also really happy that my parents forced
me to play the piano.
Because I don't know if I would make the same kind of
music if I did not learn to play the piano.
That's how I start most of my songs.
I just play the piano.
And then whatever chord progression comes out, or
whatever idea I get from that, I make it to a song.
MALE SPEAKER: Have you ever thought
about doing metal remixes?
ZEDD: I did, actually.
There's a band called Periphery, which I really
loved listening to.
And I made a remix for them.
And it was fun.
Because I remember the first time I heard
that band on Myspace.
And I thought, damn, those guys are amazing.
And then at some point, they just asked me to do a remix.
So it was a big honor and a lot of fun.
MALE SPEAKER: So what was your epiphany?
What was your bridge from doing metal to suddenly get
into electronic music?
ZEDD: Well, really the bridge was Justice, "Cross." I
remember that situation, because it pretty
much changed my life.
I was recording a drum album and there was just this
Justice CD.
And I had to buy food, so I just took it and just checked
out what kind of music that was.
And it really reminded me of Daft Punk.
And I don't know how, but I never was
into electronic music.
Still the first album I've ever bought was Daft Punk.
And I really went away from electronic music for 10 years,
making rock and metal.
And when I heard Justice, there was this connection.
And then I just wanted to make music like that, just for fun.
I never wanted to sell anything or make money off
that or play big shows.
I just started making music.
MALE SPEAKER: Have you ever gotten to connect with Justice
and relate that to them?
ZEDD: I played two shows with them.
But I was so starstruck that I couldn't say
hi or talk to them.
And I've been on tour with Lady Gaga, but being in front
of Justice was--
I couldn't say anything.
But yeah, I would love to connect with those guys.
MALE SPEAKER: I have to say, I was checking out your set
earlier today, and it was awesome.
ZEDD: Thank you so much.
MALE SPEAKER: And I was kind of crisscrossing between Tame
Impala and you.
ZEDD: I'm sorry, what is it?
MALE SPEAKER: I was crisscrossing between seeing
Tame Impala and you.
ZEDD: Oh, OK.
MALE SPEAKER: Yeah, Tame Impala are great as well.
But the difference in energy was palpable,
it was just so different.
ZEDD: That's really the scene at the moment.
I can't really compare that, because I've been touring for
a lot of years being a drummer.
And everyone's kind of looking at you and they're waiting and
they're waiting.
They're enjoying, they like it.
And then the song is over.
Everyone's cheering.
And then go on to the next song.
But here, people are like--
they just-- the energy's at another level.
And the energy's staying high all the time.
And you only get-- or, I like to play really fast.
So I only like to give people some moments to breathe before
I want everyone to go nuts again.
And people just--
I know.
It's about having a good time, way more than I feel
it was in the band.
In the time where I was in the band.
For me, it's about giving people a good time.
For people, it's about having a good time.
Sounds like a win-win to me.
MALE SPEAKER: For those of us who have never had that
experience, which I imagine is everywhere in this room except
for you, is there any sort of metaphor you can give us about
being the focal point of all that energy?
ZEDD: A metaphor?
How what shaving?
MALE SPEAKER: There's some way to describe it?
ZEDD: I would describe it with shaving.
It's an amazing feeling.
You're enjoying it.
And maybe sometimes you don't want to do it.
But after you did it, you feel amazing.
MALE SPEAKER: Fair enough.
A big topic in the EDM world right now has been the back
and forth between Deadmau5 and A-Trak.
Do you know what I'm referencing?
ZEDD: Absolutely, I do.
MALE SPEAKER: I figured you would.
Basically, I'll summarize it best I can.
Deadmau5 said it's more about a visual and performance
pageantry aspects.
And A-Trak said it's more about live music aspects.
Where do you weigh in on that divide?
ZEDD: I mean, I've read the post on Tumblr that you're
talking about, that Deadmau5 posted.
To me, I read it, and I was like, yeah, respect for saying
that, I told him.
But I didn't think about it.
But then the media--
that's a perfect--
that's what everyone is waiting for.
They want to talk about it.
They want everyone to talk about it.
I think, in a way, he's right.
I mean, in fact, I am pressing buttons.
I'm not playing a guitar or playing the drums.
I am pressing buttons.
But there's nothing wrong with it.
That's the point.
I think he is right in a way.
And I think that people probably misunderstand him a
little bit-- and want to misunderstand him so there's a
lot to talk about.
But to me, that was not a big deal.
And I think A-Trak is absolutely right
with what he said.
To me, the point is there's nothing wrong with pressing
buttons, because that's still not easy to do.
Beat matching, yes, I guess everyone could do it nowadays.
But still you will not play the same set as a DJ that has
been touring for years.
And I just think there's nothing wrong with it.
As long as people have a good time, that's
all what it's about.
I don't have to sweat or jump or dance, as long
as everyone is happy.
That's what it's about, right?
MALE SPEAKER: I guess it's all about the end experience and
not necessarily what goes into it.
ZEDD: Exactly.
I mean, however you get there, that doesn't matter.
As long as I have a good time onstage, that's
important for me.
And as long as people have a good time out there, that's
all I care about.
And if I would only press one button, and I would be able to
make a lot of people happy with one button push--
if I can do that, I'm fine with that.
Or if someone else does, I don't care.
As long as people enjoy themselves, that's all what
it's about.
MALE SPEAKER: Fair enough.
Let's talk about the new album.
Your Innerscope album.
ZEDD: Oh, yeah, my album.
Big thing.
I've been working that piece forever and ever.
And it's almost done.
After this I'm going to fly to LA and try to finish it,
actually, next week.
MALE SPEAKER: The lead single on it's huge spectrum.
I know that you did a remix contest around it.
Can you tell us something about that?
ZEDD: I mean, parts of how I started my career was the
remix contests on Beatport.
That's really how--
I made this remix for Armand Van Helden, which was my remix
for the competition.
And based on that, a lot of people asked
me to do more remixes.
So that's how I started getting fans.
And that's how I, at the end of the day,
got where I am today.
And I just wanted to give someone else the same chance.
I know that the amount of remixes was insane.
It was like 2,500 remixes, which is the biggest remix
competition ever, as far as I know.
And I just hope to be able to give some people the same
chance that I was given when I started my career.
MALE SPEAKER: Have you gotten one remix that's taken the
song really far out without totally breaking it?
ZEDD: In the remix competition?
MALE SPEAKER: Yes.
ZEDD: I made two things.
I made the remix competition.
I asked other people to remix the songs.
And I was really surprised of how many ways there are you
can actually make the song
something completely different.
And I've heard great remixes.
It's really hard to decide, because you put the spotlight
on one young kid.
And I really want to make sure I make the right decision.
I will take 24 hours and probably try to go through
everything again and really find the right one.
MALE SPEAKER: So when does the album drop?
When's it come out?
ZEDD: I mean, really, it depends on how fast
I can finish it.
If I can get it done next week, I would aim for October.
But it's really just as soon as I get it done, I will give
it to the label.
And we will make sure to release it as fast as we can.
Because I love to put out music as
fresh and hot as possible.
MALE SPEAKER: Are there any sort of overarching themes or
concepts you're trying to work with for it?
ZEDD: I mean, for me, it's just, on this album, I just
want to make sure it's something timeless.
And I love electronic music.
And I kind of separate sometimes real music,
electronic music, and club tools.
Which, for example, "Shotgun" was a song I made that was
strictly made for clubs and for live performances.
And I made it for this reason.
And I don't need people to listen to it on
the radio at all.
People listen to it on the radio and don't understand
what it's about.
But when people are out there hearing this song-- and I've
been mixing the song in a club because that's
what I made it for.
And my album is really not about club or,
whatever you want--
drops-- whatever you want to call it.
It's just about music.
And I didn't just make 10 songs.
But I actually thought about telling a little story in how
I combine the songs and how I connect the songs.
And yeah, I'm extremely excited about it.
MALE SPEAKER: Yeah, we're looking forward to it.
And like I said, thanks for the show today.
It was great.
And thanks for dropping in.
Actually, we'll take a few questions from the audience if
anyone has any questions.
OK.
Do we have the microphone hander?
ZEDD: Oh, there he comes.
There it comes.
MALE SPEAKER: Our assistant Jen will be
helping us out today.
Jen's a metal fan, so I think she appreciated
all my metal questions.
ZEDD: Almost there.
AUDIENCE: Hello.
What software do you use to record your songs or
whatever you use?
ZEDD: I use Cubase.
But really, I tried Ableton.
And I've worked with people using Logic.
I use Pro Tools for recording vocals.
And friends of mine use Fruity Loops.
It's really the exact same thing.
The only difference is what you're comfortable with and
the work flow.
And the look, it really doesn't matter.
You can achieve the exact same thing in any DW.
It really doesn't matter what you use.
It's just about what you make out of it.
AUDIENCE: OK.
Thank you.
AUDIENCE: I guess my question is, when you hear your
original song, right--
we all hear, common people, we're like that's amazing.
ZEDD: I'm sorry.
Can you?
I can't really hear.
That's better.
Sorry.
AUDIENCE: When we hear your original songs, we're all
like, ah, that's really amazing.
But we don't really know what you go through, necessarily,
to get there.
So do you ever really get stuck?
And if you do, when you're songwriting?
ZEDD: You mean, if I get stuck producing a song?
AUDIENCE: Yeah.
ZEDD: Oh, absolutely.
I have those moments all the time.
And I had those moments a lot of the times.
And they were always key moments that make me realize
that I will never stop being able to get through that phase
and make something great.
And you just have to be--
I mean, everyone has moments where you're like, I just
don't know where to go with this song.
A lot of the songs on my album were like that. "Spectrum,"
for example, was a song, it was just there.
Just was perfect.
But there were songs I had to fight and work on for weeks
and months.
So whenever you have that, you'll get there.
And maybe it's worth it just going on
vacation, having a drink.
And next week you're probably going to find the exact right
thing for the song.
Nice shirt, by the way.
I like that.
AUDIENCE: First of all, obviously, that your set was
really, really awesome.
I loved it so much, I cried.
Second, your remix to The Legend of Zelda is superb.
That's my favorite game of all time.
ZEDD: Oh, thank you.
Oh, that's nice.
AUDIENCE: And third, how do you feel about the recent
success of "Spectrum"?
ZEDD: I'm sorry, but what?
AUDIENCE: How do you feel about the recent success of
"Spectrum," the track?
ZEDD: I'll be honest.
I am very surprised.
Because "Spectrum" is more the sound of my album.
It was a song from my album.
And the single that we were supposed to release, or
planned to release, is a different one than "Spectrum."
But literally, I finished the song and we just changed the
whole plan.
It was like, "Spectrum" is the song.
And I didn't think about it.
Usually, back, I don't know, when I did "Shave It" and all
those songs, I really thought about what people would
probably like, what they would expect, what they probably
would want to hear.
And I completely stopped giving a ***.
And I just decided--
like with that song, I never played "Spectrum" out.
Never, before I released it.
So I didn't even know if it would sound right.
But musically, it was fine.
So I decided that's all I need.
I mean, it was really successful.
And a lot of DJs play that song.
And it makes me really happy.
AUDIENCE: Did you go back and re-record some stuff from your
album to fit that vibe?
ZEDD: No, not really.
I mean, it does make sense the way it is.
And "Spectrum" was kind of just the last
part that was missing.
And I also made songs after "Spectrum"
that are on my album.
But I didn't go back and re-record them.
Because every song is like a little story.
And it is part of the book, part of the movie, if
you want to say it.
And it's a chapter I don't want to leave out just because
I would probably take a different kick today.
MALE SPEAKER: Anyone else?
AUDIENCE: Hi, Zedd.
ZEDD: Hey there.
AUDIENCE: I loved your performance today.
ZEDD: Thank you very much.
AUDIENCE: I have two questions.
How long do you stay in the studio per week, just trying
to mix things up?
ZEDD: I mean, that really depends.
I've spent, like, four months in the studio this year.
I barely played shows.
And I've been literally in the studio for 12 hours a day.
I woke up, drove to the studio, had breakfast there,
and was there till late night.
And then drove back.
And at the moment, I'm just on tour all the time.
So it's really hard to get even a little bit of time to
work on my songs.
Because I use UED, for example.
And I need a lot of power plugs.
And sometimes in hotels you just can't.
It doesn't work.
But when I have time, I've spent 16 hours straight
without a break.
It takes time.
That's the only thing I can tell
people who start producing.
You won't just get a great sound in an hour.
I mean, there are people who do that.
But if you want to have your own sound and your own face
and character, it needs time.
It just doesn't come from nowhere.