JOYCE MUNIZ

We sit down with the Brazilian-born producer to talk analogue kicks, rolling synths and why you need to move with the times

Brazilian-born Joyce Muniz is a woman of many talents. Since moving from South America to Vienna in the mid-’90s, she developed a reputation as a deft electronic musician, fusing a natural feel for percussion to an eclectic production style that touches on various styles of underground club music. As a selector too she’s made a name for herself both in the booth and on the airwaves, with residencies for Vienna’s 4FM and London-based station Rinse. FM caught up with her at last year’s ADE to chat synths, studio workflow and more.

What’s your current studio setup and what gear inspires you?

“I have a very small setup, very basic, but it works for me. In the beginning it was just my laptop, a soundcard and some monitors and it took a while for me to invest in gear. First it was mostly just Komplete and Ableton when making songs. But yeah, after making music for a couple of years, I finally had some money and my first purchase was the Elektron Analog synthesiser, which was a very important piece for my first album, which came out in 2016 on Exploited. It really helped me out a lot on my productions especially because it’s not all about the bass sounds and the leads and the synth pads. Basically analogue provides amazing drums, so most of my kicks are from the Analog Keys by Elektron. My second piece, something I’d wished for since I started music, was a Sub 37 Moog. It really helped me a lot with my productions.”

What production advice would you give to your younger self?

“Basically to be the best producer you need time so you have to try to find yourself in the music, be your own critic, build your own ideas. It’s definitely not easy, because you can build something that already exists but is not a new thing. Try to find your own ideas in the music.”

When you sit down to write a new track, what’s your starting point?

“I’m an electronic music producer and, of course, kicks and claps are the classic. Like I said before, I use a lot of analogue sounds for the drums. It really depends but it’s very basic. So for me it’s of course the kick, clap and then trying to find a melodic sound, the melody. It could be a synth, it could be from instrumentals. It really depends on the music and the vibe and which direction it’s going to go in.”

How do you beat writer’s block?

“When I don’t feel like things are developing, I just stop it. I need a flow. I try always to find the right sounds so that it’s easier for me to mix later. If nothing fits together I just stop it and start something new.”

How important is music theory?

“I think nowadays there are many easy ways to produce music. My background is with percussion. It’s a huge part of my family so I’m really happy to have that. You have to feel it. I have a bunch of friends who are DJs who became producers with no knowledge and they’re great. People also need a little bit of talent. If you also have know-how it’s amazing but I know a bunch of people who can’t play an instrument but can produce. Talent and good ears are the most important.”

Which track, past or present, would you have liked to produce?

“There are many, many good productions that I love. But let’s skip ahead to something fresh. I don’t buy a lot of vinyl these days but this is something that I actually had to go and buy on vinyl because it sounds better on that than MP3: it’s Henrik Schwarz, Not Also You. It’s really awesome. Basically, you have this rolling synth sound, rolling for eight minutes and you never get bored. It’s so minimalistic but rich, full and with so much body; I also love the vocal samples on it and the arrangement. It’s a classic long tune that you can just play and never get bored. He’s definitely one of my favourite producers, I’ve been following him for ages.”

Who is your favourite producer in the world right now?

“It’s a very hard question: as a radio host, I hear so much but I only have one pick so that would be Alex Ridha aka Boys Noize. The reason why is that he’s an awesome producer and produces so much under different names, but everything he makes is so unique and proper, but also timeless. For me being a good producer isn’t doing the coolest thing for now, but for later.”

Talk us through your current DJ setup

“I used to be more of a traditional DJ with vinyl. I think vinyl is the classic. But we live in 2018 and we have to go with the flow. Nowadays I play with the Pioneer CDJ. I think I should try to be a modern DJ – but I can’t be because I’ve been a DJ for 17 years! So I try to hold firm in my traditions – but in the modern way!”

What are you working on right now?

“This has been a very, very important year in my career because I’ve never spent so much time in a studio. One of my next releases is on Gruuv, Audiojack’s label, called 39 Degrees and one of the projects that’s coming out on Exploited will be a very nice collabo with Little Boots. A lot of stuff coming up! But the most important thing I’m working on right now is my live set. So my big goal in 2019 is to play a live set in the clubs.”

What’s the one thing you’d save in the event of a fire?

“I’d want to take my hard drives with me! All my projects from the last ten years! Because you can buy gear everywhere, right? You can buy a new laptop but the backups? No. You can never get your shit back!”

want to know more?

39 Degrees is out now on Gruuv. For her mixes, DJ dates, releases news and more visit joycemuniz.com

“If you have knowhow it’s amazing but talent and good ears are most important”