{"id":14663,"date":"2022-05-27T07:08:46","date_gmt":"2022-05-27T11:08:46","guid":{"rendered":"https:\/\/soyuzmicrophones.com\/?p=14663"},"modified":"2023-06-05T09:56:32","modified_gmt":"2023-06-05T13:56:32","slug":"deanza","status":"publish","type":"post","link":"https:\/\/soyuzmicrophones.com\/ru\/articles\/creative-like-clockwork\/deanza","title":{"rendered":"Creative Like Clockwork With De’Anza"},"content":{"rendered":"

Even through Zoom, you can see the glow in De’Anza’s<\/a> eyes when she begins to talk about her travels. The singer, songwriter and beatmaker was born and bred in New Mexico, headed to Los Angeles, and ultimately decided that a nomadic lifestyle was right for her.<\/p>\n

«I lived in Los Angeles for 16 years and it was a great experience, but I got to the point where I just wanted something else,» says De’Anza. «So I downsized and sold most everything I owned and went to the Riviera Maya in Mexico. When you travel, your awareness is heightened and, personally, I feel like that is more important for my creative process than having a studio full of gear.»<\/p>\n

Traveling and making music on the go have become one in the same for De’Anza. In the latest installment of our Creative Like Clockwork<\/a> series, she further elaborates on her creative process, blending traditional and modern music, and the importance of finding inspiration wherever you may find yourself.<\/p>\n

What does the word \u201ccreate\u201d mean to you?<\/strong><\/span>
\nCreate means to turn nothing into something. To me, creation is all around us.<\/p>\n

Before you start to create like actually making a beat or a song, what do you need to do to get yourself ready?<\/strong><\/span>
\nIt depends on what I\u2019m creating. If I\u2019m making a beat, I\u2019m going to go to a coffee shop, go to a restaurant or maybe a bar, and I\u2019ve got my little portable system that I can use to create there. Being around people helps, even if I\u2019m not talking to them, because I think there is part of a songwriter or creator that can be real solitary.<\/p>\n

If I\u2019m songwriting, that\u2019s where more of the ritual comes in. I\u2019m lighting some palo santo or copal, these incense we use traditionally in Latin America. I\u2019m lighting copal, turning off the lights, lighting candles, getting it real dark and getting introspective. A lot of times, I\u2019ll meditate, try to focus my energy, and then I\u2019ll write.<\/p>\n

When you\u2019re in that pre-creation mode, what dictates what you\u2019re going to be working on?<\/strong><\/span>
\nLife. Life inspires me. A few weeks ago I went to this amazing underground dancehall\/reggae club where I mostly live in Playa Del Carmen, Mexico. They were spinning some 90s, amazing dancehall tracks. So the next morning that inspired me, and I\u2019m listening to dancehall all day and I want to make something in that vein. Or if I\u2019m hearing a lot of cumbia, which is what I love about living in Mexico, there\u2019s so much in the streets. So if I\u2019m hearing the cumbias in the taxis or I\u2019m walking by and I\u2019m hearing this music and I\u2019m like, \u201cThat\u2019s cool, I\u2019m going to sample that and incorporate that.\u201d If I\u2019m hanging out on the beach a lot, I\u2019m going to make a tropical track. Everything in my environment inspires me.<\/p>\n

When you get to the point of starting to create, do you always start the same way with some presets in your DAW or the same guitar? Or do you try and do something different each time?<\/strong><\/span>
\nIt\u2019s different. I\u2019ll try different avenues of creating. Sometimes, it\u2019ll be something very specific. I have this Zoom recorder that I take around with me and record a lot of street sounds. That might be my idea for the day and I\u2019ll go through my recordings and \u201cOh that\u2019s a cool sound, let me make a song around that.\u201d<\/p>\n

Or I just might turn on my interface, turn off the lights, light some candles and just sing with no instrument, maybe the instrument is confining, so I\u2019ll just use my voice. I play guitar and piano, so maybe I\u2019ll just sit down with a guitar and play a progression or maybe it\u2019s more beat-driven.<\/p>\n

I always have these different elements of creating. Beats are cool, it\u2019s going to give a different inspiration, a different flow, as opposed to just an acapella voice where I\u2019m freer with the melody cause I don\u2019t have a beat or harmony to restrict me. There are a lot of different avenues.<\/p>\n

When does actually putting something down in your DAW come into play?<\/strong><\/span>
\nIf I\u2019m at home, my gear is already all set up. I\u2019m really a minimalist because I travel so much. I can\u2019t carry a lot, so my Apollo, my Satellite, that\u2019s always set up. But, if I\u2019m making beats or doing tedious editing work, I might go out and work at a cafe or a restaurant or whatever, just to be around people. In that case, I\u2019m not going to have my interface, so I\u2019ve got a tiny little MIDI controller. It helps to change the environment, otherwise, things get stagnant and I get bored.<\/p>\n

Talk a little more in-depth about your recording set-up.<\/strong><\/span>
\nIt\u2019s pretty minimalist. I have an Apollo Twin DUO and Satellite OCTO, Strat, Kemper Stage, a portable MIDI keyboard that I can travel with that fits into my luggage, iLoud Micro Monitors because they are small and can also travel in my luggage and I have my Soyuz 013 FET microphone<\/a>. That\u2019s really all I need and everything else is in the box.<\/p>\n

How did you come to find Soyuz Microphones?<\/strong><\/span>
\nI was looking for a microphone that I could easily travel with for my mobile rig. Traveling on a plane with a heavy fragile tube microphone was definitely out of the question. I asked my friend Carlos \u201cEl Loco\u201d Bedoya who is a phenomenal engineer and has worked with some of the top names in the industry. He has access to a lot of microphones and if he was recommending it so highly I knew it had to be good.<\/p>\n

What do you like about the 013\u00a0 and how do you use it for recording?\u00a0<\/strong><\/span>
\nRight now I use it mostly for vocals but there isn\u2019t a source that it doesn\u2019t sound good on. It brings a beautiful clarity to my voice that I really enjoy. As a singer, it\u2019s important for me to have a microphone that\u2019s \u201cfun\u201d to sing through. The Shure SM7B is incredibly popular and would have worked for my traveling needs but personally it doesn\u2019t bring that life and excitement to my voice that I hear when I sing into the Soyuz 013 FET.<\/p>\n

\"\"<\/a><\/p>\n

How has your current creative process come together over the years?<\/strong><\/span>
\nIt\u2019s just that, it\u2019s a process. I think one of the most important things is just showing up. As long as I\u2019m showing up and working on something each day, whether it be beat-making or songwriting, I\u2019m always going to find different and better ways to create.<\/p>\n

Right now, I\u2019m finding lots of ways to work faster, but that might not have come if I hadn\u2019t tried something another way. It\u2019s this constant progress and learning from other people, asking other creative friends and getting tips and finding the right flow. I think for most creatives, it\u2019s always changing and you\u2019re trying to get better, always trying to improve your process.<\/p>\n

What\u2019s the best tip you\u2019ve gotten while talking with other creatives about how they work?<\/strong><\/span>
\nRecently, the thing that has been most beneficial to me is learning to improvise melodies. So I\u2019ll make a beat and it\u2019s like \u201cI guess it\u2019s time to write the chorus,\u201d and there\u2019s so much pressure. The chorus needs to be the hook, it\u2019s gotta be so good. So the next thing you know it\u2019s been three weeks, this chorus is killing me and you just get into that place where you feel like you\u2019re hitting a wall, but you\u2019re still showing up. I\u2019m really good at showing up, even if it\u2019s driving me crazy and making sure I\u2019m putting in the work.<\/p>\n

\u201cJust improvise.\u201d Take five passes at the song and just don\u2019t think. I think a lot of times we get in our own way. If I\u2019m not thinking \u201cOh I gotta write the chorus,\u201d if I\u2019m just singing and creating melodies without \u201cOh that was good\u201d or \u201cOh that sucks,\u201d without that judgment and I\u2019m just doing it then things start to open up and it\u2019s a much more fun process. So maybe improvising five passes, and then maybe improvising five more, listening to the melody and finding the chorus. It\u2019s trying to tap into that unconscious.<\/p>\n

How do you fight option paralysis and avoid getting too stuck on making sounds?<\/strong><\/span>
\nLike a lot of producers, I have so much software, I really just try to learn one. So I\u2019ll be like, \u201cI\u2019m going to play with this delay for the next two weeks and really learn it.\u201d So when I\u2019m creating a track, I\u2019m going to play with that delay, instead of \u201cOh, I have this one, oh I have that one.\u201d And then the next thing you know I\u2019ve been working on just the delay for four hours when I could have been doing something more productive.<\/p>\n

I think having limitations is important and knowing what tools you like and using those tools and being a minimalist in that sense. At the end of the day, what\u2019s most important is the song. Is the song good? Nobody besides other musicians or producers cares what vintage delay or what this did. What they care about is the song. I\u2019m a minimalist in life in general because I think limitations can make you spend your time more wisely and on the things that matter.<\/p>\n

Traditional and modern music both play a huge factor in your art. How do you bring those together in an organic way?<\/strong><\/span>
\nIt\u2019s how I grew up and who I am. I\u2019m from Santa Fe, New Mexico. My grandmother was Mexican and the border crossed the rest of my family. With my grandmother, I grew up with mariachi, ranchero and folklore music while also absorbing the Mexican from her. My mother listened to a lot of pop like Janet Jackson and Madonna and rock like Led Zeppelin, while my dad was huge on soul music and Motown. For me, it was natural to mix Latin Folklore with modern musical elements because it\u2019s what I grew up listening to.<\/p>\n

Is there any method to balancing those influences when you\u2019re creating?<\/strong><\/span>
\nNot particularly. Again, I think for the most part it comes naturally. I try to stay in the loop about new music that\u2019s coming out and listening to sounds and production techniques other producers are using. So if I am working on a cumbia song I\u2019m definitely going to incorporate modern production and sounds into it.<\/p>\n

If someone came to you and said they are stuck musically, what advice would you give to them to try and break through writer\u2019s block?<\/strong><\/span>
\nOne of the most important things is to just show up, even when you are having ruts, and to understand that it\u2019s normal. I think a lot of times, it happens to people and they say, \u201cOh this is too hard,\u201d and they quit. But you can\u2019t quit and you have to just keep showing up. It\u2019s a part of it.<\/p>\n

It\u2019s why there is that stereotype of the frustrated artist, we\u2019re trying to look within ourselves and that\u2019s incredibly difficult. When you put in the work, you\u2019ll find that life naturally kind of gets you out of that rut and you\u2019ll open up if you just keep coming back to it.<\/p>\n

What does leading a nomadic lifestyle mean for your musical creations?
\n<\/strong><\/span>Music is everywhere, it\u2019s the textures and energy that\u2019s in the streets or the calmness in mother nature. If you\u2019re in New York, that\u2019s a different sound than in LA. If you\u2019re in Oaxaca, Mexico, that\u2019s a much different folklore sound than the Riviera Maya which is more jungle and tropical. So traveling has helped open me up in that sense, where I can go somewhere, experience that place and take that and create some sonics to it. It\u2019s like a soundtrack to my travels and life.<\/p>\n","protected":false},"excerpt":{"rendered":"

Even through Zoom, you can see the glow in De’Anza’s eyes when she begins to talk about her travels. The singer, songwriter and beatmaker was born and bred in New Mexico, headed to Los Angeles, and ultimately decided that a nomadic lifestyle was right for her. «I lived in Los Angeles for 16 years and […]<\/p>\n","protected":false},"author":91,"featured_media":14672,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"content-type":"","footnotes":""},"categories":[1,48],"tags":[],"class_list":["post-14663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-creative-like-clockwork"],"acf":[],"yoast_head":"\nCreative Like Clockwork With De'Anza<\/title>\n<meta name=\"description\" content=\"Soyuz chats with globe-trotting music maker De'Anza to learn more about how her nomadic lifestyle inspires her craft..\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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