PRODUCTION 101: Juliet Fox
We sit down with the Drumcode producer for some VALUABLE productions tips…
When you think of Australian cities known for being a dance music hotspot, Adelaide is probably not the first to come to mind. But look closer, and names like Groove Terminator, Motez and Sonny Fodera pops up, while, arguably, Australia’s most prominent exponent of techno HMC emanates from there. Now you can add Juliet Fox to that list.
Starting her producing career exploring deeper tech-house, she now creates immense techno, which at times is built around her vocals. Heavy hitters including Adam Beyer and his Drumcode imprint, and Pleasurekraft’s label Kraftek, are just some of the crews who have signed her productions. Ahead of the release of her new Hologram EP on Reinier Zonneveld’s imprint Filth On Acid, she will return to Australia for a well overdue tour. With over five years on the international stage, Juliet Fox is a consummate professional, and an engineer who knows a thing or two about using a studio.
Did you have prior music theory training before you started producing dance music? Is it important to know music production theory in order to be a good producer?
I’m actually self-taught when it comes to making music. I decided to learn that way and work in the studio with a close friend, one-on-one. That way I could take my time and ask questions, and it was also much more hands-on than a classroom course.
So I personally don’t feel it’s necessary to study it in theory form, but this depends on how you like to learn. I’ve always been a hands-on person, more so going by sound and listening to what works.
What’s the key to finding a really good sample to work with?
I don’t really use samples these days. I used to when I first started to produce as I didn’t have the knowledge or access to hardware, but now I record and create my own sounds and samples from various equipment, synths, drum machines etc. Most recently I have been exploring with modular sounds which I record at my friend Steph’s studio in Berlin, where you can create some amazing, unique sounds.
Comparing your first productions with your most recently released track, what are the three most important lessons you have learned and implemented in that time?
I want to cringe lol! I mean that was quite some time ago now, so over the years, of course, you improve a lot and learn a lot more. When it comes to producing, I would say it’s important to actually finish the tracks you start and not just to keep creating unfinished ideas. Also, when you make them do it with emotion and without intention.
If you have to make a track with only three plugins to your disposal what would you choose?
Soundtoys (the full package), Roland Cloud which is just amazing for making music on the road, and I love using the Rob Papen delay & reverb for my vocals and effects.
Where do you stand on hardware vs software? Do you use hardware in your creative process?
I love using hardware for the hands-on feel and faster workflow, but most of my producing time I have used software for the practicality, especially with moving around so much and working on the road.
What’s the one thing you wish you knew when you started producing?
Just how long the learning journey would be! The only way to really understand any program is by sitting there and putting in the time.
What is a bad production habit aspiring producers should be wary of?
I would say a few things actually - like forcing yourself to make music if you are really tired or not feeling so creative, as it can just frustrate you. Not making time to do it, or having constant late nights and back working routines.
If you could choose one of your tracks as an example of a track that you are extremely happy with sound-wise which one would it be and why?
It would be my most recent release on Drumcode ‘Was Beautiful’ – just because I really wrote that track from the heart, and it was built on emotion and the way I felt at the time. I wanted to create something that could make others stop and feel the way I did. I hope that shows with this one.
