Agaric/Skoog/Headroom is one of the old school Swedish electronic producers with 150+ vinyl releases
Patrik Skoog (Agaric, Headroom) is an accomplished electronic musician and producer with a career spanning over two decades. With a slew of releases of his own and composing production music for renowned sample libraries, Skoog has established himself as a prolific force in the industry. His techno releases for labels like Adam Beyer's Drumcode, Synewave New York, and Planet Rhythm have earned him a devoted following. Currently, Skoog operates out of his purpose-built Berlin studio where he specializes in mixing and mastering music, mainly in indie and electronic genres
In 2004, Patrik's DJ career took off after licensing a Headroom track to Jeff Mills' "Exhibitionist" mix. He quickly gained recognition for his music and remixes, licensing them to different record labels on a monthly basis. In 2005, he launched the successful We Are label, which produced a series of now-classic colored 10" vinyl EPs. This success led to more singles and albums on renowned imprints such as Cocoon and Ovum Recordings, owned by Josh Wink
At present, Patrik has successfully collaborated with over 100 artists, a significant portion of whom have returned for further projects
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4 Reviews - 1 Repeat ClientEndorse Patrik Skoog
Patrik is a great person to work with! Very professional, attentive and quick (the first draft was ready in just one day). I sent him quite a tricky composition with lots of tracks and he did a great job making it sound crystal clear and solid.
Patric understood what I wanted for my first release and did a fantastic job. Highly recommended and hope to work with him again
Patrik is an amazing producer/sound engineer and creative! Great communication, effort and turnover time. I was very satisfied with the quality of work I got and very professional attitude. Will be working with Patrik again soon!
Interview with Patrik Skoog
Q: What was your career path? How long have you been doing this?
A: Dance music and music production since about 1997. Back then, using hardware samplers like E-mu Emax and Atari 1040ST was how it was done. Things have changed alot since then, and the mix between modern day digital mixing environments and classic hardware is absolutely amazing, especially with all the crazy analog gear flooding the market over the last 3-5 years!
Q: Tell us about your studio setup.
A: Production-wise I work on an all-hardware analog setup as far as sound sources go (Moog, Elektron, Dreadbox, Waldorf, Arturia, etc) with everything being sequenced from Cubase Pro in order to keep today's needs of flexibility. Hardware effects processing via Strymon, Eventide & Moog units, and a collection of industry standard plugins for mixdown sessions: DMG, Fabfilter, Eventide, Kush Audio, Brainworx
Q: Describe the most common type of work you do for your clients.
A: Mixing electronic/pop/alt songs and mastering
Q: What other musicians or music production professionals inspire you?
A: Oh, there are so many producers in various genres that are inspirational to me! People like Floating Points, Burial, or Mount Kimbie, all have an incredible amount of ingenuity and finesse to their sound, and a high level of detail in dance music production nowadays is imperative. Any producer that takes the old "four to the floor" game to exciting new territories and raise the bar of creativity, needs to be complimented! In the rock world, I'm inspired by everything from Electric Wizard's growling fuzz, to the tight funk bass of Chk Chk Chk, or the Trent Reznor's detailed mixes.
Q: What's the biggest misconception about what you do?
A: That you are "making music for people". What a producer or mixing engineer does, is simply to enhance what a musician or band already has created! They get a new set of experienced ears, taking their idea looking to develop it in ways that would perhaps get overlooked by the (very biased) ears of the creator. It's a good thing having a professional who's only job is to make things SOUND good, and let the musician worry about the music making. If there hadn't been a great idea already realized, there would be no project for us to be working on :)
Q: Can you share one music production tip?
A: Especially in dance music, try to spend time mixing particularly the low end material. There is a lot of "competing" for space with different bass lines and stabs down there, of course along with a bass heavy kick drum in the middle of everything. From a lot of material we receive, this is something that appears to be a bit tricky. You need to balance things in clever ways utilizing compression side chaining, EQ, and levels, in order for the track to have enough space to accommodate everything else and to not sound brick walled. A lot of times, less is more here. Especially for music that is meant to be heard at very loud volumes ;)