My name is Eduardo Moreira (a.k.a. Du Moreira) and I'm a keyboard and bass player from Brazil. I'm a Musicians Institute, Hollywood, CA graduate and I've produced and worked with many great brazilian artists. In 2014 I won the very important "Premio da Música Brasileira" (Brazilian Music Awards), in Rio de Janeiro. Let's get to work! :-)
I'm a bass player with a keyboardist heart. I've been working as a professional musician in São Paulo since 1994, after I graduate from Musician's Institute in California. For many years my goal was to play some sort of jazz-oriented-pop-music mainly inspired by the sounds of Milton Nascimento's albuns from the 70s, but I kept going for dark eletronica stuff and end up gearing up with lots of analogue synths and effects.
I guess I really found my way with producing music. One of the things I like the most is the very sytle that made me won the Brazilian Music Awards last year: blending brazilian sounds with eletronica in non-obvious ways.
If you need keyboards, bass or just cool sounds for your tracks, I'll be glad to help!
Send me a note through the contact button above.
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Interview with Du Moreira
Q: Describe the most common type of work you do for your clients.
A: I've mostly working with production in the broader sense: arranging and recording all tracks of songs from the ground up. Usually that includes mixing, although that is not my specialty, Since I'm a bass player, most of my arrangements start with bass lines that will lead the song to the upper layers of arranging. I've been doing whole strings arrangements for a while now, in a process that started naturally from the bass lines.
Q: What other musicians or music production professionals inspire you?
A: Brian Eno and Trevor Horn are for me the two best producers in the world, after George Martin (of course!). It's interesting how they can at the same time enhance and organize the songs the produce. Sometimes a producer needs to almost change the composition to make it more precise in the message it is trying to convey. Other times it's just a matter of making it bigger and brighter. The important fact is that density doesn't necessarily means more layers of sound: a minimalistic approach can work wonders for a song - think Lorde, for exemple.
Q: Tell us about your studio setup.
A: I have quite a few analog synths and effects processors and I have been working with external effects from the very recording process. That is kind of a risky choice: reverbs before the mix? I was inspired by some old school producers for whom the mixing process is just about volume levels and panning. If you treat electronic sounds as acoustic ones, wouldn't it mean ambience from the very beginning? What I notice is that the whole thing comes to live much sooner this way. Also, everything I record go through my Virus TI Desktop, which has a very nice pre-amp and converter. I'm pretty happy with my setup now. It took years to get here! :-)
Q: What's your typical work process?
A: Usually, I get vocals and guitar tracks in a pretty raw form and play the bass and the piano over it for a while to try to understand the spirit of the song. From that point on, things can evolve in different ways. Either I'll go for the Atari MPC grooves to find a beat or I'll try to "pile up" synth voices in order to get to interesting textures.