Mixing/Mastering - Studio

 

 

 

As a songwriter I record vocals, bass, guitars and keyboards analog in the studio. However that also includes  virtual instruments (East West/ Kontakt Ultimate etc.) and sample libraries if required.

 

I don't do complex recordings (big bands, choirs or orchestras) in my studio. For complex recordings please get in contact with a studio with appropriate spatial equipment.

 

Mission Statement

 

What makes a good mix? What I usually hear is "It should sound good..." and "It should be loud..." . Both are absolutely justified demands and belong to the goals of every mixer. In the last decades audio quality has increased enormously and the access to making music and producing has expanded greatly in the online world and requires even louder mixes in order to be on top of the cutting edge. For me this always means being on the sophisticated side when it comes to  technology and observing the latest developments of the market.

 

Beyond that, however, I believe a song can represent much more.

 

I can think of evergreens who were recorded decades ago and still reliably reach their listeners today. The vintage trend with the aim of making recordings sound as analog as possible has also become established.

 

But what is it we're looking for? What do we want to feel and experience?

 

 

 

 

I hear and see a song as a short  journey into another world. A short adventure, which attracts the attention of the listener from the very first second on and wins them over and over again - far from any monotony. The feeling at the beginning develops - even transforms.
It is important to emphasize the already existing character and not to crank up sounds.
To strengthen existing emotions, to set points of contrast, to create movements through transitions. To recognize the supporting instruments of the groove and to align the balance of the song with them.

 

This makes your song recognizably unique - and it is my aim to work out exactly this uniqueness.

I hear and see a song as a short abduction on a journey into another world. A short adventure, which attracts the attention of the listener from the very first second on and wins them over and over again - far from any monotony. The feeling at the beginning develops - even transforms.
It is important to emphasize the already existing character and not to crank up sounds.
To strengthen existing emotions, to set points of contrast, to create movements through transitions. To recognize the supporting instruments of the groove and to align the balance of the song with them.

 

This makes your song recognizably unique - and it is my aim to work out exactly this uniqueness.

 

Acoustics
Acoustics are often underestimated by beginners - room acoustics. I mix exclusively in acoustically optimized rooms in compliance with  the LiveEnd - DeadEnd principle and a familiar monitoring matrix.

 

Monitoring
I attach great importance to uncompromisingly good monitoring:
Only the highest quality components are used. For example the UAD Apollo interface, Dangerous Music Monitor Controller, Neumann KH 120 monitors / Auratones, Warm Audio Pultecs, 1073 Neve Preamps,1176 LA-2A, DBX, SSL Hardware Compressors,Kemper, Furman.

 

Hybrid Studio SetupIn my studio in Düsseldorf I use both the advantages of digital audio technology "in the box" (ITB) and the magic of analog equipment. HighEnd plugins of all well-known manufacturers (Universal Audio, SSL, Waves, Sonnox, Weiss, Acustica Audio) are used as well as Hardware (Dangerous Music,Neve 1073, SSL Bus Compressor, Lexicon, Roland, Aphex).

 

I use Cubase Pro 9.5 as DAW.

 

To know specific sound nuances exactly, to understand them and to use them in the right place is just as essential to me as the deep understanding of the song, its arrangement, the performance and the production.

 

 

 

 

 

 

 

 

 

 

 

 

Björn Schulz

Schinkelstr. 55
40211 Düsseldorf

Germany

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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