Malaysian superstar Anuar Zain works on his first album in five years at Studios 301.
After a five year-long wait, fans of award-winning Malaysian singer and multi-award winner Anuar Zain are finally being gifted with a brand new album. Released on Oct 1st this is the crooners 5th studio self-titled album, mixed by 301’s very own Guy Gray in Studio 1 and mastered by Leon Zervos.
Malaysia’s much-loved entertainer made his new project a truly international affair by working on several of the songs with the Budapest Scoring Orchestra and the City of Prague Philharmonic Orchestra as well calling on a select handful of Indonesian and Malaysian composers. Anuar Zain dedicates this album to his fans and music lovers.
In the studio: Guy Gray, Owen Butcher, Anuar Zain and Leon Zervos.
Anuar had this to say about the album:
“every album produced is in line with my team and my experience. Alhamdulillah, with the experience gained in producing albums… we are much wiser now in our selections and we hope that we are able to continue producing better albums in the years to come. Other than the quality of album recording, we also focused very much on the production…”
“In making this album we have been working patiently, and carefully handpicked the best people to work alongside us. Contributions of beautiful songs came from many different talented parties hence taking us more time than usual in the song selection process.”
The album will be available at stores across Malaysia, and on Spotify and iTunes.
Watch the music video for the single here.
Anuar Zain – Andainya Takdir
For details on Anuar’s album and tour, visit www.mydin.com.my, or Anuar’s Instagram or Facebook account (@anuarzainnetwork).
On Saturday 13th AugustStudios 301 hosted Music NSW for Women In Electronic Music Masterclasses, with our very own Antonia Gauci leading the Engineering Basics masterclass in Studio 1. Also on the bill we had Looping and Pedals with Rainbow Chan and Songwriting Basics with Buoy. The day was a great success with inspiring and talented students and teacher coming together sharing ideas and practices.
Thank you all who applied and attended. Follow Music NSW for further announcements and classes/panels/events to come.
Plugins have come a long way, so much so that many people are now working purely ‘in-the-box’. While some of the big name developers are selling plugins for hundreds if not thousands of dollars, there are a tonne of great indie developers releasing plugs for free.
The following is by no means a comprehensive list, just a selection of my personal favourites:
1. SleepyTime DSP StereoChannel
Learning how to read VU meters is invaluable for mixing and mastering. The way the needles move can tell you things about the mix that other types of meters can’t, yet finding good hardware VU boxes isn’t easy.
SleepyTime DSP’s StereoChannel is an excellent software alternative with nice big clear meters, and the ability to set a nominal level. It also sports very handy stereo based features
such as M/S and L/R balancing and muting, emulating features found on monitor controllers.
It’s one of those plugins that goes on the master channel of every project.
2. Reaper Free Plugins
I’m a Reaper convert. I love it’s flexibility, open and moddable nature that makes most other DAWs feel needlessly restrictive in comparison. Like every DAW Reaper, it comes with a bunch of built in plugins and they offer those plugins as free VSTs to use in other hosts if you prefer. While they won’t win any graphic design awards, they sound great and offer a lot of utility. You get the standards, a compressor, an EQ, delay, gate and multi-band compressor, but the really interesting pieces in the package are ReaStream, ReaFIR and ReaJS.
ReaStream lets you stream audio over a network. Put ReaStream in send mode as a VST insert on a track (you can also use it in multichannel mode), then on another computer on
your network open your DAW and insert ReaStream in receive mode. Hitting play on the sending computer will stream the audio to the receiving computer. It’s really simple to setup and very useful. Just make sure you know the IP of the receiving computer otherwise you could inadvertently DDOS your network.
At first glance ReaFIR looks like a standard EQ, though it’s anything but. I’ve found it useful to use in “subtract” mode for quick and easy noise reduction. Take a noise print then hold
CTRL and click on the graph to raise or lower the threshold of reduction, and you’ll have a surprisingly good and very light on CPU noise reducer (increasing FFT size will increase accuracy of the noise reduction). This can be great when you are working on multiple channels of audio that need noise reduction as more specialised plugins like Izotope RX can really tax your CPU load. You can also use it as a sound mangler using the compress and gate modes. It’s fun to grab a curve of a sound in the subtract “build noise print” mode, then carry that curve over to compress or EQ mode and essentially force that print onto a different sound. Things can get crazy sounding pretty quickly.
ReaJS is for the aspiring DSP programmers out there. You can use it to make or modify your own plugins in JavaScript. There’s a community of people out there making and sharing their own JS plugins, thus installing ReaJS opens up a whole world of more free plugs:
Tokyo Dawn Records is a record label with the unique distinction of also creating and distributing plugins, a lot of them free. They have a raft of amazing stuff, like the collaboration with Variety of Sound that resulted in the most excellent SlickEQ (http://www.tokyodawn.net/tdr-vos- slickeq/). My favourite is their buss compressor Kotelnikov which comes in both free and paid (albeit still cheap) versions. The free version is not as gimped as you might expect, and is preferable in some cases due to it stripping out a lot of the advanced features that you probably won’t need a lot of the time.
It works by using two thresholds and two releases, one for the peak and one for the RMS of the signal which results in an extremely clean and transparent sound. Kotelnikov works great as a master buss compressor due to the way it handles complex material.
4. Phase Bug
Every DAW comes with an invert phase button, however you are usually limited to two choices, 0 or 180. Phase Bug by BetaBugs is a free plugin that lets you change the phase
on a piece of audio by degrees. It’s a simple concept, you have a wheel and you spin it. The mono version of the plugin is useful to use on things that have multiple sources as you can dial in a tone you like very quickly. For instance, when you have Bass Mic and Bass Di tracks: put Phase Bug on one of the tracks and spin the wheel around to listen to the tone
change as you go.
5. Variety of Sound Density mkIII
Variety of Sound offers a whole suit of awesome plugins, all for free. One I use fairly often is Density mkIII, a very nice buss compressor with an apt name. While it works pretty well on the master buss I like it on instrument sub-groups such as guitars to even out the level and add a bit of saturation with the colour knob. So there you have it, five of my favourite free plugins. There are many more great ones out there by the developers I’ve mentioned and ones I haven’t. If you like any of these I would highly recommend digging a little deeper as there is a whole community of passionate indie developers releasing great plugs for little to no cost.
Since we last checked in with Antonia Gauci her work on Tinker’s single “Fill The Field” was getting some major kudos from triple j’s Richard Kingsmill.
Since then she’s gone on to work and create with artists such as LISHI, Vallis Alps, Jays Ways, Anatole, Kimchi Princi, and continues to cultivate her sound as an engineer, writer and producer to be reckoned with.
This month, as well as being part of our exclusive Independent music package promotion, Antonia is a featured presenter for the upcoming Women In Electronic Music program, giving her very own masterclass at Studios 301.
We had a quick catch up with Antonia between sessions to talk about her current buzz.
You’ve got a masterclass coming up this month as part of Music NSW’s Women In Electronic Music program. Can you tell us a little more?
Antonia: I’m really excited and a little nervous as this is my first one! I’m currently liaising with Hannah and Emm from Music NSW and we’re putting together something really cool for the applicants. The basis of the masterclass is engineering basics, but I’m hoping I get to go deeper than that. I’m looking forward to showing everyone how the studio works and my recording/working process.
How was the buzz from the last Tinker single you worked on?
Antonia: I believe it showed what I can do as a Mix Engineer and also portrays the type of sound I’m going for at the moment. It was a refresher in people’s minds about what I’m doing/working on and it’s really opened me up to people in this genre because they’re now even more aware of my mixing (and engineering) skills.
Since then I’ve also mixed Tinkers remix of Woode’s track “Daggers & Knives” and we’ve continued to talk about finishing off more music together.
Various artists have gotten in contact about collaborating which is super cool. People seem to like what I’m doing!
A standout track I’ve been working on is one with an artist called LISHI. I’ve been involved in the creative process from the ground up, writing alongside her, co-producing and mixing the track. I’m excited for its release ‘cause this project has helped me realise what sounds I like and the direction I definitely want to head in with my production.
So what is it that you really like working on?
Antonia: Someone asked me this recently and the answer I gave was “anything that makes me feel”. If I hear something in its early stages and it gets a reaction out of me then I’m hooked and would love to continue to work on that. Harness that energy, increase it ten fold – make it big, make it lucious, make it slick.
How does it feel for people to be seeking you out to do more engineering and producing?
Antonia: It’s satisfying! Having spent so long working towards this goal, it’s great to be seeing the shift and making the transition into more recording, writing, mixing, producing and creating. I’ve had some really phenomenal projects come my way recently and when they are released I hope they do really well for the artists and myself.
One of the key tools in the mix engineer’s toolbox is EQ (I’m going to presume if you’re reading this you know what that stands for). Used for subtle cleaning of sounds right up to heavy sculpting, getting your EQ right is the key ingredient to getting a mix that’s got definition and clarity. Here’s my quick run down of 5 EQ plug-ins that I use on every mix.
Brainworx Cleansweep Pro
Although technically a filter set rather than an EQ, ever since it’s release this plugin has been getting a solid workout. It enables me to remove the unwanted parts of a sound with great transparency, leaving everything I want retaining a really musical quality. The Chebyshev and Elliptical filters also allow for some pretty wild sound design possibilities.
Fabfilter Pro-Q2
This EQ is pretty much my go to and will end up on nearly every track in one of my mixes. It’s incredibly flexible and the built in spectrum analyser and the intelligent solo mode enable you to quickly and easily find problem frequencies. The fact you can go up to 24 bands means you can tweak till your hearts content.
Kush Audio – Clariphonic DSP-MkII
This is one of those magic plugins, put it on tweak the knobs and listen as everything sounds amazing! Be careful though it’s easy to overdo it with this one. It’s especially good on synths, pianos and anything that needs a little extra sparkle.
UAD – Pultec Passive EQ Collection
This is hands down the best analog emulation EQ, IMHO. The EQP-1A is amazing on bass and kicks and the MEQ-5 is great on guitars, vocals and pretty much anything else. You can even just drive the output of these for some extra harmonics.
Dangerous – Bax EQ
This has been a staple on my mix bus for a while now. I love the high and low pass filters and the ability to make subtle changes to the frequency balance of the mix. It also makes everything sound bigger and wider just by passing audio through it. Makes things sound a little less in the box.
Andrew Edgson is one of Studios 301’s new generation of mastering engineers. Over the last 10 years he has mastered for Aria Award winning and multi platinum selling projects including Matt Corby, Sarah McKenzie, Vance Joy, and The Griswolds just to name a few. Recently he has been working with a whole swag of tastemaker bands that have caught the eye of triple j and TheMadden Brothers. We caught up with Andrew to talk all things mastering, and to find out what he’s been working on lately.Can you tell us a bit about your recent work and what you’ve been up to?
The last 6 months have been really busy for me. I’ve been able to work with a broad range of artists including Matt Corby, Hayden Calnin, Bag Raiders, A.D.K.O.B, Chase Atlantic, Jack and The Kids, The Lulu Raes, Ben Gillies, Burrows, Drued, The Hamiltons, The Frankner, Warhawk, Georgia Mulligan, DMAs, Pepa Knight, The Great Awake, BRUVVY, Sydney Symphony Orchestra, The Song Company, Pinchgut Opera, The Australian Chamber Orchestra, and the list goes on…
There has been some industry hype surrounding a few of the artists you’ve been working with recently… I’m talking about the triple j Unearthed wins from both A.D.K.O.B, Jack and the Kids, and all the attention Chase Atlantic are getting from The Madden Brothers. Can you tell us what’s going on with these projects?
It’s great to see these bands getting the recognition they deserve, A.D.K.O.B were one of the winners of the triple j unearthed competition late last year, winning a slot on the St Jerome’s Laneway festival. In a similar vein Jack and The Kids won the more recently announced unearthed competition getting a spot on the Groovin’ the Moo festival. Chase Atlantic have been picked up by The Madden Brothers, and are currently in talks with international labels.
What these sessions were like?
All of the sessions were actually unattended, so in these cases I was working alone, simply hoping that any changes I made were helping bring the artist’s vision closer to fruition. It’s a tough call as to whether I prefer this way of working. In one way it’s great to not be on the clock, so if I want to listen to 30 mins of Beyonce mid session I can, however there is the issue of delayed feedback. In the end we are working on art, and that is something that shouldn’t be rushed for the simple point of saving a few dollars.
Wow that’s a big 6 months. How important is it to stay connected in the industry and have close ties with management and artists?
The international music industry is surprisingly small, so I try to keep relationships with people in all roles, at all levels, across the globe. I wouldn’t recommend spending too much time concentrating in one space, as it’s so easy to reach a point of diminishing marginal returns. This concept can actually be applied to a lot of things; for example why become an expert mixing engineer in a specific genre only to find a year later the genre is out of fashion, along with your career. Be smart with your time, it’s pretty much the most valuable thing you own.
Looking through your discography you have a keen interest in jazz and classical but also mastered all the way over to indie and dance. How do you manage to stay across genres and not get pigeonholed?
As much of a cliché this is; I honestly enjoy a broad range of music, the variety is what keeps things fresh for me.
How do mastering engineers get their work?
To a degree it is a popularity contest, but this is predicated on a consistent level of quality work. This platitude seems appropriate, “you’re only as good as your last record”.
Are you an analogue or digital guy?
My mastering is usually a combination of both digital and analogue. There are however certain genres and even specific recordings that benefit from an entirely digital approach, much in the same way there are some recordings that scream out for the vibe soaked analogue treatment. It’s a matter of assessing a recording on its merits and choosing the appropriate approach to bring out the best in the music.
How did you get into mastering?
It’s a matter of having good ears, a habit of working hard and a being in the right place at the right time. I have come up through the ranks at Studios 301, so I have a good understanding of how to do all of the jobs available in a recording or mastering studio. Mastering is where I found the right balance for my personality; it has absolutely developed into a passion of mine, and is something I would be happy to dedicate the rest of my life to. There is a great piece of advice I picked up along the way – happiness in life is finding something you really enjoy doing, and doing that every day for the rest of your life. For me, this is mastering.
You’ve been mastering at Studios 301 for 10 years, what are the biggest changes that you have seen happen in music?
The biggest change is the change in distribution strategies that are now open to artists. When I started out, CDs were the primary method of getting music out into the world, now there is a multitude of formats and file types. The relevance of this to a mastering engineer is we need to be across all the different codecs and how they impose their own sound onto a recording, and how best to get around their shortcomings.
What’s the biggest piece of advice you can give someone wanting to be a mastering engineer?
If you want to become a mastering engineer, get yourself setup with a good quality monitor controller, a great DAC, and a set of speakers that you think sound great in the space you have available to listen in. Your speakers are the tool that you make all your decisions through, so if they are not setup right you are already handicapped, and it will be very difficult (almost impossible) to produce results at the consistency you need to. Once you are setup in the speaker department, you need to spend as much time listening to music as possible; your aim is to teach yourself what sounds good and what doesn’t sound good, this should turn into a pursuit that lasts a lifetime. Lastly get practising on the tools, mainly EQ and compression, which should be developed to the point of being second nature. I think it’s worth pointing out that the brand of tool is almost irrelevant, it’s what you do with them that counts. Check out more on Andrew Edgson: www.triplejunearthed.com/article/dirt-mastering
You can make a mastering booking with Andrew instantly online here.
For many years as a songwriter, it never dawned on me that thousands of other songwriters were in the same predicament. That of being alone in my bedroom with instrument in hand, bent over a piece of paper, toying with phrases and melodies only to quickly abandon them and stare at the wall for a particularly long period of time. Like many other songwriters, I also share the desire to sit down, reflect, then create a soundtrack to that feeling. The process may vary between us, some of you may not stare at the wall as much as I do. Some of you may not even find the paper, however there is fundamental element in us that is the same. Aside from this comforting thought, the songwriting process can sometimes be a tormenting one. Here are some tricks I use to help push me to the finish line.
1. Name it
Creating a title for a song often leads to the song simply writing itself. If the juices aren’t flowing however, try looking through magazines where you can find interesting play on words or hyperboles. If magazines aren’t your bag, head to your local book store and straight to P for poetry. Draw from poetry titles. You’ll often find just entering a bookstore will inspire.
2. Gather what’s around you
Be in the moment and listen to the passing conversations around you. The random one-liners are often priceless. Play with these phrases and make up stories about the passers-by.
3. Carry your tools
You never know when inspiration may strike, so make sure you have your pen and paper on your person at all times. Record ideas on your phone too. Recording all ideas will make you realise your creativity is not as stagnant as you think.
4. Keep it all
Hang on to all your little ditty’s. That suitcase of ideas may come around and take you somewhere unexpected. Try not to be harsh on those ideas. They are all leading to something.
5. Write all the time
Keeping it constant will ultimately ease the creative process. It builds familiarity with yourself as a songwriter and an artist. Accept the good, the bad, the stunningly beautiful, and obscenely grotesque. Writing consistently keeps you working on what is inspiring you at any given moment. It doesn’t even matter if it fits your style.
6. Know your patterns
If you’re feeling blocked, it’s not because you don’t hear anything. It may be because you’re reverting to your old patterns in songwriting. Using the same phrases, chord progressions, lyrical content, so on and so forth. Identifying this is a useful step into breaking the regime.
7. Be kind to yourself
Self criticism can really get you down when trying to write a song. It’s only fear and it can be turned off. What’s the reason behind the fear? Is it because you think it’s not good enough? If you’re present and honest while writing that will always translate. Authenticity is key.
8. Ask for a helping hand
If a song has reached a point where it can go no further, don’t be shy in asking for help. Give yourself a timeframe to finish it solo, and once you’ve passed that point, reach out. Collaborating is always a learning curve.
9. Pick up another instrument
Find inspiration on a new instrument. The less you know how to play it, the better. Put yourself out of your comfort zone and mess around on something new. Drums are particularly good for finding new ideas.
10. Have a break, have a Kit Kat
Walk away for a while, eat something, make a tea. Listen to music, read something or go for a walk. I personally wouldn’t recommend turning on the TV. That’s often a downward spiral.
11. Draw ideas from your fave’s
Put on your favourite song and jam along with it. This sparks inspiration for all sorts of musical ideas, from chord progressions, song structures, dynamics and lyrics. All artists appropriate from each other. Your interpretation makes it your own. I also asked some of our engineers and resident artists what there thoughts are on overcoming writer’s block. Antonia Gauci, resident Studios 301 producer / engineer / songwriter, shared her thoughts:
“I collaborate with other people. I take things outside. The other day I went for a walk in the bush with my friends and took a mini recorder. I meditate. I get off social media. The biggest thing is to try not to put so much pressure on yourself, and don’t be afraid to make an idiot of yourself!”
Cam & Joey from GLADES, EMI’s most recent signing and 301 production studio tenants, had this to say: “Keeping the space and environment that you are in creative is most important. There’s so many times where you hit a wall and that’s the time where you have to break. It’s time to play table tennis, and go for lunch. We normally take about 2-3 breaks per day, it’s really important to refresh your mind. If we had to summarise it would be to go and do something that’s not writing.”
The “I Am Indie” music competition has been the biggest competition we have ever run! With a record number of entrants, the team have been overwhelmed listening through the barrage of awesome music you guys have sent through. A big thank you to everyone who entered their music and we wish sometime in the future to be working with all of you! So… after much deliberation we are finally ready to announce a winner.
The winner of the I Am Indie music competition is……
Massive congratulations to Phantastic Ferniture who win a whopping prize package from Studios 301 and Ditto Music including;
Two days studio time at Studios 301 with ARIA Award winning, multi platinum selling producer and engineer Tim Carr (Matt Corby, Julia Stone, Urthboy, The Herd)
Mastering by legendary 301 engineer Steve Smart (Vance Joy, DZ Deathrays, DMA’s, Flume, Midnight Oil)
An exclusive in-studio music video recorded and filmed at Studios 301
Intimate in-studio playback session at Studios 301 to showcase your new music
Chart campaign (worldwide digital distribution to all partnered stores, chart registration, pre-order setup on itunes)
One-hour in-person or skype meeting with Ditto to discuss release strategy
Choice of social media starter package (instagram promo assistance and posting schedule with design work) or PR starter package
Vevo channel setup and music video uploaded to Vevo
Thank you once again for everyone who entered and looking forward to rocking out with Tim Carr and Phantastic Ferniture in the Studios!!!
With mixing skills that have recently been referred to as taking the track to “boss level bad assery”, 301 Assistant Engineer Antonia Gauci has her sights set firmly on making her mark in the music industry. Having already worked with some impressive names including Alison Wonderland, Cold Chisel, DMA’s, Sticky Fingers and Will.i.Am, it’s Antonia’s most recent work on TINKER’s debut which has been turning heads.
We caught up with the budding Engineer, Producer, Mixer and Songwriter to talk about the buzz on her most recent work and what’s next…
Triple J music director Richard Kingsmill recently gave the TINKER song you mixed “Fill The Field” some massive support. How does that make you feel and how did that project come about?
TINKER is a friend of mine, and ex 301 intern Chris Bristow. Chris and I met at a rehearsal space a few years ago and he’s been sending me music and demos ever since. While in Peru I was sent one titled “Slither”. I thought the first batch were still pretty raw so I told him to send me more stuff. A month later he sent through another version which he’d fleshed out and we co-wrote the topline going back and forth via the internet. 12 weeks later it was mixed, mastered and all ready to go. Seeing such a positive response for three unknown people who just made a track is kinda surreal. We didn’t expect to see this big of a support so early, especially from the J’s, so hopefully things continue to be a steady rise for TINKER.
What are some of the projects you’ve got on the horizon?
I’m currently working on a few different things… There’s another lot of TINKER tracks to finish off – recording, mixing, plus a remix. Anatole is working away on his debut LP recorded a string quartet and piano for a few tracks that may end up on it. I’ve been helping Giselle Rosselli with her vocal tracking, she’s an unbelievable singer and songwriter. A debut single from Las Vagueness is due super soon which I engineered, produced & mixed. Plus an EP to finish off with him. Dylan Adams and I just tracked a rekkid for Oslow over the Easter long weekend which is red hot. Oh, and I’ve been involved in some writing with Halite and Top8Drama. They’re all pretty deluxe projects!
Seems like there’s plenty of releases pending. How do you get involved in these cool projects and how can people find you?<
I’m fortunate to be friends (or a relative) with these uber talented people, so the projects have come about via friendship, word of mouth, meeting people in sessions, FBi Radio, or simply by approaching artists I want to work with. Projects come through the 301, but I can be reached through my online presence through Instagram, Facebook or my website, antoniagauci.com
What is your role at 301 and how did you get here?
I’m an Engineer/Assistant Engineer. I plug in all the gear you desire and help you run the spaceship for your recording and online mixing projects. I’m also working my way up through the ranks, taking the lead on more of my own creative projects – engineering, producing, mixing and co-writing.
I first came to 301 through Eric J, who I met when interning/ assisting at BigJesusBurger (RIP).
I got to know the team while working on the first 2 seasons of The Voice, and after freelancing and assisting at the majority of Sydney’s major studios (for the most part of 2 years), I was offered some casual work at 301. I was assisting casually until I was there all the time, and in 2014 I became a full time part of the team.
What gets you excited in the studio?
I find tracking to be exhilarating, especially if it’s vocals, guitars or synths, when we’re filling out the bare bones of the song. I also like experimenting with sounds. I reverse, pitch up and down, reverb and delay the bits and pieces and then repeat the process. If I can make something sound weird or learn something new then I’m super excited! And when I’m really into it I get this nervous energy and will dance in the control room.
How does working at 301 fit into your life and activities outside of 301?
301 does take up most of my time (being full time) but they’re flexible and understanding when it comes to my touring/show playing, writing, DJ-ing, radio presenting, ridiculous commitments.
I like to create everyday if I can. 301 are generally the ones who tell me I should be taking 1 or 3 days off.
For more information or for bookings please contact:
Whenever I’m working on a mix for a new client a question that frequently gets asked is “What is the best way to deliver the files for mixdown?”. Although there are no hard and fast rules, (always make sure you touch base with your mix engineer as everyone has their own personal preferences) here are some tips, from questions that I get asked, that will help prepare your track for mixdown.
Can I just send you my session file?
I always request the audio stems. (Individual bounce files of each element of the mix) Even if I am working in the same DAW as the client this is always my preference. In my experience working with session files can become too problematic.
There is a strong possibility of missing plugins/audio files
In most cases it can be difficult to navigate someone else’s session.
I prefer to start a clean session every time. This way I know exactly what is going on and can use my workflow to get my maximum results.
What sample rate/ bit depth do you want?
Another big question I hear is in regards to sample rate and bit depth. My preference for this is to have the files delivered at the same sample rate and bit depth as your original project. This way there is as little conversion as possible. Any necessary conversion can be left up to the mastering engineer. Sample rate/ bit depth is definitely is something you should check with your mix engineer first, because everyone has a different opinion and personal preference.
How do I export stems?
When exporting your stems always make sure that you are exporting your stereo tracks as stereo files, and mono tracks as mono files. I know this may sound simple but this is the correct way to export stems and you mix engineer will love you for it. Additionally, also be careful of your export settings and be sure not to add any normalisation or dithering. If you are not sure how to do this, I recommend doing some research or googling about the export window of your DAW and you’ll find the answers you need.
Should I leave on my effects?
Possibly the most important question I get is “Do I leave my effects on or turn them off?”. Because I work predominantly on electronic music this is particularly important as the effects can be integral to the sound of a track.
My general rule for this is as follows:
If the effect added is a part of the sound i.e. a filter sweep, phaser, sidechain or things just sound wrong without it, then leave it on.
If the effect is not integral i.e. some subtle EQ or compression, then bypass it.
If you are using auxiliary sends for reverbs or delays etc. bounce each auxiliary to it’s own stem.
I request all vocal parts to be completely raw and effect free unless there is a vocal chop/ filter effect that is key to the track.
I will then request both a set of stems with full effects and a set of stems completely dry. I want both because this way I can start my mix as close to your original production as possible and then swap out stems if any of the effects are causing issues for the online mix. I also generally request midi stems of lead, pad and bass parts so they can be easily swapped out or layered if necessary.
BPM
Finally make sure you include the BPM and key of the track somewhere with your stems. This is a small thing but will help immensely and take the guesswork out on my side. (and will show your mix engineer you care.)
Blog by Jack Prest, Producer/ Engineer at Studios 301
For enquiries or bookings with Jack please contact:
Meet our resident Electronic Music Producer and Engineer Jack Prest
With a background as a DJ, Artist and Sound Designer, Jack’s been working as an engineering and producer at Studios 301 for the past 5 years. Recently He’s been increasingly moving towardsthe role of a finisher. A producer who enters the artists process at varying stages of development (sometimes near complete, sometimes early demos) and takes it to a finished product. This process includes everything from reworking/writing lyrics and top-lines, adjusting arrangements, tracking new parts, working production and a the final mixdown ready for master.
We sat down with Jack for a quick chat about his role as a producer and what he’s been working on lately.
What do you think your main role as a producer is?
As a producer my main role is realising the vision each individual has for their work. Finding what makes it original and bringing that to the fore while also making it work sonically in the best way possible for the particular style.
Can you take us through your process of working with artists?
First step is to listen to some demos. For me I need to be able to hear an end goal from the demo or it’s not something I can work on. Then generally a chat either via phone or in the studio to discuss the work with the artist, what they are tying to achieve? where they want it to go? and why they are making it? Once we have established that we both feel like working together can be beneficial then generally we book in a production/mix session to complete one track. If everything works out well then we chat about moving on to bigger projects like an EP or an album.
How does working on other artist’s projects differ from working on your own? (If it does at all)
It’s definitely a different process. With my own work I can be completely self driven and make whatever I’m feeling. Working on other people’s records, the most important consideration is what they want to create with their art. I could take their tune and turn it into something completely different but if they don’t feel a sense of ownership and expression with the end result there there is not much point in making it.
What excited you most about the process?
I have to say the moment of completion. When someone has brought you something they have been struggling with or something they can’t fully realise and you are listening back in the studio and everyone has big smiles cause it sounds awesome. That just makes me happy.
What are some projects to look out for you have been working on?
Currently I’m working on the new Jonti record which I’m really excited about, I’ve also done some great stuff with two young up and coming producers Daily Holla, EP recently released on German Label Emprise Records, and Jerome Blaze. Both are major talents and expecting big things for them in 2016. I’m really vibing working with new artists, it gives us a great opportunity to sculpt a sound and build something together.
What’s it like working at Studios 301?
One of the great things about being at 301 is working with an amazing crew. I’ve had some great success working recently with Simon Cohen, where I take care of the production and Simon steps in to cut vocals. Working with our assistants Owen and Antonia is so valuable, their knowledge of the studios and the gear means I can focus on the sounds and the big picture and know everything will run smoothly. I’ve been writing some stuff with Antonia and keen to do more of that, she’s got some great ideas. I’d also have to mention the mastering team, I really don’t go anywhere else, Ben Feggans does a lot of my stuff, but Steve, Leon and Andrew are all jedi’s and dependent on who’s right for the project I 100% trust these guys to get the final stage right.
For more information or to enquire about booking with Jack please get in touch.
After listening to each and every single song uploaded, we’re excited to reveal the winner of our Is It A Banger? Electronic Music Competition.
Let us tell you, it was a very difficult call. The overwhelming number of entrants and the consistently strong production was mind-blowing. We had every type of banger you can think of including Trap, Deep House, G-House, Big Room, Nu-disco, Jungle, Electro-pop, Tribal, Future, and everything in between.
We’d like to say a massive thank you to everyone who entered, and we’re looking forward to working with you in the future. There were so many standouts but after dwindling down the shortlist, we are very proud to be able to announce our winner.
Without further ado, congratulations to Sydney electronic duo POLARHEART, who took out the competition with their track Dystopia.
Polarheart now receive 2 days studio time at Studios 301, mastering by 301 engineer Ben Feggans, an exclusive introduction to 120 Publishing (Ministry of sound Australia), and a studio collaboration session with hitmaker Chris Arnott.
Here’s what Chris Arnott had this to say of the winners, “I was really taken by Polarheart’s songwriting, tasteful production and beautiful vocal delivery. Really looking forward to spending some time in the studio with them.”
A big thanks once again to all of the amazing electronic music makers who entered. The future is looking very bright.
Another Australia day, another triple j Hottest 100 done and dusted. In what has become a national pastime, Studios 301 along with the rest of the worlds J’s listeners tuned in to hear where our favourite tracks would land in the countdown.
This marks the third year in a row that an Australian artist has taken out the coveted #1 position, with local band The Rubens in the #1 spot for Hoops.
As a dedicated supporter of homegrown talent, Studios 301 would like to extend a massive congratulations to The Rubens, and all of the Australian artists featuring in the Hottest 100 this year. (You can check the full list here: http://www.abc.net.au/triplej/hottest100/15/countdown/)
We’d also like to give a special shout out to those artists we’ve worked with recently and our 301 engineers who’ve contributed to their songs that made the list, including;
Dynamite {Ft. Allday}- Asta – Vocals recorded by Simon Cohen
Monday – Matt Corby – Mastered by Andrew Edgson
Foolish – Alpine – Mastered by Leon Zervos
Run – Alison Wonderland – Mastered by Sameer Sengupta
Once – Ngaiire – Mastered by Ben Feggans
Suddenly – British India – Mastered by Steve Smart
Last but definitely not least, a huge congrats to all the bands who’ve made magic sounds out of one or more of our studios or production suites including, The Rubens, RÜFÜS, Flight Facilities, What So Not, Chvrches, Hermitude, Meg Mac, Birds of Tokyo, Alpine and Tuka.
Meet Chris Arnott. producer, DJ, singer-songwriter, multi-Instrumentalist, wine connoisseur, musical genius, and all round top guy. In the last 3 years alone Chris has had 17 Aria Club Chart Top 10's, and even more releases locally and worldwide. In addition to this, Chris releases as a producer, a topline vocalist, and features on various releases under different aliases including deep house cool, Friendless. Chris often lends his production and songwriting expertise to other DJ’s and artists, he’s just that in demand.
Currently, Chris is featuring as part of our Electronic music competition, Is it a banger?, whereby you get a chance to win a one-on-one collaboration session with Chris here at Studios 301, and make some badass music together.
To give you a chance to get better acquainted, we sat down with Chris and talked music, among other things.
---
Studios 301: Doing our research, we found you were in a rock band when you were 15 signed to Festival/Mushroom Records. How did you get into dance music?
Chris Arnott: I was drunk and fell into it. Like a well.
You’ve had a fair amount of Top ten ARIA Singles. What’s your favourite?
Chris Arnott: It'd have to be my first one because I felt like I had really really achieved something, it was a pivotal point in my career and a great motivator.
Studios 301: What’s the best thing about being a producer?
Chris Arnott: Being able to create something so complex and beautiful from scratch.
Studios 301: What are you working on right now?
Chris Arnott: SO MANY THINGS!! My 2 main project plus tonnes of work with other artists. The last thing I bounced out was a G-House banger.
Studios 301: How do you know if you’ve made a hit/banger?
Chris Arnott: You always get a good gut feeling when everything falls into place musically. In all honesty, one rarely knows when something will resonate with a large audience, you just have to create the art that you want to make and hope that people enjoy it.
Studios 301: What’s your favourite thing about collaborating?
Chris Arnott: I try and collaborate as much as possible, working with other artists is so inspiring and one of the most enjoyable things about making music!!
Studios 301: Who are your favourite collaborators?
Anyone with great ideas and a true love for music.
Studios 301: Are you looking forward to collaborating with the winner of “Is it a banger?”
Hell yeah!!
---
For your chance to work with Chris enter the Is It a Banger?
For more info on Chris Arnott & Friendless, check out the below links:
BOOKINGS : pat.ward@ministryofsound.com.au
Although I don't look it, I'm actually extremely happy this place is amazing. https://t.co/eu683DOmgA
Studios 301 in conjunction with 120 Publishing recently rolled out a competition, ‘Is It A Banger?’, specifically targeting electronic music makers and writers. As part of the prize you win a chance to record at Studios 301, partake in a collaboration session with electronic hitmaker Chris Arnott, and receive an exclusive introduction to Ministry of Sound Australia’s 120 Publishing.
120 currently represent some of Australia’s biggest electronic artists including Savage, Sam La More, Tom Piper, Chris Arnott, Joel Fletcher, Chardy, SCNDL, Angger Dimas, Seany B, Bass Kleph, as well as looking after the publishing for Vicious Vinyl, Central Station, Toolroom, Sirup and others. As a publisher they create and facilitate writing collaborations and features, as well as find opportunities for placements in film, gaming, TV and more.
To find out more we recently caught up with 120 Publishing General Manager, Karen Hamilton for a quick chat about ‘Is it a banger?’, their catalogue, and what they look for in a songwriter.
Studios 301: Are you excited about the Is it a banger comp with 301?
Karen Hamilton (120 Publishing): Definitely! We spend a ridiculous amount of time searching for new talent who can bring something different to the table and there are some insanely talented unsigned artists out there who just need that first break. Hopefully for a lucky few this will be the break they need. The chance to work with someone as talented as Chris Arnott is a pretty big deal – I don’t think people realise just how in demand he is as both a producer and topliner/vocalist around the world. I can’t wait to hear what comes out of the collaboration. There are also many female producers out there who seem put off by what looks like a male dominated scene so I really hope some of those girls who are reading this submit something for the competition and show us their amazing talent.
Studios 301: What’s the biggest tune that you have in the catalogue?
Karen Hamilton (120 Publishing): It’s hard to say what the biggest tune is because this can change in the blink of an eye with the next chart! Our most recognisable [tune] is probably DON’T HOLD BACK by The Potbelleez which was not only a huge hit but has been used in the Jeep TV campaign for the last couple of years. CHANGES by Faul & Wad vs Pnau (which samples the song Baby by Pnau) was a massive hit in Europe and was used in the Mercedes C-Class TV campaign Worldwide. BIGGIE BOUNCE by Diplo feat Angger Dimas and Travis Porter has so far been our biggest hit in the US – it has also featured in a couple of movies and was used in a TV campaign for Fiat across the US. Our biggest local hits have probably been FREAKS feat. SAVAGE BY Timmy Trumpet & Savage which went 5 x Platinum, and SWING by Joel Fletcher featuring Savage which went 4 x Platinum and won the APRA Award in 2015 for Dance Work Of The Year.
Studios 301: What’s the song/artist that you are most proud to have in the catalogue.
Karen Hamilton (120 Publishing): We are proud of all of our writers and their complete dedication to bettering their craft. Their enthusiasm, no bullshit attitude and talent floors me and I do realise how blessed I am every day to represent such an awesome bunch of people. However we are also really fortunate to represent 2 of the biggest classic dance songs of all time – WHERE LOVE LIVES by Alison Limerick which was written and produced by Lars ‘Lati’ Kronlund, and 1998 by Binary Finary which was written and produced by Matt Laws. So if I have to choose it would definitely be one of those 2 amazing tracks. Both are instantly recognisable around the world and have earned their place as classics that people will still be listening to for years to come. Watching the Armin Only Live clip of 1998 from back in 2008 (10 years after the original was released!) still makes me smile like nothing else can – an amazing song will always defy all barriers of time and genre.
Studios 301: Is dance music the main focus?
Karen Hamilton (120 Publishing): From the outside it probably looks that way but really our writers are all talented across multiple genres – it just so happens that they are also really great at writing or producing dance music. You might be surprised to know that some of our biggest dance writers also write a mean country song and have had success around the world with Pop, RnB, rap and even JPop and KPop. Most of our vocal tracks and toplines start out as an acapella with just piano or guitar so they can actually be interpreted into any genre. A lot of our writers and producers are also multi-instrumentalists and have come from a band background so I still get new rock songs delivered from time to time that I pitch out to other artists.
Studios 301: What do you look for in a potential signing?
Karen Hamilton (120 Publishing): We are always looking for what we call career songwriters – the ones that show talent across multiple genres and who want this to be their ‘day job’ for the rest of their lives, long after the path of their artist career has changed. Some of our writers want to eventually score films, some want to write straight up pop songs, some want to ghost produce. Because this industry can be competitive and sometimes quite brutal it’s really important that a writer can focus on the future and the long haul as overnight success only happens for a small amount of people. What we hope is that everyone we work with will still be with us in 20 years time even if it is working in a completely different genre to where they started.
When we do sign someone we all have to agree that we love the music and feel that we can bring something positive to their career as it is a really hard slog and we have to be as dedicated to it as you are. It is also really important that we all LIKE each other as it’s a bit like a marriage – there are going to be some shitty times and some arguments along the way along with some amazing times and hopefully a heap of success, and liking and respecting each other is the key to a strong team being there for the long haul. However sometimes we aren’t the right people for a particular writer to work with and that’s OK. This is a very personal business so just because we don’t get your music the way you feel we should doesn’t mean you aren’t talented and there isn’t another publisher out there who would do anything for the chance to work with you.
To enter the Is It a Banger? Electronic Music Competition click below
Studios 301 had a strong presence at the inaugural Australian Music Week music conference, held in Cronulla from November 18th– 22nd, with key team members featured as panellists among some of the most influential people in the Australian music industry.
In particular, the “Do You Need A Producer” panel was moderated by Studios 301 and Abbey Road Institute Director Gianni Michelini, and featured 301 producer/engineer’s Simon Todkill, Simon Cohen and Jack Prest, speaking on the role they play in the production process and how it can encapsulate that of director, conductor, arranger, A&R, confidant, engineer and often counsellor.
In another panel “It’s All About The Song” our Operations Manager Ron Haryanto traded views on songwriting with Aussie hip hop artist Tuka
In the second part of this blog on loudness I’m going to delve more into metering and dynamic range in order to compare your music to other releases.
Level Matching
I often receive feedback from people that their track doesn’t sound like it has the same low end impact and presence as others. Quite often this is due to one aspect- the track they are comparing to is louder. Because of the way our ears perceive high and low frequencies, even a tiny 0.5-1dB difference will make the louder track appear to have more bass and top end, making it sound a little clearer and fuller – or slightly better, in most people’s opinion. If you want to make a fair comparison, you have to level match. Doing this, you may find that the track you are comparing to may actually sound worse.
Level matching is paramount in mastering when comparing your processed mix to the unprocessed mix. Incorrect or heavy handed processing will result in the mastered track sounding ‘smaller’ than the un-mastered track when level matched, especially noticeable by comparing the chorus or build-up of the track. When the chorus comes in the processing becomes even more apparent as it clamps down on the track. Using level matched A/B comparisons is the best way to check when your processing is improving the sound rather than just making it louder.
Peak and RMS metering
Loudness metering is generally done by a combination of ear and average level metering, such as the VU metering in Leon’s blog [link]. All software DAWs employ peak level metering to let you know about digital overs, which is very important to avoid clipping the signal, but will not give an indication of perceived loudness. Many also have average (RMS) metering now as well, emulating the VU meters found on analogue consoles. As they were traditionally mechanical, The VU metering rise time is slower than a digital Peak Programme meter (PPM), so the VU meter will represent an ‘average’ level rather than the instantaneous peaks, making the VU meter a more accurate representation of the perceived loudness. This is how people mix in the analogue world on a console.
All good so far, but what happens if you have a huge kick drum that dominates the mix? A low frequency high level sound wave will push the average level right up and your metering will ‘ping’ off the stops, yet as we learnt in part one [link], this does not necessarily mean it’s loud- you have to take the frequency balance into account. A big 60Hz sine wave will have huge RMS level, yet many speakers will struggle to produce this and you have just eaten up your entire spectrum.
When mixing, the PPM will show you the transients (like snare hits), and the VU will show you the average (RMS) level. If the average level is very high on certain bass notes or the kick drum, this is eating up all your available headroom and not letting the higher frequencies cut through, so you will lose clarity and impact. Try having more consistent energy in the sub region, and if you want a big sub, place that sound in isolation from other sounds in your arrangement. Use the PPM meters for transients. Again, try to keep these at a more consistent level so your transients don’t lose impact after peak limiting. Many meters now incorporate peak and RMS metering to help with mixing.
Dynamic Range
This brings us to Dynamic Range. Dynamic range is the measurement between the minimum and maximum volume level, given in decibels (dB). The dynamic range of human hearing is around 140dB- This is from the threshold of human hearing to a jet engine. The dynamic range is directly related to the audio bit rate, for each bit you will theoretically get 6dB of dynamic range. So CD quality is 16 x 6 = 96dB.
In the past, the dynamic range was limited by the recording medium (see chart). In order to fit record sources with a high dynamic range, such as an orchestra, the dynamic range had to be reduced. However, if you are reducing the dynamic range you are also reducing the impact of the sound. So the orchestra recording with a small dynamic range will have much less crescendo impact, due to the difference between the quiet and loud passages being reduced.
Looking at the dynamic range chart, storage media has increased in dynamic range by up to 30dB since cassette. Yet modern releases have been reduced in dynamic range by using excessive compression, peak limiting and clipping for loudness.
Now consumers are becoming more aware of this, and as you may have noticed, many artists are bringing back dynamic range into their masters with great success. You can search the Dynamic Range Database for your favourite artist here http://dr.loudness-war.info/
Loudness Metering
The latest loudness measuring tools take into account short term loudness, long term loudness, and frequency perception to give you a loudness number. There are many standards for metering, but the most common are EBU 128 and ITU BS.1770. Many software DAWs and mastering tools such as Ozone now have loudness metering standard.
Here are a few meters that you can use in your DAW:
Sequoia is designed for mastering and includes loudness metering.
EBU 128 will give you an Loudness units relative to Full Scale(orLUFS) reading and ITU BS.1770 will give you an Loudness, K-weighted, relative to Full Scale (orLKFS) reading. Without getting too technical they are essentially the same except for the gate time. What you are looking for is the integrated loudness. Using loudness metering will assist you in making accurate A/B comparisons. Another advantage of proper loudness metering is the TP max (True Peak Max) number. This will alert you if the intersample peaks will overload a poor quality DAC or lossy encoder.
NUGEN VisLM is an excellent loudness tool
Conclusion
I know, I know, you want your track to be louder than everyone else’s. Maybe because I work as a mastering engineer you are thinking I have a secret technique for loudness. In reality it mostly comes down to the mix. Mastering should enhance what is already there, and not change the mix drastically in the pursuit of loudness. Keep in mind that a good song will still sell regardless of how loud it is. Hopefully in these two articles I’ve demonstrated that loudness is a delicate combination of frequency balance, dynamic range, and the arrangement of your mix. If you are pushing for level and your mix falls apart, then your track has reached its “loudness potential”.
Learning how to read VU meters is invaluable for mixing and mastering. The way the needles move can tell you things about the mix that other types of meters can’t, yet finding good hardware VU boxes isn’t easy.
