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Old 4th December 2008 , 03:09 PM
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Default Jagz Kooner - Sonic Juggernaut!

Every so often within, say a decade, comes a production talent that hits the industry like a bolt of lightning, and endures through the years to become a seminally recognised entity - Be very proud Europe, cos we've got one of the best!!

In this, the fourth in a series of exclusive DV247 Forums interviews, we talk to UK record producer, Jagz Kooner. Birthing his studio skills in the late 80's rave period, Jagz became an artist in his own right, forging a studio/engineering sensibility that was to set him apart from his peers and in many ways put him ten years ahead of them. Twenty years later, and he's probably the most established and in-demand producer/engineeer/remixer on the 'band' scene..

Step forward the man they call "The Sonic Juggernaut"..


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DV247:
Do you have an all-engrossing production gig on at the moment Jagz or are you juggling different creative projects?

JK
The all engrossing production at the moment is the new 'Reverend and the Makers' album provisionally titled “French Kiss In The Chaos”. Its very near completion. However I have also been fitting in time for remixes for Oasis and producing a great electro pop band called Mancini. Plus I have just finished producing and mixing a track for the new rinocerose album.
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DV247:
Is most of your programming, recording and mixing done at your own Echoplex facility, or are you still a regular visitor to UK & international studios to work?

JK
I tend to put most stuff together at echoplex but use large studios (where there is a large enough live room) to lay all the tracks down with the bands. Ive been working at Dean Street Studios in Soho and will record all the songs to protools. Once we have the back bone of the songs recorded we will then do most overdubs ,vocals, programming and effects at echoplex.
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DV247:
Take two timezone’s and environments – Jagz, early 90’s (Sabres/Aloof) – Jagz, 21st century (Primal Scream, Reverend, Oasis): Do you/did you feel creatively stronger, connected to your audience, enjoying music more, now or then?

JK
Its weird, back in the days of the Aloof and Sabres and working with Andrew Weatherall I would always be out at clubs as he was always dj'ing. Creatively speaking I was inspired by what was happening in the clubs and by Weatherall’s extensive musical knowledge and record collection. Nowadays I still listen to loads of new music via myspace +internet (I think musically I am now more open minded) so I would say im probably creatively stronger now and my enjoyment of music hasn’t diminished . However through technological advancements I would say that I enjoy making music more now than back in the 90’s. the down side is I am so busy now that I don’t get near enough time to listen to new music.

"Wilmot" - Sabres of Paradise

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DV247:
One of your most commercially successful and critically acclaimed gigs was producing the full album ‘State of Things’ by Reverend and the Makers – Can you share some details on the (Sheffield, Liverpool & London) programming, recording and mixing stages involved at four different studios?

JK
We started by spending a lot of time in Sheffield routining the songs in Paradise studios( Joe Moskow’s from the Makers studio). we would go through arrangements , change/enhance parts, check tempos of songs and make sure that everyone was comfortable with the new versions of the songs . The band then went on tour to see how the new versions of the songs would go down with the crowd (luckily the gigs were fantastic and everyone was buzzing on the tour) We then went straight to Parr Street Studios in Liverpool to record the album. After tracking all the songs for the album as well as b sides and bonus tracks, we then returned to Paradise studios in sheffield to do overdubs, vocals, effects and general studio trickery. After I had finished the monitor mixes and creating stems, the process for the final mixing of the album was handed over to Cenzo Townshend. He then mixed the album at Olympic studios in London. We also put together additional tracks and remixes at rollover studios in London as well.

"Open The Window" - Reverend & The Makers

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DV247:
When offered remixes these days, what format (DAT, CD, Pro Tools files, Stems, 24 Track tape etc) do you receive the song parts on and what DAW are they transferred to at Echoplex?

JK
I normally receive all the files on a dvd . Sometimes they are protools session files and sometimes just audio stems. I will then load them into protools and and go through all the parts I want to keep and discard the rest before adding new parts and changing arrangements.
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DV247:
Your ‘sound’ is one that really represents your passion for true analogue synthesis, hardware sonic manipulation and hands on control of your mix – what are your top 5 favourite ‘go to’ pieces of studio hardware (and why)?

JK
Tricky question this one as I will always try different things on different songs (and its not always analog!), however there are a few toys that always will feature on pretty much all things:

1. my fave compressors Alan Smart C2 ,distressor and Chiswick reach and 1176 and chandler tg1
2. Moog Rogue synth
3. My apogee convertors
4. My protools hd rig (I know its software but I would be lost without it!)
5. Neve preamps
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DV247:
And in the virtual world, any particular software solutions floating your creative boat right now?

JK
Yes! Lots! I switched to protools from logic audio last year and am totally blown away by protools 7 . Elastic audio is just pure genius as well as a lot of tdm plug ins. I'm a massive fan of software instruments and effects as well - sound toys, ohmforce, native instruments, arturia and waves all make amazing sounding plug ins. However digidesign are really pulling out all the stops now and making some superb stuff too ,eg transfuser (which is unreal!) as well as the structure sampler are always used.
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DV247:
Do you collaborate with fellow producers (such as Jon Gray) often, and can you describe your usual workflow and how you bounce off each other creatively?

JK
Working with people like Jon Gray and Ben Roulston @ Dean Street means I can concentrate on the production side of things and not get too bogged down in the sonics as they will be able to take care of that. I am very particular about the sound I want put down so will always talk with them first to get a good game plan together so the band can get on a roll with laying songs down without any technical hitches/problems striking half way through . Its essential to be able to lay songs down quickly and im fortunate to have some amazing engineers around me.


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DV247:
As a kick off to a remix or production, what would be the catalyst that rolls the ball – A musical sequence, a groove, a sample, a lyric etc? And how much inspiration do you tap into from your personal musical heroes /influences?

JK
My approach to a remix is different from a production. With productions I will always see the band live.then chat to them to see what their vision for the record is. After that I will go in to a rehersal studio with them to go through arrangements/parts/tempos of songs and run the songs a few times so everyone is familiar with the new versions .Only then will we go to a recording studio to put the songs down. Once in the studio we will have “vibe up” sessions: these usually involve stopping work and getting some beers in and everyone listening to loads of music (can you believe I get paid to do this!), usually what happens is it really inspires the band/artist. However with remixes I would normally go through all the parts and see what really stands out then build it up by keeping the song in mind rather than going off on a tangent totally disconnected to the original song. So inspiration from hero’s and influences are always prevalent on absolutely everything I do. I suppose thats going to happen as I spend most of my time emulating my inspirations and heroes.
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DV247:
As a producer (gear, technology and record company budgets aside), and regarding the bands you have worked with, have you found the psychological side of dealing with artistic temperament, tantrums and fall-outs a challenge, a stress or a complete laugh!?

JK
Ha ha ,yes its all of the above! Seriously being a producer isn’t just about making a great recording of a fantastic song . you have to make sure that every one is in a good frame of mind so you get good performances from all band members. The psychology part of it is just as important as the recording process.
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DV247:
Here at DV, one of our personal top Jagz moments is your superb production of Primal Scream’s ‘Some Velvet Morning’- What production secrets and ‘magic in the air’ moments came together to create this seminal electro/alternative/pop montage?

JK
Well it’s a combination of me, primal scream,Kevin shields and Kate Moss. It would have been tragic if we f****d that one up! The “magic in the air” moments really came from Kevin Sheilds, he is possibly one of the greatest people I have ever worked with in the studio, the man is a total genius! The song originally was on the album “Evil Heat”, but I wasn’t that impressed with that version. So, Andrew Innes (Primal Scream) decided to redo it . He remade the backing track and got a cymbalon player to play the main hook (an incredible sounding instrument when heard in real life). We had the vocals that Kate did from the original version and it was just a case of me tweaking the sounds and toughening up the drums and then mixing the track with Kevin and Andrew. I remember we had a wall of compressors (literally !) driving all the channels and mixing into a manley vari mu and massive passive. I think it was the massive passive eq that brought everything
to life!

"Some Velvet Morning" - Primal Scream feat. Kate Moss

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DV247:
Could you give us your personal, all-time favourite Top 5 works (whether remixes or productions) that you feel the most affinity to, and why?

JK
1. Primal Scream “Swastika Eyes” - After I parted company with the Aloof and the Sabres split up, I had an 18 month period when I didn’t really know if I wanted to do music anymore. I then got a call from Andrew Innes (Primal Scream) asking me if I wanted to work on this. It helped rekindle my faith.

"Swastika Eyes" - Primal Scream


2. Royal Trux “Dirty Headlines” - One of my fave bands. I think they only ever had 2 or 3 remixes commissioned and I was fortunate enough to be asked to remix them.

3. Kasbian “ Club Foot” - I'm a massive fan of kasabian and it was a breath of fresh air when they came along. Ive done a few remixes for kasabian over the years but this is my fave one as it's very dirty electro and not many real instruments.

4. The Charlatans ”My beautiful Friend” one of my first remixes under my own name and one of the reasons Eddy Temple Morris started his remix show on XFM Radio. I took a slow ballad type acoustic indie tune and strapped a double time beat and made it sound more like Ministrys “Jesus Built My Hot Rod”!

5. Reverend and the Makers ”Silence is talking” - It's always a good sign when Liam Howlett texts me saying he is really into a mix I've done, as he did when he heard this . Makes my day
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DV247:
On your recent Oasis remix (‘Shock of the Lightning’), were you given 100% freedom of creative expression from the band, and if so, was it a hard decision to make regarding which direction to take the mix considering the target audience envisaged, and your relationship with the Gallagher’s?

JK
Im always given 100% freedom on remixing (I don’t see the point of doing remixes if your not allowed to do what you want to do). If any band/artist wants input then it’s a production not a remix. The only thing Noel said to me was to make it more “space rock” and not too “techno”, which is what I was going to do anyway (not really sure how you turn Oasis into techno anyway!). The mixes weren’t too far removed from the original versions as I really liked what was going on in them. Got a massive thumbs up from Noel and the band so I was happy with the outcome.

"Shock of the Lightning" - Oasis (Jagz Kooner Remix)

---------------------------------------------------------------------------------------------------------------------
DV247:
Most, if not all your production output goes to a pro-mastering facility – what kind of processing do you prefer to apply to your mix buss to prepare the 2 track audio for delivery to such a facility? Would it be purely hardware or is there a degree of ‘in the box’ processing applied also?

JK
I always leave mastering and processing of that kind to the pros. I normally mix into an api 2500 or smart c2 and sometimes use an expounder on the mix bus. I have recently started to mix into the waves api 2500 plug in and will put tc master x3 on the mix bus for monitoring for the final phase of the mix. However I will send the mix without the mastex x3 plugin added as the mastering facility normally do a better job with the software/hardware they use.
---------------------------------------------------------------------------------------------------------------------
DV247:
You’ve long been recognised as a fan of layering/splitting/effecting/mangling and generally f*****g up your source samples & audio – does that ethos still apply to most of your work, or do certain projects require an approach from a different, more subtle angle?

JK
Yes that’s still true for most things, naturally different projects require diferrent approaches but I will always add touches that are dj based ie filtering, effects swells and sweeps.. Plus im a big fan of 60’s psychedelia and 70’s disco so will always put phasers/reverse reverbs/reversing beats and parts on most productions and remixes. Nowadays you can easily layer sounds and parts, recording a sound and then copying it and transposing it an octave up or down and layering it in protools is really easy!
---------------------------------------------------------------------------------------------------------------------
DV247:
In the past year or so, you’ve been DJ’ing quite regularly – Have you played out much before, or is this a new vibe for you (and what sort of music styles are you currently dropping in your sets)?

JK
Originally I was a dj, and it was through that that I got into production and making music. When I was younger I bought a drum machine to run along side records. I would play and then use effects and different drum patterns to toughen up tracks. However as studio life took over I found myself dj'ing less and less as I had very little time to devote to it. I got coaxed out of my shell by Eddy Temple Morris to start djing again and really enjoy it now. I regularly played at Fabric in London and Manumission in ibiza, play all sorts of stuff out varying from Soulwax/Alex Metric, right through to Nitzer Ebb/Donna Summer. I call it 'Electronic Rock 'n' Roll!


---------------------------------------------------------------------------------------------------------------------
DV247:
Avoiding the fickle ‘in vogue’ stigma, you’ve maintained an industry journey of steady ascension to be an artist of reliability and forward thinking production sensibilities – Has this journey been always been a smooth, enjoyable one, or have you ever had periods of disillusionment?

JK
I don’t think anyone can be involved in music creatively and not have moments of disillusionment. It all depends on (finances willing) how much you love what you do. I've been lucky enough to be involved in really good projects. It's not always been smooth, but I wouldn’t have had it any other way. You probably learn more about yourself and your capabilities in the bad times and that always helps when the goings good.
---------------------------------------------------------------------------------------------------------------------
DV247:
What can audiences and the industry expect from you in 2009 Jagz – Releases, band projects, live appearances, studio etc?

JK
I'm really excited about 2009. The new Reverend and the Makers album and Mancini album will be out in the first half of the year. I finally started writing new material with Darren Morris (my partner in all the remixes I do) and Louise Prey (ex Ping Pong Bitches and The Prodigy). And (hopefully) I will be let out of the studio to dj more often!


---------------------------------------------------------------------------------------------------------------------



ECHOPLEX STUDIOS - SPEC LIST

DESK
ALLEN & HEATH GS3000 (32 CHANNEL)ANALOG DESK
(72 CHANNELS ON MIXDOWN+2 VALVE INPUT STAGES)

MONITORING
YAMAHA NS10M
DYNAUDIO BM15A
GENELEC 8020A

OUTBOARD
APOGEE PSX100 A/D CONVERTOR
APOGEE BIG BEN
CHISWICK REACH STEREO MASTER COMPRESSOR
SMART RESEARCH C2 COMPRESSOR
TLA AUDIO C1 COMPRESSOR
EMPIRICAL LABS DISTRESSOR
FOCUSRITE RED 2 EQ
CLM DYNAMICS EXPOUNDER EQ
DRAWMER DS201 NOISE GATE
SPL TRANSIENT DESIGNER (4 CHANNELS)
MUTRONICS MUTATOR FILTER
SPL CHARISMA 8CH VALVE DISTORTION UNIT
DBX 120XP SUBHARMONIC BASS SYNTHESIZER
TLA AUDIO PA-1 PREAMP
LINE 6 BASS POD
LINE 6 GUITAR POD
UNIVERSAL AUDIO 6176
NEVE 1073DPD

EFFECTS
EVENTIDE H3000 DSE MULTI FX
MELOS ANALOG ECHO
ROLAND RE301 ANALOG CHORUS ECHO
MAESTRO ECHOPLEX TAPE DELAY
ENSONIQ DP4 MULTI FX
2 x YAMAHA SPX900 MULTI FX
BOSS SE70 MULTI FX
ZOOM 9050 GUITAR FX
ROLAND SDE 330 SPACE DELAY
VESTAFIRE SPRING REVERB
ALESIS QUADRAVERB
ALESIS MIDIVERB II
KORG KAOS PAD2 DJ FX
MIREX EC-500 ANALOG ECHO UNIT

COMPUTER+PROTOOLS SYSTEM
MAC PRO +PROTOOLS HD3
2X DIGI192 (16 INS 24 OUTS)
1X DIGI 888/24
RUNNING PROTOOLS 7.4
EXTENSIVE LIST OF PLUGINS INCLUDING :
WAVES GOLD,SSL +API . ARTURIA SYNTHS. NATIVE INSTRUMENTS.
OHMFORCE. SOUND TOYS.MASSENBURG
+REASON V4
ABLETON 7
MASTERING
FOSTEX D5 DAT PLAYER
HHB CDR 850 CD BURNER/PLAYER
REVOX B77 MKII 1/4” REEL TO REEL
DENON DRM-740 CASSETTE PLAYER

KEYBOARDS/DRUM MACHINES/MODULES
ROLAND TR808 DRUM MACHINE
ROLAND TR909 DRUM MACHINE
SYNCUSSION DRM-1 ANALOG DRUM SYNTHISIZER
ALESIS SR16 DRUM MACHINE
SYNSONICS DRUM MACHINE
CLAVIA NORD LEAD 2 SYNTH
MOOG OPUS-3 ANALOG SYNTH
MOOG ROGUE MONOPHONIC ANALOG SYNTH
OCTAVE CAT ANALOG SYNTH
FARFISA 110(KILLER 1960’S ORGAN)
YAMAHA CS70M ANALOG SYNTH
OBERHEIM MATRIX 1000
AKAI S3000I (18MG)
EMU E6400 (FULLY LOADED)
PROTEUS 3
2 x TECHNICS SL1200 MKII+PIONEER DJM600 MIXER
2x PIONEER CDJ200 CD PLAYERS
EMS SYTHI A MODULAR
ROLAND SH101
ROLAND SH09
ROLAND JUNO 60(+MIDI)

MICROPHONES
COLES 4038 “SOAPDISH”BBC RIBBON MIC
3 x SHURE SM58
AKG D112
2 x AKG C414
BLUE KIWI

GUITAR PEDALS
ROGER LINN ADRENALINN FX
SCHALLER TREMOLO
ELECTROHARMONIX BASS SYNTH
KORG G4 ROTARY SIMULATOR
LOVETONE RING STINGER
LOVETONE MEATBALLS
LOVETONE CHEESE SOURCE
VOX WAH WAH
SNARLING DOG DISTORTION WAH
ROGER MAYER OCTAVIA FUZZ
RAT DISTORTION PEDAL

MISC
FENDER STRAT CUSTOM SHOP GUITAR
FENDER JAZZ BASS
FENDER BLUES JNR AMP
HARMONIUM
SITAR+TAMBURA
VARIOUS INDIAN INSTRUMENTS
VARIOUS PERCUSSION
GLOCKENSPIELS+MUSIC BOXES+ZYLOPHONES
---------------------------------------------------------------------------------------------------------------------
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Old 4th December 2008 , 07:40 PM
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Quote:
JK
the down side is I am so busy now that I don’t get near enough time to listen to new music.
I would have thought it was essential to in some way make enough time to listen to new music if only to stay current.

Quote:
JK
We started by spending a lot of time in Sheffield routining the songs in Paradise studios( Joe Moskow’s from the Makers studio). we would go through arrangements , change/enhance parts, check tempos of songs and make sure that everyone was comfortable with the new versions of the songs . The band then went on tour to see how the new versions of the songs would go down with the crowd (luckily the gigs were fantastic and everyone was buzzing on the tour) We then went straight to Parr Street Studios in Liverpool to record the album. After tracking all the songs for the album as well as b sides and bonus tracks, we then returned to Paradise studios in sheffield to do overdubs, vocals, effects and general studio trickery. After I had finished the monitor mixes and creating stems, the process for the final mixing of the album was handed over to Cenzo Townshend. He then mixed the album at Olympic studios in London. We also put together additional tracks and remixes at rollover studios in London as well.
Nice to be able to demo tracks to your customers live first. I thought the production process seemed to go through so many stages. I guess with a band that might be required or maybe a personal preference.

Quote:
JK
Yes! Lots! I switched to protools from logic audio last year and am totally blown away by protools 7 . Elastic audio is just pure genius as well as a lot of tdm plug ins. I'm a massive fan of software instruments and effects as well - sound toys, ohmforce, native instruments, arturia and waves all make amazing sounding plug ins. However digidesign are really pulling out all the stops now and making some superb stuff too ,eg transfuser (which is unreal!) as well as the structure sampler are always used.
No question...Elastic audio in Protools does seem very good. I saw a demo of it some time ago. Class. I also agree that Digi have a lovely set of in house plugs especially as of ProTools 8.

Quote:
JK
Working with people like Jon Gray and Ben Roulston @ Dean Street means I can concentrate on the production side of things and not get too bogged down in the sonics as they will be able to take care of that. I am very particular about the sound I want put down so will always talk with them first to get a good game plan together so the band can get on a roll with laying songs down without any technical hitches/problems striking half way through . Its essential to be able to lay songs down quickly and im fortunate to have some amazing engineers around me.
I guess it must be quite challenging at times to work with more than one person when mixing and producing. I am just not used to that but I guess one could learn a great deal from others workflows. Personally though...I would work strickly solo unless I was collabing. Just too many things I want a certain way.

Quote:
JK
Seriously being a producer isn’t just about making a great recording of a fantastic song . you have to make sure that every one is in a good frame of mind so you get good performances from all band members. The psychology part of it is just as important as the recording process.
Spot on. In my experience working with Vocalists...very important.


Quote:
JK
I always leave mastering and processing of that kind to the pros. I normally mix into an api 2500 or smart c2 and sometimes use an expounder on the mix bus.
"expounder"?? Or...expander surely?

Lovely kit list!
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Old 4th December 2008 , 10:23 PM
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Been meaning to read this ALL day but didnt want to start till i could really soak it all in and yes i can't believe he gets paid for what he does
I have to say this interview has really given me inspiration
one day Mr Jagz i will have hair like yours
all seriousness all the interviews have inspired me in some way and this one has just re inforced the idea that if you are really passionate about something sticking to it through thick or thin will be worth it in the end whether its immediately obvious or something you have to sit back and study.
Again DV well done
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Old 5th December 2008 , 09:46 AM
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"Most, if not all your production output goes to a pro-mastering facility – what kind of processing do you prefer to apply to your mix buss to prepare the 2 track audio for delivery to such a facility? Would it be purely hardware or is there a degree of ‘in the box’ processing applied also?"

Can anyone explain this to a layman ie me?

In detail. Thanks
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Old 5th December 2008 , 12:13 PM
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Quote:
Originally Posted by I_Am_Bic_Pentameter View Post
"Most, if not all your production output goes to a pro-mastering facility – what kind of processing do you prefer to apply to your mix buss to prepare the 2 track audio for delivery to such a facility? Would it be purely hardware or is there a degree of ‘in the box’ processing applied also?"

Can anyone explain this to a layman ie me?

In detail. Thanks
im much of a layman myself but will give it a go, when he has finished his mix down and its ready for mastering, because most tracks are often in stereo you will have 2 channels, L & R. so your buss/group will will have 2 channels one panned left the other right and the L & R channels routed accordingly, so now DV want to know if he puts any signal processing on these channels before it reaches the mastering suite, i.e compression, eq etc. and whether its hardware or through the computer "ITB" i hope i have been clear but am not really the best person to ask so may be wrong???
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Old 5th December 2008 , 12:18 PM
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Quote:
Originally Posted by sureno View Post
edit:... so now DV want to know if he puts any signal processing on these channels before it reaches the mastering suite, i.e compression, eq etc. and whether its hardware or through the computer "ITB" i hope i have been clear but am not really the best person to ask so may be wrong???
Spot on Sureno
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Old 5th December 2008 , 12:30 PM
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Thanks. So he has this track. What exactly gets sent.

Let's say me, a dashingly handsome but clueless producer, has a track in Sonar. Possibly the finest sound heard by man. It needs mastering. What would I send and in what format?
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Old 5th December 2008 , 12:54 PM
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The final mix will be sent to a Mastering Facility in either (24 or 16 bit) .wav or .aiff stereo file format. It will be the result of an internally 'bounced' final pass from within the computer environment ('in the box') or a 'live' pass (from start to finish) feeding primarily from a mixing desk, or a derivative thereof, if these 'live' parts (sectional passes) where 'glued together' (in a 'wave editor' app.) to create a finished arrangement, then outputted to one of the above 'stereo' file formats...
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Old 5th December 2008 , 01:01 PM
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Thanks for that.
Do you bounce and then add any enhancements?
And then do a final bounce?
Or do you bounce different parts and then bounce everything?
Or do you do all the work prior to the bounce and that's it?
Hope you catch my drift - basically what's the best way to bounce the whole to get to the final bounce.
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Old 5th December 2008 , 01:30 PM
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Thanks for that.
Do you bounce and then add any enhancements?
And then do a final bounce?
Or do you bounce different parts and then bounce everything?
Or do you do all the work prior to the bounce and that's it?
Hope you catch my drift - basically what's the best way to bounce the whole to get to the final bounce.
lol the final bounce wouldn't be final if you where to add more stuff
does your medicine taste nice
you bounce as many times as you need till you feel its ready, how many passes the audio file makes is a different story,
I will often bounce from logic when im happy with the mix
or bounce stems into pro tools do a mix then bounce as a single stereo interleaved file
any additions i want to do mastering wise il do in Bias peak pro or "try" to do.lol

do you use hardware, if you list your set up il see if i can suggest a way i would do it using your gear?
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Old 5th December 2008 , 01:43 PM
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The final mix will be sent to a Mastering Facility in either (24 or 16 bit) .wav or .aiff stereo file format. It will be the result of an internally 'bounced' final pass from within the computer environment ('in the box') or a 'live' pass (from start to finish) feeding primarily from a mixing desk, or a derivative thereof, if these 'live' parts (sectional passes) where 'glued together' (in a 'wave editor' app.) to create a finished arrangement, then outputted to one of the above 'stereo' file formats...

Surely 24bit would be better than 16 bit. Do you mean...24bit if the mastering enginer will add dither e.t.c and 16 bit if the producer does that pre sending over the files?
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Old 5th December 2008 , 01:48 PM
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Surely 24bit would be better than 16 bit. Do you mean...24bit if the mastering enginer will add dither e.t.c and 16 bit if the producer does that pre sending over the files?
For something that will ultimately end up on CD, the engineer will dither down to 16 bit (probably once he has processed the 24 bit version)..
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Old 5th December 2008 , 01:50 PM
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do you use hardware, if you list your set up il see if i can suggest a way i would do it using your gear?
All I have the moment is Sonar 8 stuff and a few odd plug-ins. I wouldn't know what to buy as I don't know what's required at the moment. The old catch22.

I've recorded for many years but only for me and a select few. They sound pretty good on a CD but it's not properly done and that's where I want to get to.

More recently I've invested in some reading material and I'm picking up tips here and there. I'm not at the end game yet but I thought I'd ask as it's on topic.

I'm hoping to do an album soon. I've probably got a double albums worth basically written (music and lyrics) and I've been going through my gear to get the exact sound I want. I have the tunes, just need the 'right' sound. I've laid some parts down but nothing concrete. They also need correctly structuring and I need to pick up a few pointers on drums and bass (so it doesn't just sound like a lazy band).

It'll split into a ballad and rock album. Although I've named both I can't name one for various reasons but the rock one is going to be called '147'
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Old 5th December 2008 , 01:53 PM
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For something that will ultimately end up on CD, the engineer will dither down to 16 bit (probably once he has processed the 24 bit version)..

Yeah that was my thinking...I just thought when you said 24 or 16 it seemed a bit strange as I can't think of any reason to send a 16 bit file to a mastering house unless they receive a pre dithered track. Any hooo
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Old 5th December 2008 , 02:21 PM
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@IABP if your album is for release to public and seeing as you have little experience recording etc and working with ITB techniques, have you thought about getting it mixed and mastered in a pro studio? even record in a pro studio, if the album is for yourself then by all means record at home and for the sake of expense try just mixing in the box with what resources you have plug ins wise, hardware can get VERY expensive, the usual process would be to record all you want on to the comp, program and arrange how you want the track (some people mix along the way) adjusting the immediately pronounced levels so you have a fairly level sounding mix, when all the arrangement is done yo can think about adding effects (reverb, delay, eq etc) again it depends how you want to work (some people do this along the way too).

so you have a basic lay out now with may be a few fx, now imo try fine tuning the parameters to those fx and levels so that your track is sounding clear and fresh and just how YOU want it to be happy with it, a tip i would suggest is to save incrementally at this stage because in my experience mixes can soon go down hill very quickly with the more plugs you have going on etc so if you do something that messes it up just go back.

when you have mixed your track down and happy, bounce to stereo seperate (2 resulting tracks) or interleaved (1 resulting track) i normally do interleaved but have no experience with what is best for the mastering engineer so you may want to go seperate channels L & R?

now you have a track ready for the ME, i would just send it off as is, if you need to amend something just open sonar up again on the save you where last happy with do what you want to amend save as and bounce again.

what the OP was asking was in regards to a fairly pro studio's capabilities, something imo you do not need to address just yet
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