Top Floor Studios
Central city recording studio
Pro level recording and mixing studio in the heart of Gothenburg city, Sweden. Managed by engineer/producer Jakob Herrmann, renowned for drum recordings and with the client list to back it up.
- Recording -
Longer or shorter projects, producing or engineering. External producers are welcome.
- Mixing -
Mac Pro and SSL 6000G based hybrid setup, along with very nice outboards and great monitoring.
- Session drumming -
Lots of gear, a big drummer network, and specialised in drum recordings. Every musical style welcome.
I'd love to hear about your project. Click the 'Contact' button above to get in touch.
- Machine Head
- Raised Fist
- Hardcore Superstar
- The Resistance
- Jamey Jasta (Hatebreed)
- Body Count
- Freak Kitchen
- Roberto Laghi (producer)
- Tobias Lindell (producer)
- Jonas Quant (producer)
- Ryan Kelly (producer)
- Steve Lagudi (engineer)
- Kee Marcello
- Machine Head
- Jamey Jasta
- Jesper Strömblad
- Addictive Drums
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Interview with Top Floor Studios
Q: What are you working on at the moment?
A: Sorry, can't tell you ;)
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: No, not yet.
Q: Analog or digital and why?
Q: What's your 'promise' to your clients?
A: That I will provide my best, and bring my A-game, as long as they do the same.
Q: What do you like most about your job?
A: That it's a job, and not a hobby.
Q: What questions do customers most commonly ask you? What's your answer?
A: "How's it going?" "Fine! How are you?"
Q: What's the biggest misconception about what you do?
A: That since I love my job, I can do it for cheaper than expected.
Q: What questions do you ask prospective clients?
A: Just the usual ones about budget, deadlines, number of songs, my role in the project, other participants, when they would like to do it, approx studio time, and how they want their coffee.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Don't assume things or take my word for it. Talk to others to get their opinion of me, or look me up on the internet to make your own mind of whether I'm worth hiring or not.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: 1) My Marshall fridge full of bottled water. 2) My biggest drum kit as a raft, tightly bound together by 3) All my cables, and using 4) the backpiece of the SSL desk as a mast, with 5) the recording room rugs as sails.
Q: What was your career path? How long have you been doing this?
A: Since I was 17, but as a career since age 22 and full time some years after that. Worked my way up as a drum tech for the bigger names on my resume (Europe, etc). The path is ongoing, though, and leading higher up every year.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm proud of all my projects, but some of them especially. In 2015, the proudest yet will be revealed.
Q: How would you describe your style?
A: Attentive, flexible, and detailed, with an ear for the grit and space between the notes.
Q: Which artist would you like to work with and why?
A: Doing it right now.
Q: Can you share one music production tip?
A: Yeah. "Don't share any music production tips for free."
Q: What type of music do you usually work on?
A: Metal, rock, pop. Would love some more gritty blues in here, but hey, I'm still young.
Q: What's your strongest skill?
A: Optimising a song without changing it. Recording drums, in a way that's not just "good", but also "right". Making people feel safe and trusting, because it certainly goes both ways.
Q: What do you bring to a song?
A: A fresh pair of ears, a lot of guts, but also a lot of respect.
Q: What's your typical work process?
A: That depends so much on the client and the project, so it's a question I can't possibly answer.
Q: Tell us about your studio setup.
A: The studio is designed and built by Claes Olsson and Ingemar Olsson, two world-renowned studio architects. The design includes a floating floor design, double doors, high ceilings, natural daylight, and a smart climate system that ensures a perfect work environment. The control room is designed around a 48-channel SSL 6000G console together with a Mac Pro 8-core computer. Together with first-class analog outboards, this makes for a flexible and efficient setup for recording and mixing. The room is equipped with three pairs of speakers from Genelec, and allows for mixing in both stereo and 5.1 surround. The recording room has a controlled yet lively sound, and is designed for recording a variety of sounds. 60 input channels are wall mounted around the room, together with eight ethernet outputs for the Aviom 16-channel headphone monitoring systems, making this room suitable for all sorts of recording. Upstairs from the regular studio lies the core of the building - the big theatre stage. 40 microphone channels going straight down to the control room, and 4 ethernet outputs for the Aviom systems, transforms the theatre stage into one of Gothenburg's biggest recording rooms. Highly suitable for grand piano, choirs, brass or strings. When working in Top Floor Studios, Gothenburg city is all around you. No matter if you're going out for a coffee or a three-meal dinner, going to the museum or going clubbing, walking in the park or going shopping - it's all just outside the door, and we promise there's something for everyone. Having a good night's sleep is crucial when working hard. Inside the theatre building lies two guest apartments, available for studio clients. If these are not available, or if you for other reasons wish to stay elsewhere, there are more than 40 hotels available within walking distance, and in different price categories.
Q: What other musicians or music production professionals inspire you?
A: Anything that touches a nerve in some way, and that can mean a lot. A big part of this job is understanding music, and understanding a certain music's qualities. That means getting inspired a LOT!
Q: Describe the most common type of work you do for your clients.
A: About half of my work consists of drum recordings, for bands working in their own studio or in another studio not as specialised or skilled in that particular field. The other half are usually full album or EP productions, as engineer or as producer. On top of this, I sometimes work as drum tech in other studios.