Studio 1840 gets you the sound you need. Our head engineer is an experienced specialist who has also taught seminars at top music schools such as Trebas and Metalworks
Do you want a loud in in your face mix and master? You got it. How about subtle and dynamic? Hell yes we do that ( we actually prefer those)and we offer a multitude of services; Mixing, Mastering, Stem Mastering, Vocal Processing, Vocal Pitch Correction, Post Production Services , Original Compositions and Sound Design (yes that includes ALL types of sounds). All of our services come with a free revision. We also offer K-system type masters and mixes for those that want that standardized sound.
Would love to hear from you. Click the contact button above to get in touch.
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Interview with Studio 1840
Q: What questions do you ask prospective clients?
A: What speakers/headphones was this produced on? It gives an indication of the listening environment of the client.
Q: What's the biggest misconception about what you do?
A: That mastering is magic. It is not. There is only so much mastering can do. Mixdowns are what fixes most of the problems.
Q: What questions do customers most commonly ask you? What's your answer?
A: If I like their music. My answer depends on if I like it or not.
Q: What do you like most about your job?
A: The end product. I like bringing life on to things and generally improving them.
Q: What's your 'promise' to your clients?
A: That I will do my job to the best of my abilities, nothing less.
Q: Describe the most common type of work you do for your clients.
A: Mastering and stem mastering. Usually pretty "hot" mixes with hard limiting and running through anlogue style compressors.
Q: What other musicians or music production professionals inspire you?
A: Noisia, Mefjus, Prodigy, Led Zeppelin, Phace, BSE, The Upbeats.
Q: Tell us about your studio setup.
A: Nothing useless or distracting. Pair of VXT 8's in a well treated room (+/- 4.5 db's) in a 60 degree equilateral triangle with equal spacing and ear level. A few pair of golden ears from our engineers. Few consumer reference monitors and headphones ; Rokit 6's, HD 280 pros, logitech x540. We have some fancy analogue gear but through double blind testing we have found that it under performs the digital equivalents and its mostly a toy then an actual tool.
Q: What's your typical work process?
A: Find a nice reference track, clear mind and ears then load up the project file and start to work. A-B work to reference tracks while keeping in mind character of the current track that is being worked on. Take break every 30-45 mins to let ears not get over-saturated and make stupid mistakes such as no level matching pre and post processing levels.
Q: What do you bring to a song?
A: Whatever the specific song requires, it is different for every track.
Q: What's your strongest skill?
A: Objective listening and creative problem solving.
Q: What type of music do you usually work on?
A: Mostly electronic, and lots of live instrument processing (including full drum kits)
Q: Can you share one music production tip?
A: Don't let louder sounds sway you with loudness. Match your pre and post processing levels for an objective judgment.
Q: Which artist would you like to work with and why?
A: Noisia, because they make some awesome music and have the best studio setup I have ever seen.
Q: How would you describe your style?
Q: What was your career path? How long have you been doing this?
A: Originally it was psychology but I have been dealing with music and engineering much before that. It has been around 9 years or so. Now I am a product specialist for FabFilter and do seminars at music schools (Metalworks, Trebas, etc)
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: A production computer with pheripherals, nuclear power generator, 61key midi keyboard, studio monitors and a sound card.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Send a message and see if the provider has what you are looking for.
Q: What are you working on at the moment?
A: My own projects, they are fire.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: A track called Robot Lovin with Anastas. We produced it together and it turned out great. It just has a very unique sound. I did all the technical stuff sound design, mixing and masering etc and Anastas did quite a bit of the chord building. It was mostly a joint effort.
Q: Analog or digital and why?
A: Digital, always. Analogue has a lot of pseudo-science and general snobbery around it. Blind testing has lead me to believe that digital is superior and that with the right setting digital and emulate and surpass analogue in every sense of the word. It also gives much more control which leads to a better final product and digital requires the engineer to know what he is doing rather then just twisting a few knobs.