Berklee College of Music graduate with over 10 years experience in the music industry from building music venues, co-creating a music PR company to releasing records and playing guitar for signed artists. I have an in depth understanding of all the various facets of this industry in the UK.
I was put in a conservatory at the age of 3 and haven't looked back! Music is my first love. From understanding what a song needs in terms of production, how to record it and balance it out in the mix to the way it should be marketed, I have done it all in many different genres. I work freelance as a live sound engineer in various venues around London and run my own recording studio, Mattison Studio. Get in touch and let's make some music!
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2 ReviewsEndorse Julien Baraness
Julian ran some mixing lessons for me which I can't recommend highly enough. We worked on a mix that I had recorded going through everything from the basics of fixing phase and gain staging right though to exploring concepts like sound design and the basics of mastering. The lessons were taylored for my track and the topics I wanted to cover. Really great sessions and excellent value!
Always a joy working with Julien! Very professional, shows great attention to detail and his musicianship makes him a great producer. Will undoubtedly go back to his studio as soon as it's possible again!
Interview with Julien Baraness
Q: Analog or digital and why?
A: I work entirely in the box, but enjoy and know how to operate large format analog consoles. I like digital for the ease of use and quality of plugins, which have become quite fantastic. I use UAD, Soundtoys, FabFilter, Brainworx, Waves and more. I do not believe one is better overall, but that they are both different and the end goal is making good music. I believe It's more about knowing how to use your tools.
Q: What's your 'promise' to your clients?
A: Every single decision I take with regards to your music is to give you the best possible end result I can.
Q: What do you like most about your job?
A: I love working with artists who are driven and want to make a difference. Those who are willing to take a risk and make a more original product are always rewarded tenfold, in my experience.
Q: What questions do customers most commonly ask you? What's your answer?
A: How much will this cost me? I charge a flat fee for all my engineering and production services and base most of my work/time around that, with the exception of online one to one tuition which is more expensive. I do everything to the highest standard I know, so I am happy and confident it's the right thing to do and it allows me to maintain transparency with my clients. If you would like to discuss your project, get in touch.
Q: What's the biggest misconception about what you do?
A: Sound engineers, especially mixing engineers can be asked to fix things. Unfortunately, not everything can be fixed and It ends up being cheaper and faster to put the time and effort into accurately recording and performing with confidence to ensure a good product at the end, while retaining an efficient process.
Q: What questions do you ask prospective clients?
A: What are you trying to accomplish with this project, when is it due and what is your budget? These are fundamental for a good and functional professional relationship.
Q: What advice do you have for a customer looking to hire a provider like you?
A: I know this is in writing, so it's hard to convey someone's true nature, but I want to reaffirm that I am up for challenges and can deliver a high standard of work with an efficient turnover. If my word isn't convincing enough, feel free to ask me for references and client testimonials.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: a playback device loaded with great tunes, a pair of Ollo Audio S4X, a strat, a jack lead and a small Mark V Mesa combo.
Q: What was your career path? How long have you been doing this?
A: My career began in 2007 when I was responsible for the backline at the Sporting of Monte Carlo. I learnt how to mic up a stage, patch a console, tune guitars, basses, drums in a short time for some of the biggest acts at the time! This happened the summer before starting my MP&E major at Berklee, which would lay down the foundations for most of what I know today. After graduating, I was offered a job as chief engineer at DAD Studios in Pitfield street. I then moved into the live circuit and went in-house at the Finsbury in Manor House, where I helped in the redesigning and rebuilding the venue. After 3 years, I started working for JaguarShoes and went in-house at the Victoria in Dalston, here I also assisted in the redesigning and spec'ing of the venue. I then decided to go freelance after 5 years of being in house and worked in various venues around London, following bands on mini tours and keeping some free time to gig as well. In 2017, I started the construction of my own studio, Mattison Studio, and have been combining live and studio sound as well as gigs with various bands. I have been actively working in the London music scene for just over 10 years now.
Q: How would you describe your style?
A: I can write, record, produce and distribute music. In sum, making the journey from concept to release with the added bonus of performance if need be.
Q: Can you share one music production tip?
A: Mic placement is crucial. If the sound source doesn't sound good when you are recording it, take the time to move the microphone(s) and capture the source right. Check for phase! Starting from a good clean source makes everything else easier.
Q: What do you bring to a song?
A: I'd like to say I bring my own touch and experience, like all my peers do. So why choose me? Well, I have a desire to learn and get better, so if your project/song presents a challenge, I'm interested and will put all my resources on deck to make the entire experience as good as possible. I bring over 20 years of experience as a musician and over 10 years as a producer/engineer with a degree in Music Production and Engineer from Berklee College of Music. Over this time, I've worn many hats and worked in many facets of the music industry. With the knowledge I have acquired, I can act as a producer and an engineer and hear the greater vision of the "skeleton" of a song, while being comfortable with all the equipment involved. This allows me confidence with regards to what can be achieved.
Q: What's your typical work process?
A: A client shows interest, usually from working with an existing client. The majority of my work is word of mouth. We discuss their project: What are they after? Budget? Delivery deadline? After all this is factored in. I start working. My clients can keep up to date with live streams from Pro Tools via Audiomovers or get a bounce of the work if necessary. I allow 2 revisions per mix. As I usually explain my entire process to my clients, they know what to expect from day 1 and are perfectly aware of the standard of work being done. I promote hard work, efficiency, a kind attitude and open mind.
Q: Tell us about your studio setup.
A: I run a concept studio from the basement of my apartment in North London. It's a 32m2 room for which I built all the soundproofing and have acquired gear over the years from reinvesting into the space. I have 16 channels of UA conversion and preamps and use a faderport 8 to have faders under my fingers (this is very important for me). I record to Pro Tools and monitor through a pair of Alesis M1 Active MkII and use Ollo S4X to check on cans. Backline wise, I have a lovely 1976 Slingerland Energizer 690T, Hartke LH1000 with matching 4x10 cab, a Fender Deluxe II, Jet City 50 2x12, fender 90 dsp, a plethora of mics and a slew of plugins and sound libraries that allow me to deliver on most demanding projects.
Q: What other musicians or music production professionals inspire you?
A: As a musician, I look up to anyone doing anything I find outstanding. It goes without saying that I am a huge fan of Jacob Collier (you should be too!). Otherwise, my influences on guitar range from Guthrie Govan to Sylvain Luc, with a profound appreciation for Julian Lage, Pete Thorn, Rick Beato and many others whom I can't start mentioning or it won't end. As an engineer/producer, I admired Andy Wallace from a young age and got into Michael Brauer, Andrew Scheps, Jack Joseph Puig, Tchad Blake, Sylvia Massy, Tony Maserati, Steve Albini, Rick Reuben, Tony Visconti, Quincy Jones and many more. I'd like to thank my Berklee teachers who taught me how to "listen" to music and whose words remain an ongoing source of inspiration, humility and motivation: Prince Charles Alexander, Mark Wessel, Jeff Largent, Jeanine Cowen, Susan Rogers, Mitch Benoff, Andy Edelstein and Richard Mendelson.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I mixed the Southbank Symphonia (a 64 piece Orchestra) with DJ Mr Switch at Ambika P3, a subterranean venue, in the University of Westminster. This was a world premiere and featured in Time Out as one of the main things to do on the day in London. The concert took place in 2016. I'd like to thank Nonclassical for giving me this extraordinary opportunity and my good friend and assistant Jimmy Logic for helping me with the work load! The day started at 6 and finished around midnight. We supplied a FOH rig, stage monitor for conductor and DJ, mixer and mixed the show alongside the BBC who recorded it. The whole event couldn't have gone better! Doing FOH for an orchestra and a world renown DJ, organised by a contemporary classical label (founded by no other than Gabriel Prokofiev) while liaising with the team of BBC engineers was an honour and the experience of a lifetime to say the least... Thank you!
Q: What are you working on at the moment?
A: Right now I'm mixing an EP's worth of Demos for a client in preparation for an album which will have the recording and production take place here at Mattison Studio. The songwriting is very original and the client is is kind, talented and involved in the whole process. Sometimes I reflect on what I do and think I am the luckiest person in the world with the best job!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: My good friend and talented singer/performer, Evan Anderson. If you need a great male voice! Very nice guy, tons of experience and extremely talented. You can trust him with your eyes closed!
Q: Which artist would you like to work with and why?
A: Jacob Collier, just to pick his brain.
Q: What type of music do you usually work on?
A: Most of what I work on is songwriter material. I believe this is because you need to start with a great song to end up with a great product. Luckily, I work with talented and original songwriters who have a vision for their music, be it folk, hip hop or rock.
Q: What's your strongest skill?
A: My strongest skill is the one I am constantly working on: my ears. I have spent years looking after my hearing to make sure I can deliver sonically accurate and competitive products to my clients.
Q: Describe the most common type of work you do for your clients.
A: At the moment, the majority of may work is remote/online mixing and mastering for clients across different genres. Pre Covid, my work was mostly running sessions with live bands, producing and mixing records. I've adapted this to a more Covid secure situation and do all my work remotely until things get better! I'm expecting to reopen mid feb if things get better...