Berlin based Swedish Electronic Music producer with 150+ vinyl releases out under various aliases since the 90's in House/Electronic/Techno genres
With composing production music for well known sample libraries as well as well over 150 discursive vinyl releases stacked in our favor since starting our recording career, FAR Sound has quite a history to look back on with records and albums coming out of this studio, on labels such as Josh Wink's Ovum Recordings, Adam Beyer's Drumcode, or Speedy J's Electric Deluxe.
Be it House, EDM, techno or guitar based projects - If you're in need of taking your productions to a new level of crisp & punchiness while keeping clarity, we offer swiftly and expertly mixing of your tracks, as well as digital & vinyl mastering.
Each song and track has it's own story and particular development, and so it has different requirements! Simply get in touch to tell us about your specific project, and we'll be so happy to discuss together how to get your music sounding just the way you want. It can be a simple mixing session from a full set of stems, where surgical EQ, dynamic processing and high end effects processing is added and combined to reach a new level of width and detail to an already existing song. Or it can be a combination of mixing, additional production (adding keys, analog synths or beats for example), and finally a mastering session to glue it all together to an industry / broadcast standard.
Very much looking forward for you to tell us about your song or album project!
Tell me about your project and how I can help, through the 'Contact' button above.
2 Reviews - 1 Repeat ClientEndorse FAR Sound
Patric understood what I wanted for my first release and did a fantastic job. Highly recommended and hope to work with him again
Patrik is an amazing producer/sound engineer and creative! Great communication, effort and turnover time. I was very satisfied with the quality of work I got and very professional attitude. Will be working with Patrik again soon!
Interview with FAR Sound
Q: What other musicians or music production professionals inspire you?
A: Oh, there are so many producers in various genres that are inspirational to us! People like Floating Points, Burial, or Mount Kimbie, all have an incredible amount of ingenuity and finesse to their sound, and a high level of detail in dance music production nowadays is imperative. Any producer that takes the old "four to the floor" game to exciting new territories and raise the bar of creativity, needs to be complimented! In the rock world, we are inspired by everything from Electric Wizard's growling fuzz, to the tight funk bass of Chk Chk Chk, or the detailed mixes from Trent Reznor.
Q: Tell us about your studio setup.
A: Production-wise we work on an all-hardware analog setup as far as sound sources go (Moog, Elektron, Dreadbox, Waldorf, Arturia, etc) with everything being sequenced from the main DAW, Cubase in order to keep today's needs of flexibility. Hardware effects processing via Strymon, Eventide & Moog units, and an array of industry standard plugins for modern track mixdowns.
Q: What was your career path? How long have you been doing this?
A: Dance music and music production in general has been "the path" since about 1997. Back then, using hardware samplers like E-mu Emax and Atari 1040ST was how it was done. Things have changed alot since then, and the mix between modern day digital mixing environments and classic hardware is absolutely amazing, especially with all the crazy analog gear flooding the market over the last 3-5 years!
Q: Can you share one music production tip?
A: Especially in dance music, try to spend time mixing particularly the low end material. There is a lot of "competing" for space with different bass lines and stabs down there, of course along with a bass heavy kick drum in the middle of everything. From a lot of material we receive, this is something that appears to be a bit tricky. You need to balance things in clever ways utilizing compression side chaining, EQ, and levels, in order for the track to have enough space to accommodate everything else and to not sound brick walled. A lot of times, less is more here. Especially for music that is meant to be heard at very loud volumes ;)
Q: What's the biggest misconception about what you do?
A: That you are "making music for people". What a producer or mixing engineer does, is simply to enhance what a musician or band already has created! They get a new set of experienced ears, taking their idea looking to develop it in ways that would perhaps get overlooked by the (very biased) ears of the creator. It's a good thing having a professional who's only job is to make things SOUND good, and let the musician worry about the music making. If there hadn't been a great idea already realized, there would be no project for us to be working on :)