I am an electronic Music Producer, DJ and Mix Engineer
I proceed with the same passion and workflow to clients that I use in my own projects. In mixing, I also believe that there should not be a limit on revisions. Unlike mastering, mixing is very subjective to the artist. I believe that .02 of a dB of a snare can make all the difference in completing a perfect mix down!
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Interview with NURKO
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The project that I worked on that I am the most proud of is probably https://soundcloud.com/lowlypalace/nurko-let-me-go-feat-alina-renae . T his track received millions of streams as well as support from large artists like R3HAB. The song is produced, mixed, and mastered by me. It features Alina Renae who is also on Soundbetter.
Q: What are you working on at the moment?
A: I am currently working on releasing an EP!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Alina Renae and BAER. They are amazing singers that I have worked with!
Q: Analog or digital and why?
A: Digital. Although it is always nice to use analog gear, current digital software has done a great job in emulating analogue gear with more control.
Q: What's your 'promise' to your clients?
A: I promise that I will give my full attention and concentration to every track. Just as much as I give my own productions.
Q: What do you like most about your job?
A: The strategic approach of each project. How every channel is different. It is like a puzzle and it's nice to slowly hear it coming together to perfection (in the clients eyes of course.)
Q: What questions do customers most commonly ask you? What's your answer?
A: Can I get the track to be played loud? Yes, this does not come from the master. It comes from the mix. There are certain ways of achieving this that is one;y possible in the mix down. If it is only worked on in mastering, the limiter will distort much earlier and will not be able to reach a certain level without losing major quality.
Q: What's the biggest misconception about what you do?
A: If you do 'these' steps, than' this' will be the result. Every song is different, and every song requires a basis of skills that are always used, BUT requires different approaches for each.
Q: What questions do you ask prospective clients?
A: What kind of mix are you looking for? Are you looking for the track to be played on the radio? Do you want the track to be able to be pushed loud? Which elements do you want to shine? What are the MAIN elements (the bass, synths, drums, vocals). Every mix is different so it's important to get a detailed preference list and notes from the client.
Q: What advice do you have for a customer looking to hire a provider like you?
A: I would say that mixing tends to pay a psychological toll on the original artist. What I mean by that is, when you mix your own tracks. In the production process, you tend to listen to the track over, and over, and over. Elements of the track start to get psychology glued to 'how it should sound' without even knowing it. When you then mix the track, you tend to make decisions based on how the track sounded in the production. Having an outside engineer mix the track, increases the chances of an unbiased approach and ability to make the right decisions.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My Piano, Computer, Audio Interface, studio monitors, and coffee! :)
Q: What was your career path? How long have you been doing this?
A: Currently I am under management for my own project "Nurko" But I also am a freelance music producer for "Found Objects LLC" as well as a mix engineer for clients. I have been in the game for about a decade now.
Q: How would you describe your style?
A: Melodic and emotional music with a danceable feel.
Q: Which artist would you like to work with and why?
A: I would love to work with Chris Lorde Alge because he brings so much passion to the table. Every track he has mixed has been amazing! I would say my influences have always been from the classical era. I've always been interested in music theory and how they were so great at using it to capture the emotions through music. I have also been heavily influenced by Porter Robinson and Seven Lions. They really nailed having their own sound!
Q: Can you share one music production tip?
A: In a producers eyes (ears), a song is never truly finished. It is important to step back and really know when adding more elements only decreases the value. Take breaks and come back.
Q: What type of music do you usually work on?
A: I usually work on electronic based genres like Future Bass, Chill Trap, Moombahton, Dubstep, Melodic Dubstep, House, and Pop.
Q: What's your strongest skill?
A: Producing music that captures strong emotions and then mixing those elements for commercial radio quality.
Q: What do you bring to a song?
A: I bring passion. I know what it is like to work with mix engineers that put revision limits on tracks. I don't believe that is an efficient way to approach a mix down. Unlike mastering, mixing is extremely subjective to the taste of the artist.
Q: What's your typical work process?
A: For mixing, I gather the clients reference tracks and notes. I then organize all of the stems into my mix template. I organize those stems into sub groups and begin the mixing process. After the first draft, I send the client mix and tweak until the client finds it perfect.
Q: Tell us about your studio setup.
A: I work with a pair of Adams a7x's and a pair of KRK Rocket 8's. I use an Apollo Twin. I produce in Ableton Live and mix and master in Logic Pro X.
Q: What other musicians or music production professionals inspire you?
A: I have always been inspired by Seven Lions, Flume, and Illenium for my own productions. As far as mixing goes, I have always been heavily inspired by Dave Pensado, Chris Lord Alge, Tony Maserati, and Andrew Scheps.
Q: Describe the most common type of work you do for your clients.
A: I offer the a full blown mixing session. I gather the clients preferences and notes and complete a full mixdown with the same passion to make it perfect as I do with my own tracks. A mixdown does not take 2-3 tries. Due to its subjectivity, it takes as many tweaks as it needs until the client is happy.
Q: Describe the most common type of work you do for your clients.
A: I offer the a full blown mixing session. I gather the clients preferences and notes and