WORK

Mix, master
Full Production
Full Production
Full Production
Mastering
Full production
Mix
Recording
Recording
Full Production
Mix
Recording
Recording
Full Production
MIX
RECORDING
Mastering
Mastering
Recording
Full production
Mix
Mastering
Recording
Full production
Recording
Mastering
MIX
RECORDING
Mastering
Recording
Full production
Full Production
Recording
Mastering
Mix
Full production
Mastering
Recording
Full production
Full Production
Mastering
Mastering

Sunken • GoatHawkBuffalo • Morild • Ponti • Royal Air Force • Jacob Dinesen • Zack Christ • Baby in Vain • Helhorse • Husoptagelser • Glenn Hughes • Caroline Henderson • Barokksolisterne • Buddie • Lunar Lane • Feather Mountain • Wanted Jacks • Rock n’ Roll Revival • Rasmus Meinert • Rocqawali • Shy Rush • Junkyard Drive • Before Fire

Offpiste Gurus • The Orchestra BigBand • Stefan Pasborg • Rasmus Nagy • Peter Wiechmann • Alicia Sevilla • Ibrahim Electric • í Myrkri • Ildskær • August Ten • Alma Justesen • Halvknægten • Dodoscope • Elmount • Luna Tok • Spobbelibobber • Trinelise Væring • Evil Cleaner • Imperial Transparent • Lotte Andersen • North2North • TRTLNCK • Scott DuBois

RECORDING

INSTRUMENTS

Recording instruments is an art form that I value enormously. Whatever we record together must be the utmost precise version of what you want to express. This means that the recordings must cover the right frequency spectrum, dynamic range, and your best performance while ensuring nothing unwanted masks or covers your sounds. I like to work towards a specific artistic expression while recording. However, if we decide to change the direction of the sound, our raw recordings must be suitable for that too.

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MY BACKGROUND

I come from a background in recording jazz. For several years, my focus was on matching microphones to instruments based on their sonic characteristics, mic placement and pickup patterns, positioning musicians to account for room resonances, microphone bleed, phase correlation, and their ability to interact with each other — all to capture the best version of what the musicians were playing in the room.

Later, I studied modern metal production techniques to learn how to get the cleanest and dirtiest sounds to fit together in a dense mix. This includes recording the instruments under the best conditions for editing purposes to ensure mechanical precision, if that is the goal.

Now, I’m pleased to be in a place where I can do both, as well as everything in between. No matter what you want the final songs to sound like, I can deliver the recordings that meet your vision. Whether it is capturing the true life-like sounds of your instrument or a meticulously crafted production, I have the experience and expertise to bring your musical ideas to life.

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STUDIO CONSIDERATIONS

We should take these considerations into account as well, when we choose a location for recording. I have my own studio in Copenhagen, which works well for most types of vocal, guitar, bass, and synth recordings. Sometimes, however, we would benefit from booking another studio, such as for drum recording. Drums often sound best in larger rooms with a more versatile mic selection than what I have. Fortunately, I have access to a couple of studios that I can rent at favorable prices, but if you have a specific studio in mind, I’m happy to try out new spaces.

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MIX

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The most essential part of a good mix is to ensure that what ever drives the song is clear and precent for the listener, whether it is a vocal part, guitar solo, synth melody or something completely different. This can be done in so many ways to shape the feeling of the song, but most importantly is that we have a shared understanding of what leads the song. 

 

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MASTER

MASTERING SERVICES

I offer mastering as a separate service, but it is also included in every mix project I work on.

When you’re done recording and mixing your song or album, it is crucial to prepare it properly for whichever medium you want to distribute it on. For example, if you want to put your album onto a vinyl record, there is a whole world of technical limitations to consider before we can ensure that the final result sounds exactly as intended.

Simply put, we need to consider how deep we’ll be able to cut into the vinyl for the best signal-to-noise ratio. Bass hits and generally stereo frequencies below 300Hz can take up a lot of space, and high-frequency sibilance or cymbals can draw too much current on the lathe cutter. The length of the songs and the fact that the sound waves are compressed more towards the middle of the record present additional challenges. If you want a great-sounding vinyl record, these are very important things to consider.

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FRAMING THE SONGS

The same applies to streaming services. Here, the technical limitations are completely different, such as varying loudness normalization levels and file size compression across different platforms. The balance of the frequency spectrum and the dynamics of the song also play a crucial role when considering how your songs will sound compared to others on a playlist.

Cassette tapes, CDs, and all other mediums have their own quirks, and my job is to make sure these limitations don’t ruin your hard work.

 

Although mastering is often very technical, there is room for artistic and creative interpretations. Therefore, I love having the artists come by my studio and work on the masters with me. It is not essential, though, so let me know if you want to come by while I make your masters.

LIVE

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I’ll also provide valuable insights into stage presence, helping you engage more effectively with your audience. This includes crafting the perfect set lists to maintain energy and flow throughout the performance, as well as tips on efficient setup and sound checks. These practical aspects can significantly enhance the overall concert experience, making each show smoother and more professional.

My extensive experience spans from touring with bands to handling sound at major festivals and intimate underground venues. This diverse background equips me with the skills to adapt to various live environments, ensuring your band sounds great no matter the venue size or type. Each setting presents unique challenges and opportunities, and my expertise allows me to make the most of any situation.

In 2023, Lamentari won a prize for “Biggest Live Hope,” a testament to the success of our collaborative efforts. This recognition highlights the importance of a strong partnership between the band and the sound tech, showcasing the difference that meticulous sound management can make. It’s a huge acknowledgment of the dedication and hard work we put into every performance.

Working with a sound tech who understands your music and vision is invaluable. By choosing me for your live sound needs, you’re not just hiring a technician; you’re gaining a partner committed to making your concerts the best they can be. Together, we can ensure that your live performances are unforgettable, delivering a powerful and precise sound that captivates your audience and leaves a lasting impression.

FRAMING THE SONGS

Concerts are always amazing, filled with energy and emotion. I have the privilege of doing sound for Lamentari, Feather Mountain, and Morild, as well as working with a handful of other bands from time to time. Working with a sound tech over an extended period helps develop a mutual understanding of the sonic expression you want for your band. This relationship is essential for achieving a consistent and high-quality sound that defines your live performances.

Beyond just maintaining consistency, I am committed to continually fine-tuning and enhancing the sound quality of your concerts. This involves adjusting the balance of instruments, ensuring clarity in vocals, and managing the overall dynamics to create a powerful and immersive experience for your audience. Every show is an opportunity to refine and perfect your sound.

When you work with me for your shows, you can be confident that every concert will sound great and powerful. I offer detailed advice on your source sounds, and we can collaborate on refining them before the shows to ensure they are optimized for live performance. This preparation includes everything from adjusting instrument settings to perfecting vocal techniques, ensuring that your music translates well in a live setting.

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