The Score Magazine June 2017 issue - Page 28

Lukan gives a complete tour of his recently built studio and the equipment used and how he organizes and plans out his work Studios are basically split into three types- Recording, Mixing and Mastering and are built to serve these very purposes. However, with the rise of electronic music and bedroom producers, the three are often combined into one multi- purpose unit run by one artist who is not only the producer but the recording engineer, the mixing engineer and often even the mastering engineer. I too am an Electronic Music Producer and DJ and have purpose built my studio around the production and mixing of the more underground side of house and techno music. Studios can be further broken down into ITB (In the Box), OTB (Out of the Box) and Hybrid (ITB+OTB) which get this nomenclature based on their workflow and signal path. My studio is a Hybrid, which means I use both ITB (Computer/ DAW based) and outboard gear processing/production. I wish I could have it all OTB but that would have meant my parents throwing me out of my house, probably with a bowl in my hand to beg for some money. Talking about the complete equipment and software list, let’s get on with the outboard gear first. I currently use a Universal Audio Apollo 8 Quad Interface patched up via ADAT to a PreSonus DP88 which helps me expand the I/O’s of the Apollo and enables me to connect all my synths, drum machines, processing units and future outboard gear to the Apollo 8 which otherwise has only 8 line in’s. I do not use the DP88 for it’s pre-amps. Instead I just use it as an expander for my audio interface. I then have an EQP-WA Tube Equaliser and a WA76 solid-state compressor/limiter which are the Warm Audio clones of the legendary Pultec EQ’s and the UREI 1176 respectively. These go on every single track that I make, provided the channel I am using it on is mono (usually kick, snare, bass, lead vocals, parallel crushing etc.). Since they 26 The Score Magazine are single channel units, they can only process in stereo if used in pairs but I do not have pairs of each at the moment so I do only mono processing on them. Moving further, I have an Audient ASP800 which I use only for it’s HMX and Iron saturation effects usually on kicks and snares and sometimes on synths. The final glue point for my mix downs is my most prized possession – The NEVE 5059 Summing Mixer. After finalizing a surgical mix-down in my DAW using UAD and Waves plug-ins, I can pass up to 16 channels/stems into the 5059 and back into the DAW to the print the final mix, which then goes for mastering. I do not master any of my productions. In terms of equipment that actually produces the sounds that I use for my productions, I have an NI Maschine, Roland TR606, Roland TR8 and Arturia DrumBrute as my drum machines. My small collection of analog and digital synths includes a Moog Mother 32, Dopefer Dark Energy 2, Arturia MicroBrute, Roland TB3, Roland JP-08, Roland RS-09, Novation BassStation 2 and the Novation X-Station. I also have a few pedals like the RAT Distortion, TC Helicon Hall of Fame, MXR Carbon Copy etc. which I use to add effects and flavor as per the mood. A bit obvious but I also use a DBX Patchbay to connect all this gear to each other and also to the DAW. Moving on to acoustics, I use a pair of Genelec 1032A Monitors for producing and mixing and a pair of Yamaha HS80’s for listening to records via my turntables. The Genelec’s are connected directly to the monitor outs of the Apollo 8 and the Yamaha’s to the out’s of my DJ mixer. The room is acoustically treated but not isolated as I do not record any live instruments or vocals. The acoustic treatment consists of a mix of glass wool absorption panels, bass traps and wooden diffuser panels. This was the only thing in the Studio which