Ear Canal Inflammation

Dear clients,

in the last few days, I have become increasingly aware that something is wrong with my right ear. Yesterday, the hearing became so bad and the pain so intense that I visited an ear specialist. I have a stupid inflammation of the ear canal.

Unfortunately I can not work on music for the next 2 days. After that, everything is back to normal (hopefully!).

Thank you for your potential understanding. You know where to send the recovery gifts. 🙂


Chers clients,

ces derniers jours, j’ai pris de plus en plus conscience que quelque chose n’allait pas avec mon oreille droite. Hier, l’audience est devenue si mauvaise et la douleur si intense que j’ai rendu visite à un spécialiste de l’oreille. J’ai une inflammation stupide du conduit auditif.

Malheureusement, je ne peux pas travailler sur la musique pour les 2 prochains jours. Après cela, tout est revenu à la normale (espérons-le!).

Merci pour votre compréhension potentielle. Vous savez où envoyer les cadeaux de récupération. 🙂


Estimados clientes,

en los últimos días, me he vuelto cada vez más consciente de que algo anda mal en mi oído derecho. Ayer, la audiencia se tornó tan mala y el dolor tan intenso que visité a un especialista en oídos. Tengo una inflamación estúpida del canal auditivo.

Lamentablemente, no puedo trabajar en música durante los próximos 2 días. Después de eso, todo vuelve a la normalidad (¡con suerte!).

Gracias por su posible comprensión. Ya sabes a dónde enviar los regalos de recuperación. 🙂

Cloud Maintenance Notice for Clients & Partners

Dear friends,

I use an own cloud system for sharing data with clients and partners. This morning my cloud installation decided to not work properly anymore and also to not update itself (in order to work properly afterwards). That’s why I had to manually wipe the entire installation from the server and install everything from scratch.

That means that…

  • the fancy short URLs I haven given you in order to access your data do not work right now (but later again).
  • all not so fancy shared links from cloud content I have given you definitely don’t work anymore, and never will again.
  • on the bright side, the new cloud version is much much better, i.e. contains a nifty audio player to pre-listen to your music within the browser etc. (without the need to download it).
  • I have to upload ca. 80GB of data again, Please, give me 24 hours to have everything working as usual (and better than ever).

Thanks for your potential patience and understanding, and sorry for any inconvenience caused. You know you can always contact me directly in case you need something urgently.

While we’re at it: please, do let me know if you need anything with regards to cloud access. I want the exchange of data between you and me to be as flawless and smooth as possible. Thanks!

Why not LANDR?

You’ll probably expect a big and loud “NOOO” from me. I have to disappoint you. LANDR is good.

BOOM, there I dropped it: it’s good.

You get reasonable results for an unbeatable price. Fast, easy, very affordable. There are few good reasons not to use LANDR. But decisive, for example: it’s only good, not more, just good.

There is no human experienced audio engineer who brings his many years of experience and his sense of music and musicality into play. Nobody tells you if and how you can improve your mix, so that eventually the master gets better. Special requests are not considered by LANDR, corrections — of any kind — do not exist. You can not talk to anyone about the process and that’s why you do not learn anything, there is no feedback or commentary.

I claim that a master of LANDR will never sound as good as any of mine or my colleagues in the same category of our business. But…

If you do not have high standards but just want a “good” sounding song then LANDR is for you. You only pay a fraction and get decent results that you do not have to be ashamed of.

I say all of this with a healthy dose of self-confidence because I know I’m better. But I do not need to bash services like LANDR either because I can acknowledge that they do a good job for what it is. Nothing more, nothing less. Also, I’m not religious about anything but always open for new technology and new ways of doing things.

It all depends on you and your needs. There are just things you cannot replace with an algorithm. I’m very much into all things A.I. and automation, but I also think I know where its limitations are.

Update on the album production

The album

I’ve done around 30 different mixes, tried like 10 different guitars, mixing the drum kit and making it sounding right has taken an incredible amount of time, I’ve tweaked the tiniest bits of sound to total exhaustion.

Should the grand piano have more mechanical noises… should the timpani have slightly more reverb… should the guitar have a delay or not, should I add the cello on top of the full orchestra, or an oboe? Should I widen the acoustic guitar or leave it as is? Is this chord harmonic enough for the one before? Is the Oberheim too loud? Should I use the Gibson EB0 or the Les Paul bass, finger or pick? Stratocaster or Telecaster? This or that cabinet, or none at all, what amp? Distortion or slight fuzz, tremolo?

The pains of creating an album…

Questions like that are bothering me all the time. And the production is so huge that my DAW crashes at least 3 times a day. Plus, anxiety, doubts… because “is it all worth it? Will they understand it?”. Sleepless nights. Then again: “fuck yeah!”. It all sounds absolutely heavenly, I get goosebumps all the time. And nothing is even mastered at all.

I have half of the album sounding as perfect as it gets, with the needed amount of imperfection to become perfect. I open parts of it again, again and again… stuff that I did a year ago that doesn’t sound right today, and may sound not right next week. You get the idea. 😉

No worries, it’s all good. It’s finished very soon. Once it’s done I have nothing to do with it anymore. Then it’s a product with a life of its own, and I will watch it learning to walk.

I will reply to all of your questions in a video that I’ll upload to Facebook and YouTube, very soon.

Pink Floyd – The Endless River | A (not too long) Review

coverA review about a Pink Floyd record should be biased, in my case. I’m a huge fan since for ever, and bands like Pink Floyd are the major part of my musical imprints, this (Progressive Rock) is the music I grew up with. But I guess this review isn’t as biased as one would expect, for a simple reason: I’m not a boy anymore, but a professional musician myself, and here’s some anticipation: the record is no masterpiece at all. We’re talking about this product  (Deluxe CD\ Blu-ray Casebook Edition), to be precise.

So, I’ve listened to all material twice, in 24bit / 96khz audio quality, on my dry and natural sounding YAMAHA NS-G 30 speakers. If something sounds good on those, they sound fabulous on every system.

Let’s start there, at the mix and mastering of the album. To make it short: it’s crap, if you ask me. You don’t need 24bit / 96khz at all when you have a mix and mastering that is as bad as this. I really have no idea how a band with this history and financial background can deliver a bad sounding album like this.

The mix is muddy, intransparent, lacks a real stereo imaging and filling of the panorama (some things sound totally mono to me), especially the guitars and pianos are too loud and sharp, the drums go under and totally lack presence.

The mastering lacks everything from punch to richness and brilliance … this record just has zero BOOM and WOW, something that was always present on other Pink Floyd records. All of this isn’t given, “Louder Than Words” sounds like a bad rip off a crappy radio station.

Nick Mason has never been an exceptional drummer, but on this record most of the drum parts sound like he’s a total beginner. Bad timing (not even audio-quantized in post production), and same goes for some parts of Richard Wright. I mean, when the band brags about more than 2 years of work on an album, I expect things to be on point, at least.

Of course, David Gilmour IS an exceptional player, and his guitar play is actually the only thrilling element on the whole album. There are some really good moments, but all of this isn’t enough to touch or move me emotionally. The album sounds unprofessional, unfinished and uninspired.

The artwork is ‘nice’ at best, but nothing like the Storm Thorgerson artworks of the past. Okay, the guy is dead (so is Richard Wright), but I think the band could’ve come up with something more original.

One more thing on mix and mastering … please, take the time to listen to those 2 pieces and compare the qualities:

This one is recorded, produced, mixed and mastered by myself (you might wanna skip to 6:35 for the fabulous Gilmour-esque guitar):

This the “Making Of …” video, showing the recording, narrated in German by guest guitarist Alex Schweigert:

Make up your own mind. My rating for “The Endless River”:

icon-23-staricon-23-staricon-23-staricon-23-staricon-23-staricon-23-staricon-23-staricon-23-staricon-23-staricon-23-star

4/10 for David Gilmour’s guitar play and the bands legacy.

FREEWARE: LSHS Corrective EQ

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LSHS Corrective EQ is a tool that is designed to correct frequency balance issues in the most important frequencies, the low and high end. The LSHSEQ is designed to restore the musicality that may have been lost during recording, or post effects processing. With the LSHSEQ, your mixes will sound bright, punchy and clear, according to AcmeBarGig.