My friend George aka. GentlemanRocker did a rather amazing record called “In A World” which I had the pleasure to master for him.
I strongly recommend to listen and purchase it!
Think it sounds amazing? Great, check this out. 🙂
“Elegy For The Living” is the title of my forthcoming new album. This page will be the feature page for the album when it’s released, which will most probably happen in December 2017
spring 2018 summer 2018.
I’m sorry for the delay on the release.
There are certain stages of the final production that require updated technology that needs to get set up and running. New gear has arrived! I started finishing the album, to be released early summer 2018!
I’m offering sample packs, patches and other music production related downloads here.
Huge sample pack containing samples from the best drum machines ever build. Scroll down for a list of sampled drum machines.
This is the most complete collection I could imagine, and I use a lot of them myself in my productions.
What seems to be double is double, actually (like “Roland DR-110” and “Boss DR-110”), but from different sources (machines). Remember, in the analog world no two machines sound the same. You may find the samples slightly different.
|Ace Tone Rhythm Ace|
|AJK Percussion Synth|
|Moog Concertmate MG-1|
|Roland CompuRhythm 1000|
|Roland CompuRhythm 8000|
|Roland Digital Drum Brain DDR-30|
|Roland JD800 Dance Card|
|Sequential Circuits Drumtraks|
|Sequential Circuits TOM|
|SH09 Drum sounds|
|Sound Master, Memory Rhythm SR-88|
|X Drum LM8953|
|Yamaha RM 50|
While this is all free stuff, I would like to ask each one of you to support me by becoming my patron:
Thank you, no matter if you’re just a listener or paying subscriber/downloader. You’re all equally valuable to me.
If you don’t feel like supporting me on a regular (but one-time) basis, it would be nice if you’d…
A ridiculous amount of coffee was consumed in the process of creating all this music. Add some fuel if you'd like to keep me going!
I am glad that you have found here, because together we can spread more good sounding music into the world. If you want to know more about me first, then you can learn more here. In short: I have more than 20 years of experience as a producer and sound engineer. Your music is in good hands.
On this page I explain how I can make your music sound better and what I have to offer exactly (and at what price). You are very welcome to contact me via the contact form, I will always try to answer all your questions as good and as quickly as possible. I’m a very solution-oriented guy by nature, and I always try to get you there as fast and effectively as possible, because there is nothing more valuable than your and my time.
Check out what some of my clients say about my service:
Jawkized Sound System, Production collective/band
George Pritchard aka. Jawjee, DJ & Producer
Mark Betteridge, Change Underground
Luka Sambe, Producer
Kiz Pattison, DJ & Producer
Brent Lawson, Pro B Tech Records
Ryan Sullivan, DJ & Producer / Head Sound Engineer at Red Bull Studios, Capetown
Hernàn Cattaneo, DJ & Producer
Someone who didn't want to get mentioned
Of course, it’s always also about the cost of things. I need to eat, so do you, and I wanna make sure we both do. A good service has its price, and you mostly get what you pay for, they say. My rates are within the very affordable range, yet absolute high-end quality, because I generally like creating opportunity. Your success is mine.
In case all of this doesn’t work for your wallet, talk to me and we see what’s possible.
Woah! What does that mean? Easy. Send me your music and I will…
listen carefully to your unmixed, already mixed down or even already mastered music
analyze your recordings
check your production work, composition or arrangement for improvements
and let you know what should be done*, and all that FOR FREE!
Easy, again. Send me a link to your music and wait for my reply. That’s all!
*No matter if done by me or anyone else, of course. If you think my evaluation is crap, no problem, just forget it then. It’s free!
My most important tools are my ears. Then experience with music and sound plays a big role. I love great music sounding as good as possible, so that is a big factor, too. Good music that sounds bad kills me.
My aim is always to seize the fabulous advantages of the analog world combined with the best of the digital world. I’m not a gear junkie at all — tools are just tools, and replaceable — but I certainly love my favorite weapons of choice. My typical mastering chain consists of the best of both worlds, analog and digital. This way I get the big, fat, warm, deep, rich and exciting sound of the analog universe, and the visual aid and precision of a digital finish. I listen on YAMAHA HS8 studio monitors to have the most natural, precise and unspectacular sound image. Speakers that sound “too good” are liars when it comes to mastering, your audio has to sound great on every system.
If in doubt, I’m happy to create a free demo snippet of my work (from your audio) before I lay my ears, hands and heart on your entire product.
Here you can hear something I’ve cut to make the differences clear between unmastered and mastered. You hear a few bars each unmastered and mastered, always alternating, through the whole song. I mastered the song in 2017 after Tigerskin asked me to.
Here’s the finished and mastered song with its amazing music video:
Like the track? Buy it here.
Please, use this form to get in touch with me. I will get back to you as soon as possible. Don’t worry about the questions below… they’re just there to make things easier and faster for both of us!
Oh, and one more thing: when I was a beginner — like 30 years ago — I didn’t know much (or anything). I’m here to help you and reach your goals, not to rate your level of knowledge or skills.
If you need me to mix your music down, it’s basically the same process (for you). I can also do your effects and automation, cleaning up and riding vocals and instruments.
Q: Do you also master DJ sets?
Q: I’m lost when it comes to mixdown. Where do I start?
A: Start mixing the loudest or most “booming” elements, like a kick drum or a fat bass line. The low frequencies should be your reference objects. Try to place your bass somewhere between 45 and 70hz, kick drum above at around 80 to 110hz. I wouldn’t really recommend anything below 40 hz. In case of dance music, it will only create a true mess on the dance floor. Although it can make sense with other kinds of music! In the mixdown process, work your way up to the mid and high frequencies respectively, always using the stuff below (in frequency) as reference. Imagine an upside-down pyramid (triangle) and pan sound in the room more the higher the frequencies become. Bass frequencies can be almost mono up to 300hz, because they have not much effect on stereo anyway.
Q: Why does my music sound good on system XY but shit on system YZ?
A: There’s a simple rule. What sounds great on a shit system will sound awesome on a great system. When it comes to your own monitor speakers, try to have the most natural (dry and unspectacular) sounding speakers (and amplifier/audio interface/whatever) as possible. Speakers that sound “too good” don’t give you the right picture of your music. They make it sound better as it is. The good old Yamaha NS10 always work wonders, what sounds right on them sounds right everywhere.
Q: Can you do mastering from MP3 files?
A: No. It will never sound the way it should. The encoding to MP3 takes away a lot of audio information that actually should be in the music, that’s why it’s so much smaller in file size. MP3 strips off valuable parts of music.
Q: Do you add all sorts of proper tags and artwork to the mastered files?
A: Of course, whatever you wish and need.
Q: Can you deliver all kinds of file formats?
A: You get all file formats, lossless or compressed, you wish to have. Everything in the best quality possible and asked for.
Q: Can you polish/restore/clean up old recordings?
A: Theoretically, I can improve everything. But the result really depends on the individual material. I myself, as a producer, used audio of a public speech from Mahatma Gandhi from the 1920’s (with kind permission from his family). It sounded awful when I got it, and now it sounds quite amazing in the music. Have a listen.
Q: Can you make digital music sound like vinyl?
A: I totally can.
Q: Are you as good as [fill in random superstar mastering egineer]?
A: I don’t know. You decide, make up your own mind by trying me. I’m absolutely confident that I will satisfy you.
Q: How long do you need to master my track/EP/album?
A: Usually a day, sometimes a two, maximum a few days, under normal circumstances. There are unexpected work-overload situations, but even then it’ll be maximum a few days.
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.
It all depends on you and your needs.
… I hear you ask. Right, I also offer services that some people need. Maybe you are not a “pro client”, but an audiophile person? Maybe you have recordings with problems that you want to eliminate? Always loved that bootleg recording that unfortunately sounds like crap? Let’s make it better.
I can remove unwanted noise, clicks, pops and what not, and fix and clean almost every recording from known problems (the list would be too long for this page here).
Almost nothing is impossible. Bold statement? Yes, but true. Try me!
Oh Germany, what a land: best beer, best cars, no highway speed limits, best bread, nudist culture, castles, poetry, science, inventions, social safety, bureaucracy (a lot of it), humour on a meta level (not to be confused with ‘no humour’, after all, Germans are very precise in everything), and… ? Right, extremely talented musicians. You have to be confident, brave and full of love for your art, in a society that values nothing more than safety and considers the art of creating music at most a “hobby”.
Some Germans really know about doing things right or not doing them at all. So here comes German Ingo Vogelmann. For him, the secret to great music is this simple formula: < = >
Less is more. Music as a form of communication. Less meaningless chatter, more meaningful music.
To Ingo Vogelmann music is living, not only as a part of his every day routine, but as the driving force of his existence. Whether spending hours discovering new music, writing and recording his own productions, editing and mastering for other musicians, or just enjoying the sounds that surround him, Ingo’s life is intertwined with the music he loves. It’s his communication to the world, his avenue for expressing the stories that need to be told, and his connection with those who feel the same.
Waking up with melodies in his head, he creates music that comes to him subconsciously, music that is necessary to tell the tale of mankind and our place on this planet. His palette is unlimited and unrestricted; as a classically trained instrumentalist he produces and performs the music that comes to him in whatever form that may be, regardless of genre or style. If the music is asking to be shared, he will tell its story.
In the studio, Ingo is a wizard of sound, handling the entire process of production from writing, to performing, to mastering, with care and attention to the minute details of the music and aural experience. With 8 albums and over 150 singles and remixes, he is consistently creating something fresh. The studio is where his love truly shines through, where he shares his messages through the music, and the magic of sound is given the space to shine.
This passion carries beyond the studio and into the DJ booth, where Ingo’s electronic music expressions connect deeply with the audience, inspiring interaction with the crowd as a part of the greater picture they build together. He creates a vibrant scene full of deep beats and transformative melodies, enveloping the space and leading them into an unforgettable experience. From the moment he gets behind the decks, his music talks: “Come with me, I have something to show you, a story to tell.” This story may evolve throughout the night, based on feedback from the audience and the journey they want to go on, and Ingo Vogelmann is always ready to take them wherever that may lead.
No matter what form his music takes, Ingo Vogelmann is always ready to share it, with seemingly unlimited dedication and devotion. Tune in to his sound, and experience the messages that come from the depths of the music.
Born in Germany and having been a global traveler who has lived all across Europe and Asia, Ingo Vogelmann always takes the music with him, and is always sharing that music with us through his many channels. Stay tuned to experience the next part of his epic musical journey – we may not know where the path will lead, but it will surely sound good along the way.
Please, head this way if you need more info, material or resources.