Coffee Break Club: Lasse Lammert

Coffee Break Club: Lasse Lammert

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Lasse Lammert is a German producer known for his hard hitting mixes.
He has worked with such bands as Alestorm, Inner Sanctum, Svartsot, Halcyon Way and many more.
Check out his LSD Studio here, you can find his custom drum samples here, and make sure to check
out his Youtube channel here. We approached Lasse via email and here’s what we got!

1. What was the thing that got you into Music Production?

I’ve always been playing guitar and making music as a hobby, recorded demos, did some small live gigs etc. I studied physics but couldn’t imagine working in that field, so I just switched my hobby and job and at some point made physics my hobby 😉

2. What’s your stance on the digital vs analog battle?

I think people that are fighting about the tools they use waste time and energy. I use whatever gets the job done, and depending on the style, the musicians and the budget that could either be analog or digital..usually it’s a combination of both though.
After all those are just tools, and a good mechanic uses the tools that do the best job in fixing the car, in the end people want that car to be working reliably…it’s the same for an engineer.

3. Do you think one day software, emulation-hardware etc will surpass the real thing?

Well, the problem with an emulation is that the BEST emulation could never be better than the real thing, the best emulation would sound identical…if it sounded “better” it’d be doing a shite job at emulating something, wouldn’t it? ;).
but “sound” often is only one part, workflow, ease of use, versatility, the possibility to recreate a sound etc are advantages of emulations and can also play a role, depending on budget, style of music etc …on the other hand you got a more unique voice with hardware (not being able to recreate the same thing twice can be a good thing, that way you approach every project fresh)…and yes, at this point I do think most analog gear sounds better (talking about guitar amps here), but like I said, sound is important, but there are other factors as well.

4. How do you see the current Music Production scene? The pros the cons, what we might be missing/what we could improve?

Hard to give a brief answer to this one…
I think on one hand it’s a massive advantage that it’s fairly easy now to get a decent sound from your bedroom, tools like EzDrummer, amp sims etc help young musicians to convey their creativity, a lot of great music is being written and recorded by dedicated people in home studios. That wouldn’t have been possible 20 years ago.
On the other hand it also waters down the quality of the overall releases, bands (and sometimes even labels) see that you can achieve “decent” quality without a budget for a big studio, so the budgets shrink, forcing bands to compromise on production quality.
Thankfully the “digital world” also offers ways to mix those two approaches (like tracking at home, then sending the files to a professional studio for re-amping and mixing etc).
What I think could definitely be improved is the courage to have your own sound, many engineers and producers “play it safe” by using the same cookie cutter tools, the same samples, mix templates etc, so we end up with way more awesome music being released, but a lot of it not having a personal voice like the releases 20-30-40 years ago had.
All those great records we still listen to had their own very unique sound and are easily recognisable just by that. Nowadays a lot of bands are sounding very similar because no-one wants to take risks…it’s safer to sound like something of which you already know that everyone likes it.
I also think that having a unique voice is in the long run very beneficial for a producer (and for a band), after all it sets you apart and makes you recognisable.
be bold, be brave, be unique.

5. What’s the latest piece of gear (hardware/software) that made you go bananas?

My Dave Hill Europa1 mic preamp, I think.
But to be honest I’m not getting as excited about gear anymore as I used to. I’m rather focussing on new techniques etc….

6. Let’s say we could get the brightest of the brightest and smartest of the smartest to come up with a piece of gear (software/hardware) and you could tell them what to make, what would that piece of gear do?

Phheeeewwww, good question…That would probably be an awesome sounding portable drum room…preferably with killer isolation, so that you could record awesome sounding drums anywhere without disturbing the neighbours 😉

7. If you could give one piece of advice to a young starting homestudio producer, what would it be?

Try to see the mix as one unit, do not chase that perfect snare tone or that perfect guitar tone…chances are that perfect snare tone won’t gel with that perfect guitar tone and the perfect bass might get masked by the perfect kick. A good mix is always a compromise of things vibing together, the solo’d instruments might sound weak on their own, but in a good mix they sound stellar together. So the worst thing you could do is trying to combine the snare sound of band/record XY with the guitar sound of another band you like and then add the awesome bass sound of yet another mix.
Have a goal in mind BEFORE you even start recording and learn how to get from that starting point to that sound you had in mind before you even placed the first mic.

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