Coffee Break Club: Henrik Udd

Coffee Break Club: Henrik Udd

posted in: Coffee Break Club | 0
Henrik Udd is a Swedish producer who has worked with bands like: Architects, Bring Me The Horizon, I Killed the Prom Queen, At The Gates, Dimmu Borgir, Hammerfall and many more. We spoke about irregularities of a real amp, his time at Studio Fredman, built in flashlights, can a song ever be finished and much more!


1. What was the thing that got you into Music Production?
Well, from the start it was only to record my own sad Radiohead-ish guitar songs on my computer. 
It was back in the early 2000 and computers was miles from as powerful as they are today. But I had a Pentium III running at a beasty speed of 400MHz
and I bought the software E-Magix music maker deluxe haha. Got really into it and loved being creative and all and from there on I decided that I wanted to work with music production.
When I went to a audio engineering school up in the north of Sweden I was lucky enough to get an internship at Studio Fredman which later lead to being employed there.
Since the start of 2017 I’ve started up my own studio business but I’m still located under the same roof as Studio Fredman.
2. What’s your stance on the digital vs analog battle?
It’s a bit ridiculous, booth have their pros and cons and it works either way. I mix completely in the box and it works well for me, especially these days when
people are “idiots” and can’t deliver their sessions for mix in one big chunk 🙂 Most of the time I got multiple sessions going on at the same time and that would be a complete nightmare to do that with all analog stuff.
But I don’t see this kind of digital/analog battle very often these days. It’s usually just people who don’t know what they’re talking about who heard that you need this and that or else its crap.

You will always gonna need analog preamps and microphones etc but I don’t think this generation of the kids on fruity loops will be bothered with analog eq:s and compressors at all.


3. Do you think one day software, emulation-hardware etc will surpass the real thing?
“It’s getting pretty close now” is what’s been said on repeat for over 20 years 🙂 And it is getting pretty damn close at some stuff, but I think its the irregular nature of an analog thing that the brain likes in certain cases rather than a static one.
For example in Guitar simulation, emulating drivers going wild in a speaker cabinet and then the microphone in front of a speaker cabinet going into the a preamp is not an easy task to simulate. I mean you’re just not only emulating what the amp and cab sounds like but also what we are used to hear when putting mics infront of it.

And of course sometimes stuff like a Kemper can work really well and can sometimes be easier to fit in a mix cause the low end might be more manageable by default. But for me most of the time it still lacks some irregular stuff that the real amp has. It’s just probably the mics picking up the welding company that Studio Fredman has as neighbours that I miss in the amp sims haha! Nonetheless pretty metal and could maybe be emulated 🙂


4. How do you see the current Music Production scene? The pros the cons, what we might be missing/what we could improve?
What scene?, don’t know much about it. Locked into a control room all day until my wife calls and says I should come home.
The pros are that there’s a lot of good plattforms to knowledge like for example Nail the Mix created by Eyal Levi, Joel Wanasek and Joey Sturgis which shares a lot of great information from people working in the business.

The cons are maybe that there’s a lot of know it all people that get there shit all over the place. 


5. What’s the latest piece of gear (hardware/software) that made you go bananas?
I did a recording at Wilson Silva’s Wrecords Studio in Portugal and Wilson had made a mic placement robot, similar to the Dynamount but built by him with Arduino and controlled with a Playstation 3 controller. 
So much fun to use it infront of the guitar cab and play around with it until it sounded the best. I left the mic in a position that I probably never would have tried if I’d had put the mic on it manually.
Now Wilson has built me one and I can’t wait to get it over here and start using it.
I also think the Soothe plugin from oeksound (Dynamic resonance suppressor) has helped me more than enough in the short period of time that I had it. It great for nasty cymbals or vocal takes with irritating frequencys. 
Well it’s great for many things but you just have to be careful not to overdo it. 
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 it could eliminate one annoying thing, what would it be (could be audio or anything, physically impossible or possible)?

Wouldn’t mind having a body modification with an inbuilt flashlight next to my ear. I would also need some kind of camera to document everything important on every session I do without me having to do nothing 🙂


7. If you could give one piece of advice to a young starting home-studio producer, what would it be?
Just try to make a lot of good productions and that will surely take you somewhere. 
Also try to make your room as good as possible or else you’d be pretty lost. Of course you can mix on headphones and be fine, but if you want to go for speakers, make sure you’ll treat your room in some ways.

You don’t need every plugin there is to make a good mix.


8. Can a song ever be finished?
Yes it can, but a mix is almost never done. But at some point someone will say that they’ll need it and you have to let it go 🙂


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