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Euromix

For pricing and inquiries: office(at)euromix.net

Euromix Audio Engineering services
->> Mix & Maste

04/04/2024

Studio 2: Three free slots up for grabs next week for mixdown and masterings!

📩 Contact via DM or email

23/02/2024

Last minute edits on the road 🪄

23/12/2023

🚨 My dear EUROMIX clients 🚨
After N.Y.E, I've decided to take some time off mixing and mastering services with Euromix to be able focus on my own music. Per Hammar will be keeping the EUROMIX-ship cruising steadily in the meantime, and nuff said - he's the greatest. Big thanks for trusting me with your music up until now, it's really heartwarming!
Make sure to keep an eye on this space, for some upcoming sonic adventures! 🚀

11/12/2023

X-Mas vibes in Studio 2 🎄

28/06/2023

We are off for a three weeks summer vacation 🕶️
Back mid july to heat up your hihats and find the ultimate frequency for your kickdrum. Until then we hope that you can produce some solid sh*t for us. And get some sun. Maybe.

Peace 🏝️
PH & PS

09/06/2023

I don’t say anything without my laywer.

24/05/2023

Small listening environment upgrade in Studio 2. The C-listening are now swapped into a pair of Adam A5X, which is a commonly seen setup for small/home setups around the world. And there’s a reason for that. In this room they turned out to be good complement to have a look on transients in the low and mid/high mid. Tracks that sound sharp and a bit too choppy in the mids when I play them out on a big system, sounds the same on these.

The A- and B-listening remains as HEDD Type-30 and Yamaha NS-10, which are obviously better in other areas.

As usual, inquires in DM or email. 📩

22/04/2023

This was my first time i dipped my toes into music production. Damn, it must been 25 years ago. My parents bought this CD for me for 49 SEK (€5) at the supermarket. I was maybe 10 and didn’t even knew what techno was. I didn’t even had a music taste. For me at that time, it was more like a computer game, when moving around the 20 loops that came with it to make a song. I still don’t count it as the start of my career, but for sure something happened there and then.

Do you remember your first meeting with dance music? /PH

21/03/2023

A small and well needed vacation is over. Studio 2 is back in bizz 🚧

17/03/2023

🍜

31/12/2022

From the bottom of our hearts:
Thank you to everyone that we had the pleasure to work with during 2022!

To all the producers and labels that we worked with to make great music reach its maximum capacity and to everyone that enjoyed our Ableton Live rack devices and small haxx.

2023 will start with the drop of a new rack device + a full tutorial. We’re also currently filling up the schedule for mixdowns and mastering missions. PM or email 📩

Analog love,
Per and Patrick 🇪🇺

22/11/2022

Alaston Univormo - Memory Theater (Cassette Album)
Mastered by Euromix, out now on

20/10/2022

Studio 1 by

05/08/2022

After months of logistics, planning, moving and renovation, our new studio space ”Valvet 2.0” is finally finished.

Equipped with two newly renovated and calibrated studios with our favorite gear, we are now open for new clients.

Analog mixdown and masterings in the Euromix style is just a PM away.
You know how to do 📩

12/07/2022

07/05/2022

Mastered by Euromix
Adam Strömstedt - Escalator Music LP. 12” released on

02/02/2022

Mixdown and mastering for in Studio 2. Dusty vibes 🧹

31/01/2022

Dubby moods on the new 6 tracker EP on , by Ohm.
Presales out now on Bandcamp.

Mastered by Euromix in Studio 2 🇪🇺

21/01/2022

Mixdown made for Elijah Something. 2 tracks on 12" vinyl out now on Addition by Subtraction

https://www.deejay.de/System_V_Elijah_Something_Addition_By_Subtraction_005_ABS005_Vinyl__985140

Addition by Subtraction kicks off 2022 with 4 driving House bombs to boast their fifth vinyl-only release ready for the club. Tracks: A1: System V - Nervosa A2: System V - Funkyöwaon B1: Elijah Something - Cop This Sally B2: Elijah Something - Chase The Dragon

18/01/2022

Mastered by Euromix in Studio 2:
and DJ Deep - Drive By EP

03/01/2022

Compression can really take the track up to the next level. But it can also be dangerous if you f*ck to much with the fundamental groove of the track.

Here are three examples of different settings that equals different grooves.

Which one is your favourite?

29/11/2021

Mastered by Euromix

hey follows_
allow me another piece and a few personal words on the recent KANN publication. i am listening + plaid out loud Adam Stromstedt tunes since the enchanting "nthng" https://youtu.be/hIZaiKff3i4 (2016) landed in my bag. actually digged almost everything since ( Banoffee Pies Records, Bossmusik and his own Lyssna Records )
we came in contact around 2 years later through the soundcloud message button i guess. easy talk + respect ---- he agreed to do an EP _ as he had some tracks in his fruitful "REDFERN" attic!
many moons passed by - the love for the music stayed so i asked again, this time just with a various artist 12" in mind....so adam gave me another pack of tunes to choose from – i listened and instantly felt that these sound pretty smooth again – especially one after another. very earthy, in a way like Move D music aylways feels 2 me ----ja OK, anyways....i am quite happy we realised the whole thing (11 songs) fast and lovely with all involved and »Escalator Music« is out everywhere since november: http://linktr.ee/kann

the artwork comes from YCBL ( Ergin Erteber & Peter Wolff) and mastering credits courtesy of Per Hammar (swedish affair)

so, if you like to purchase from us directly via https://kann.bandcamp.com therefore i just put up a 25% discount code again – it is: nagut
(works on all releases though)

thanks to everyone involved – next is a Long Vehicle EP to be announced in a few dayz

i also really want to announce some december party dates as well, but what is it when u know...

♡ ali

p.s.: GROOVE-Magazin included »Escalator Music« in this list
https://groove.de/2021/11/24/november-2021-die-essenziellen-alben-teil-1/

17/11/2021

2006 I bought my first pair of Genelecs. It was the small 8020’s and they followed me a long time. Actually all the way up until I upgraded to the Genelec 8330APM with the 7350APM sub. In other words I’ve been team Genelec more or less my entire mixing life.

Everyone that’s familiar with the sound knows that the sound of the genelac are firm but smooth. Sometimes a bit too smooth. I experienced that the speakers are giving me the green light to a hihat louder and sharper than a jet motor, which of course reveals on the floor the upcoming weekend. My 15 years of Genelec training knows this.

BUT: any mixing/mastering studio isn’t complete without a pair of some brutal mid/high mid honesty. And what’s better than to go straight for the classics? While Studio 1 already is equipped with a pair of CLA-10’s we’re welcoming these Yamaha NS-10’s to Studio 2.

We’re looking forward to get to business with your next project. Always feel free to drop us a mail and we’ll make sure your next tracks comes with the Euromix sound.

Happy producing!
Per Hammar, Studio 2

09/09/2021

Happy

28/08/2021

Over the summer we have not only slighty upgraded our skin pigments in the sun from studio pale to off studio pale. We have also upgraded our summing mixing consoles. As we know from a previous post, Studio 1 is now offering all mixdowns and masterings via a custom built Neumann U745 unit. We also have the pleasure to announce that Studio 2 is equipped with a Studer 169 console, which means that all mixdowns and masterings will be blessed by it’s legendary warm and gluey sound.

In other words: we are looking forward to work with all of your upcoming works, both new and classic clients. Autumn, show us whatcha got! 🇪🇺🔧

10/08/2021

We love it when our clients release the music we worked with on tape. Respekt ⚔️🇪🇺

Dawn/Dust by Villa Productions, mastered by

06/07/2021

Summer in Studio 1 🍦

16/06/2021

Analog mixdown for Alec Falconer and Harry Wills new Snoozin B 12”

13/01/2021

Gear of the Week here! This time with a bonus micro tutorial, by Per Hammar.

I always been fascinated by how producers in the ’90s and early ’00s got that gritty nasty sound. A sound some of us nowadays make an effort to produce. That back then was something producers wanted to get rid of. One reason why I’m that fascinated is that it’s hard for me to imagine how limited one would be in the studio. To really make _everything_ count. Down to that detail that the floppy disc in the sampler only can store a few seconds of samples. If you we’re lucky enough to have a sampler at all, that is.

One of the hacks was to simply records drums and loops on a high speed to fit more music on the discs. Think 45 RPM instead of 33 RPM. And after it’s recorded pitch it down to it’s original pitch in the sampler. A side effect that comes with pitching like this is a gritty digital sound, that one simply had to accept and work with. The same sound that I can appriciate today. In fact I prefer to work with this ”effect” in my productions from time to time. The Akai S-01 does this perfectly for me. Check our Instagram for a short video tutorial!

Do you like the sound of down sampling/tapes/noise etc? Please let us know in the comments! 🇪🇺

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Videos

Here are the three winner songs getting its deserved treatment in Studio 2. Again, congratulations to @thalassophobia_techno @k0dym0nr0e and @osky.al We also want to take the opportunity to announce that we now are booking sessions for mastering and mixdowns starting from the second half of September. DM or email 📩🇪🇺

It’s time to reveal the lucky winners in our mastering giveaway! Give a big round of applause for: 👏 @k0dym0nr0e 👏 @osky.al 👏 @thalassophobia_techno Will post some insights from the sessions once they are done. And big up to everyone sending music. It’s inspiring to feel the Euromix community grow with all of you talented producers! 🇪🇺🔧

Mixing modern tech house with analog gear 🔧 In this track, I’m grouping the off hats, running hats and clap and send them out to my standard chain. SSL G Bus takes care of the pressure. Studer 169 gives a small bump at ~3000Hz. Back to the desk where it’s time for Elysia Nvelope to tame some of those sharp fragments in 4000Hz and upwards. On to SSL Fusion, where I only use the vintage drive and finally Massive Passive to give some mids and cut with a sharp bell at my hate frequency ~3500Hz (👿) plus a low cut. Record into Ableton Live where I can take over and precision fine-tune with digital tools. Voilà, your hot drum bus meal is served! This is what Euromix is all about - combining the best tools and techniques from the analog and digital world. How do you do? What’s your favourite mix tools? Follow for more stuff like this and DM for all inquiries. #analog #mixinganalog #mixdown #studiogear #studer #massivepassive #techhouse #mastering

Getting the pressure right in the hats is crucial. Slight EQ and warmth and then smooth off with some high frequency limiting. Mixdown for the ever-so-funky @wearemoontalk

When the pressure is right, the face will know 😤 Temperature goes up in the studio when mastering the upcoming vinyl from @freakthedisco and @crowdcontrolol SSL G bus compressor is mainly a mix tool, but with practice I’ve learned how to blend it in moderately so I can take advantage of its mesmerizing sound. I then smooth out any redundant transients with the Nvelope from Elysia or a very small splash of SSL Fusions high frequency limiter. Also a digital de-esser is often necessery for those precise engagements, which is especially important for vinyl masterings. Over all a solid EP from these guys, so keep an eye open on this one >___>

Mastering for @constratti and his upcoming EP on @dirtyhandsrec 🔧

All of you hard working producers out there have one thing in common. Your music belongs on the dance floor. To be able to perform a mastering and directly after try out the record on that very floor is a dear and powerful tool in my toolbox here at Euromix. To work in a studio environment with music that actually doesn’t belong there in the end can be challenging. Therefore I value to use a real-life situation to step out of that studio bubble. After 20 years of mixing, I refuse to label myself as complete. The day I feel that I’m done learning, I’m signing out. Before that I wanna get your music as optimized as it gets for that floor. Where your music belongs. 🔨 Track ID: Break You by @michaeljamesrigby Moving People 001 12”

The face when the 820Hz boost hits the spot ~__O Mastering for @stanyaroslavsky

How does the Studer 169 mixing console actually sound? Here I’m performing my usual clap treatment, with one dry signal on channel 1/2 and a tight verb with a slight stereo boost on channel 3/4. Both with different EQ settings (and recorded on two separate channels) In this example the sound of the EQ can be heard quite cleary. It can be aggressive and in-your-face, but on the right place, why not? I’m not afraid to boost more than what’s usually legal on the mixing book of law, and then compensate with a lower volume over all. That’s how much I love the sound of this EQ. 📩 DM to book your mixdown session

Why and how I’m using SubbControl for Ableton Live in my analog/digital hybrid setup 💡 All our audio devices are for free. Have you tried it?

Upcoming banger alert ⚠️ Mixdown for @jameswyler and @kywilliam Getting those driving mids by treating the percussions right. First stop is the SSL G Bus compressor. Then a slight overload-crunch on the Studer desk in combo with the 820hz bell boost on the Massive Passive EQ. On the wet channel I record a slight stereo boosting room reverb. The mids are the back bone of every club track and we need it to be perfect 🔬

Mastered in Studio 2, by Per Hammar: Flord & Weirdvin - Oyster EP 12” LYR009 Lyssna Records Out now 🌐

The reason I’m using both analog and digital tools for both mixing and mastering is that there’s tools and techniques in both toolboxes I can’t live without. In the new track from @distilled_noise I detected a sharp resonance peak on a vocal which was only audible in the main break. By automating my favorite mix EQ, SSL X-EQ, which is a quite agressive EQ, I can get rid of the ”can” sound/feeling and smooth out the soundscape of the break. When drop hits, all the energy and punch in the low mids are back. An unautomated EQ or poorly adjusted reactive EQ/multiband would comprimise on the rest of the track. 📩 DM for enquires

Getting the pressure right 🔧 I use parallel compression not only in the mixing state. The SSL G Bus is known for it’s brutal, yet smooth sound. It’s great for a group of percussions or other rhythmic channels. However since I’m a big fan of breaking the rules, I wanted to see what happens if I push the entire track and then just blend in a touch of that pressure. Routing it out on a seperate channel also let’s me parallel EQ the wet compressed signal (on the Studer desk to my left) and then process the mixed signal in my mastering chain in front of me. Never stop exploring 🔦 DM or email for requests Mastering for @crozier____

Percussion treatment 🔧 Taking the step and group a bunch of percussions and print them through the SSL G Bus compressor pays off. It’s like it’s detecting the rhythm and enhance it, while smoothly reducing digital transients. When done right, it’s a tool I can’t live without. With the G Bus hooked up on the Studer, I can find the sweet spot I want to boost with its magic EQ, followed by taking out some unwanted frequencies with the Massive Passive EQ. Hit record and sit back for 7 minutes ☕️ Then on to the next stem. Looking for an analog/digital hybrid mixdown? DM or email 📩 Mixdown for Karemba Music

Much can be done in the mix, rather than just setting levels. Here I use one of the percusisions to create a humanized transition before the break with the help of live recording. Mixdown for @fauna_gbg

(Many) small adjustments can do wonder on the end result. Try this on your channels for a dynamic and more balanced mix 💡

Dive in 🤿 We’re mastering some serious deep stuff from @thepdc_official today in Studio 2

The snare science 🔬 Mixdown for @wearemoontalk

FW24 runway collection, by @avavav Mixed in Studio 2 by @perhammar2000 Prod by @missmathilda ”While the internet is the future, we think it’s curious that internet-behavior is so primitive. This show puts the hate on the runway as a bizarre experiment, where verbal aggression is translated through vulgar actions.” - Creative director @beate.karlsson