The second port of call for Maresia was in Haarlem, Netherlands, where Jasper Geluk has his studio: Tone Boutique. Jasper does his magic behind the scenes and we wanted to know him a little bit, here you have his answers to our questions!
What would you stand out from Bifannah and which song do you like the most?
More exotic and psych-ey music can easily get very complex and overproduced. Bifannah get’s that magic but with a minimal garage approach, very nice! Kala-Mala is the song for me; I love my mind to be taken away while my feet get a rhythm to shuffle around to… Perfect groove for landscapes passing by too!
What ignited the spark to become sound engineer?
I’ve had a technical interest for as long as I can remember so even when I was making a career playing old keyboards in a band I was the guy who also recorded the rehearsals and was reading the sound engineering magazines. When friends in a chanson-wave trio asked me to bring my RE-201 Space Echo during their live sets I ended up behind the mixing board. As my band stopped my bandmates persuaded me to try a mixing career and I went for it…
What are your 5 favourite records?
Impossible question to answer! The last years these are six records I keep listening to:
To-Day’s Sound – Piero Umiliani
Eastern Sounds – Yusef Lateef
Sea Change – Beck
Sagan Om Ringen – Bo Hansson
Bacchanal – Gabor Szabo
Dr John – Gris Gris
50 years since 1967… and you say your sound have something to do with 1968, what kind of technical influences do you think we have inherited?
Technically the late 60’s saw the birth of the studio as the creative instrument as we know it today. For the first time, tape recorders with 4-8 separate tracks made it possible to construct a song from pieces of performances rather than just capturing the whole song at once; a lot of new tape effects were pioneered other than single echos (loops, pitch tricks, reversed parts, flanging and phasing, doubling…); artificial reverb (plates, springs) got a firm place in music; amplifiers, compressors and limiters we starting to be used for the things they were not designed to do. People were starting to bend space and time in the studio, still the basis for everything we do today.
What is your process to start working with someone from scratch?
Live or in the studio, that would be to built some trust and find out where they are, and where they want to go musically. So trying to level about important music for them, references, ideas, values. Then figuring out what I can do to help them, which might be different every time. I usually stay out of songwriting but it can involve arrangement, performance, instrument tweaking, production choices like mics and their setup, types of effects, attitude… If in the studio then recording, and mixing / performing. Finally checking with everyone involved if we are where we want to be and if not, how I can improve the results…