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10 questions with Manuel Tur
Since his first release in 2002 Manuel Tur has developed a musical identity that traverses house, techno and all things deep in a manner that belies his youthful 22 years. With a critically acclaimed album on Jimpster's Freerange Records, an impressive collection of solo work for Mild Pitch, 20:20 Vision and NRK among others, and a host of collaborative projects under his belt, Tur's star is higher than ever. We caught up with with him to get the inside track on how he does his thing.
Loops? Or programming your beats from single hits?
I program my beats using single hit, mixed together with material I've sampled from vinyl or field recordings I've made. I only really use sample CDs for percussion loops, which can be handy for filling out the rhythm track from time to time.
What is the key ingredient in a track? Breakdown? Style of production? Bassline?
It's different for everyone, but for me a great track is one with a certain atmosphere, depth and density that touches me in a way that is hard to describe in words. A track needn't be perfectly mixed or brilliantly arranged, but it most have emotional impact.
When building a track how do you normally work? Do you start with the drums and build from that?
The way I approach a track depends on the sound I'm going for. If I'm making techno I always start with the drums and build a basic groove before moving onto the musical parts. If it's an album track I usually start out with some chords, a melody or a sample I've recorded.
Do you mainly use analogue or digital soft synth sources? Do you think analogue makes a difference?
I mix digital and analogue in order to get the best of both worlds. Digital soft synths offer levels of flexibilty and usability that no analogue synth can compete with. On the other hand, each piece of analogue gear has its own individual sound and that uniqueness is something I like to embrace in my productions. I find that using a few sounds from analogue sources can really lift the digital elements of an arrangement.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
It's important to have as many options as possible when it comes to checking your mix. I check tracks on my studio monitors (Mackie HR-824), then at home on a pair of old passive Tannoy Reveals that I've had since I started producing, and finally on a pair of Beyerdynamic DT 770 headphones. It's not just about checking a mix on a range of speakers though: it's also about knowing them intimately. I know all of my monitoring units extremely well: I know exactly how they sound, which means I know how to respond to any shortfalls they reveal in a mix.
What are the biggest barriers new producers face??
Many of the old barriers to entry into the music industry have been removed. Production software and kit is so much more affordable and the internet has made it easier for producers to release their music. But the resulting proliferation of producers and music present a problem for budding producers: these days it's a huge challenge to stand out from the masses and gain some meaningful attention - to do so requires a mix of high level production skills and the abiltity to promote yourself and your music.
How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?
I think it's hugely important to have your tracks mastered professionally. Mastering tracks is a truly masterful craft and I wouldn't dare master my own tracks. It might not be cheap, but professional mastering is always worth the money.
What's your opinion on processing the mix bus? Leave it clean or drive it to the extreme?
It depends on the style of the track. I usually leave the mix bus clean but if the track's ambience requires it I might add a bit of compression or carefully tweak some of the frequencies on the master bus.
What do you believe is the secret to your success as a producer?
I've never really stuck to one genre for long as I've always wanted to try out different styles. Perhaps the key is that I've never tried to adapt to current hyped trends and instead I've looked to take a few risks here and there. I think people appreciate that, especially in the current climate where a lot of the music in the club scene has become so predictable.
Any advice for aspiring producers out there?
One: listen to as much music as possible and don't stick to what you know. Two: don't listen to what any magazine, website or radio station tells you is hot: just trust your ears.
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More from Manuel Tur: www.myspace.com/manueltur
(c) 2010 Sounds/To/Sample