Pan-Pot’s Florian Meindl interview | Riemann Kollektion 7 sample pack
November 17, 2010 § Leave a comment
Pan-Pot’s Florian Meindl has just released the Riemann Kollektion 7 sample pack with 380 megs of DJ-friendly loops and hits for beat construction. The pack will set you back about $34. From the Sounds/To/Sample site: The Riemann Kollektion has become a turn-to brand for the freshest tech-house samples around, and in the Pan-Pot edition the mix of quality and usability reaches a zenith. Packing 285 24-bit Wav loops and one-shots inside, Riemann 7 is stacked with beats (as many as five variants for each), Clap/Snare loops, Hi-Hat loops, Kick loops, No-kick loops, Percussion loops, Bass loops plus detailed Background loops – a vinyl and found-sound miscellany to bulk the mix.
In addition to the sound library sounds/to/sample has posted “10 questions with Pan-Pot,” which offers some insight into their studio practices:
Tassilo Ippenberger and Thomas Benedix, better known as Pan-Pot, have swiftly risen the production ranks to reach the upper echelons of the techno fraternity thanks to their unique brand of dark, stripped-back techno that has won them plaudits from Adam Beyer, Richie Hawtin and Dapayk. Little wonder then that Florian Meindl has signed up the duo for the latest instalment of Riemann’s chart-storming Tech-House Beats series. To mark the release of their highly anticipated Reimann Kollektion we headed to their studio for the inside track on how they produce their unmistakable throbbing basslines, powerful builds and experimental elements.
Loops? Or programming your beats from single hits?
When we use loops we cut them up, edit them and only use select parts that fit with the groove. In general we find it’s more creative and fun using single hits to generate our own beats. That said, loops do have a place for those who need quick results or are looking for inspiration to get a track started.
What is the key ingredient in a track? Breakdown? Style of production? Bassline?
All are key. A high level of production is essential: it’s a precondition for everything else, which is – to a greater or lesser extent – genre dependent. If you’re making rave tracks, for example, then you need a proper breakdown; if you’re making minimal house or techno then it’s all about the bassline.
When building a track how do you normally work? Do you start with the drums and build from that?
We usually start with the drums. We build beats in this order: kick, snare, hats then any other percussion. When the drum part is nailed we continue with the bassline. When that’s done we start with the upper musical parts and work on finding a top line for the track.
Do you mainly use analogue or digital soft synth sources? Do you think analogue makes a difference?
Analogue does make a difference: it’s just a question of how you use it in your setup. Our synths and effects are mainly digital. We find using VSTs and plugins an intuitive way to work, and if you invest in high quality plugins then the results can be very satisfying.
But we’re not 100% in the box. We also use analogue summing amps to play out the digitally-generated sounds and record them back into the computer to give them a characteristically analogue feel.
Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors?
The most important thing we look for in monitors is a mix of power and neutrality. We use Adam and Dynaudio speakers for mixing and when we’re close to finishing a mix we’ll A/B using headphones and a pair of hi-fi speakers.
What are the biggest barriers that new producers face?
There are too many producers out there at the moment and everybody is trying to promote themselves as aggressively as possible. The music business was always tough to break into: now it’s even tougher.
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?
Getting proper mastering on a track is absolutely essential as it is the final stage that turns a good product into a professional product. You can do it yourself of course – but only if you possess the skills of a highly experienced mastering engineer: meaning you know everything there is to know about frequencies, phase, dynamics and so on.
Although few tracks make it onto vinyl any more, mastering is even more important if a track is destined to appear on a record.
What’s your opinion on processing the mix bus? Leave it clean or drive it to the extreme?
Drive it while you’re working on a track to see how it will sound after mastering, but keep it clean when you do the final master bounce so that the mastering engineer can work their magic with plenty of headroom to spare.
What do you believe is the secret to your success as a producer?
Constant development, appealing to the right music tastes at the right time, an open ear to what’s going on in the wider music world, creativity and a healthy amount of luck.
Any advice for aspiring producers out there?
Don’t produce to get rich. You’ve gotta love it, or leave it!