Mathias D. Clain


Hi. Thank you for visiting my site..

The sound of my work is not so loud compared to some of todays masterings. I'd like to add the following thoughts: I find more joy when music isn't powered too much. I love a certain feel and depth in the recording and that sound is imaged within the speaker not like a crust around it, these are choices. My aim is to maintain this for my own music. I've learnt as well that it simply doesn't suit my creations. I only can say that in my studio there's use of a console and units easily found in professional mastering and mixing studios and I dedicate for a good sound.

The handful of signal processors here have valve technology, some clones/ replicas from the classics like the Pultec EQ, '76 Limiting Amp etc. Sometimes and in the longer way I appreciated things remaining as they are in their natural form. That is basically what I care for most: do I hear the natural sound. Even if it is loud then or even lesser loud. As long as it doesn't sound unnatural. Some can wear it while others have to wear something different, something like that. Some do a very well job on the loudness approach that can be impressive..but I've learnt that the music needs to be designed for it as well. My work explores various genres, ranging from techno to drone and experimental sonic landscapes.

Thanks again. Best, Mathias.


℗ © Mathias D. Clain / All rights reserved.

 

 

Techno Recordings - April 2018

 

All tracks where mixed and arranged during recording and composing. Recorded through my beloved console and signal processors - mastering came only to: making the EQ smoother and such. Most tracks had to be lessened in the end instead of adding (minus 2 db on 2,69 kHz for example) taking away to add. With a lac on wood for instance you have to sand it smooth after lac with a very fine grain, not adding more lac. Sound can be very similar. Sound colouring and such happened during recording and the master always runs through a 1176 before going into the recording interface. This unit pushes everything away a bit and equalls the dynamics but they aren't cut off. It's a very good limiting amp/ compressor. All tracks live played.

Spiritual and passion for music: In this selection I ranged from more abstract stuff to simple classic sounding sequences, stuff I feel most at heart with. I hope you enjoy this small mix of works.

 

Eerie Landscapes, Variations (Violin Zither) - March 2018

 

The sound of my own Instrument, recorded through tube reverb. The work is a dedicated example of how the instrument sounds like. Overall the piece has a acoustic origin and feel. I made some small edits to make it sound more finished, hardly to achieve during recording only. I made the edits in the DAW, some mixing and panning but remaining the origin of the recording.

Info text: "..an instrument with strings. It can be played in several ways: with a bow, a mallet, hands, a plectrum and so on. I am satisfied and pleased with its sound and possibilties. It has a mahogany wood finish and various steel strings (originally meant for Harpsichord and Zither). Acoustically the instrument its soundboard has a beautiful dark timbre but the idea always was to play it with echo. I made two sections on the instrument with replaceable bridges, one is for the eerie part and one is musical. Vibrato is possible as well and there's not really a rule on how to play it. The tuning is fixed untill it is retuned to another sound." 

 

The Horror Waterphone - Part 1, Variations (2018)

 

An instrument made of steel originally invented by Richard Waters in the late 60's. The 'Horror Waterphone' is my own designed version with a couple of changes not found yet on available waterphones on the market. With help from my father making this became a reality. The Waterphone is known for its beautiful haunting sounds. What I know from experience is that playing a waterphone is not easy as you'd expect. As you bow one part can sound extremely nice and right after appears annoying overtone content. It is truly a skill to avoid these tones that should not be there. This waterphone is made from bronze and copper, most are made from stainless steel. In this piece you can hear two varitations of the same. I've recorded it through the modular amp, fixed filter bank and tube reverberation afterwards processed using a voltage controlled delay. 

 

 

Voices Of The Void - Part 1 (2018)   

 

A while back I've made similar recordings that where cut to a lathe vinyl. I wanted to make a more proper version with these. The sound that you hear originates mainly by giving friction to a plate with friction mallets. I've recorded it through the echo unit and through a fixed filter bank on the modular system. The piece comes in two variations. Voices Of The Void is dedicated to the spirits.

 
 

 

Regis & Peter Sutton, In Honour_Tribute Mix - May 2017

 

A mix I've recorded with works solely from Regis & Peter Sutton. Raw and true Techno. The record 'Against Nature' had a momentous impact on me. The other works are by Regis taken from both albums 'Necklace Of Bites' and 'Delivered Into The Hands Of Indifference'. Enjoy! 

 
 

***PAST_Mixed/ on stage alongside with:  Luke Slater, Darren Price, Ben Long & Jamie Bismire, Speedy J., Monika Kruse, Chris Liebing, Ken Ishi, Trish Van Eynde and many others! Released alongside (under my moniker) with: Regis, Charlton, Echoplex, Paul Mac etc.

Cherished in my memory and heart. Much love and respect, Mathias.