Last Updated on August 9, 2024
The music industry today stands as a colossus of culture, weaving through the fabric of our modern lives and echoing with the rhythm of our times. It is an industry marked by evolution and revolution, where artists and professionals alike push boundaries, experiment with sounds, and harness technology to create masterpieces. Within this vibrant and ever-changing landscape, certain individuals rise to prominence, not just by virtue of talent but through consistent dedication and unparalleled expertise. One such luminary is Bas Janssen.
Bas Janssen’s career arc in the music industry is nothing short of impressive. From ensuring impeccable sound quality for an astounding 425 artists across the globe at the 27th annual Gospel Music Choice Awards to being the sonic maestro behind Dana Williams’ “Sensitive” featured in the acclaimed Prime Video show “Harlem,” Janssen’s range and impact are evident. The track quickly gained traction, racking up 54,000 streams on Spotify and showcasing Bas’s capacity to create audio experiences that resonate deeply with audiences worldwide.
One of his standout achievements includes his role as the Monitor Engineer for the Grammy-nominated duo, Chloe x Halle, at the 2018 MTV Movie & TV Awards. With a high-profile performance at stake, Bas delivered an unparalleled sound experience, ensuring the duo’s music transcended beautifully to their audience. Then, there’s his touch on AJR’s lead single “3 O’clock Things,” a hit from the “Ok Orchestra” album. This song, under his expertise, soared to 37 million streams on Spotify and went on to receive laurels at major platforms like the iHeartRadio Awards and Billboard Music Awards.
Lisa Oduor-Noah’s self-titled album is yet another testament to Bas’s prowess. As the Mixing Engineer for singles like “Waiting,” “The One,” and “Today,” Janssen demonstrated his impeccable sense for balance and nuance, leading these tracks to amass over a million streams on Spotify. His proficiency further shines with the Australian RIAA certified Platinum Selling hit single “My Pain,” where he collaborated with Unfoonk, resulting in 40,000 streams. Rico Nasty’s “Into the Dark” too, with Bas at the helm as the Recording Engineer, quickly became a favorite among listeners, gathering 240k streams.
We had the unique opportunity to delve deeper into the mind of this prodigious talent. In our conversation, Bas’ extensive technical and engineering skills came to the forefront. It became clear that his expertise isn’t just confined to his exceptional ability to shape soundscapes but extends to his proficiency in using industry-standard software like Pro Tools, Logic, and Sibelius. His adeptness in various roles, from tracking and mixing to mastering and live sound engineering, paints a holistic picture of his comprehension of the music production process. It is his ability to weave these skills seamlessly that places Bas Janssen at the pinnacle of his field.
Can you share a time when your proficiency in Pro Tools, Logic, or Sibelius directly contributed to the success of a project?
The most significant difference I’ve noticed was when I worked with Atlanta rappers. Their swift approach to songwriting requires one to be exceptionally quick in Pro Tools. This led to credits on tracks such as “My Pain” by the platinum artist, Sexton, featuring the #1 artist, Unfoonk, and “Baguette” by the #1 artist, Bslime.
With your experience in tracking, mixing, mastering, and live sound engineering, how do you balance these diverse roles in a project, and what are some unique challenges each one presents?
While the basics such as gain staging, EQ, and compression remain consistent across different audio tasks, each has its unique focus and challenges. Surprisingly, juggling these roles can sometimes seem more manageable when they intermingle, as each offers insights from different disciplines, enhancing overall proficiency in a comprehensive manner.
However, it’s important to recognize their distinctions. For instance, recording emphasizes capturing the best sound swiftly, while mastering demands making precise decisions with minimal flexibility. In mastering, you’re often confined to a stereo 2-track, adjusting without affecting other elements. You might want to enrich the lead vocal’s body without muddying the snare or brighten the vocal without causing the cymbals or guitars to sound harsh.
Live sound comes with its unique challenges. You juggle various stage monitors, sending diverse mixes to different places, with feedback being a constant concern. This setting requires on-the-spot creative problem-solving. Unlike studio mixing where everything is controlled, in live sound, you’re dealing with raw acoustics. The drums’ live sound is just as crucial as the miked sound. And while you can’t make everything too loud (lest the venue face legal issues), the mix must still be balanced. Sometimes, you might forgo adding the guitar mics to the mix if the amps are already loud enough and focus on the drums’ body since their natural attack is already prominent in the venue.
How have you seen the role of technology change in music production during your career, and how have you adapted to those changes?
Transitioning from college to the professional realm, I was accustomed to expansive recording consoles, capturing drums, bass, two guitars, a piano, three horns, and four vocalists simultaneously. Now, it’s a rare luxury to record anything beyond a solitary vocal layered over a beat sent to me via text. The tedious hours once spent on setting up intricate recording sessions with meticulous microphone placements and adjustments have been supplanted by a new premium: speed.
Nowadays, with just a computer, microphone, and interface, there’s an expectation to write and record multiple songs within a mere four-hour session. Additionally, one must be adept enough to furnish the artist with a near-perfect demo recording to relish immediately upon their departure from the studio. There’s scant time left for edits and refinements.
Can you discuss a project where you found your technical skills particularly challenged, and how you overcame that challenge?
The Gospel Choice Music Awards proved to be a more significant challenge than I had initially anticipated. Numerous bands, speakers, and hosts, all with varying requirements, often used identical microphones and instruments. This demanded quick thinking on my part, especially during soundchecks, to ensure every setting was retained – ultimately assuring each performer’s comfort and fostering their trust in my capabilities. I had to innovate, duplicating channels, saving scenes with safeguards, and truly acquainting myself with the console’s limitations. Fortunately, we navigated through the show with aplomb!
As a professional in the music industry, you must have witnessed some significant advances in technology. How have these changes influenced your work, especially in terms of the software tools you use?
As I touched upon earlier, the current landscape is much more streamlined, efficient, and rapid than before. I’m perpetually browsing social media and YouTube, seeking ways to expedite processes in Pro Tools, eliminate unnecessary steps, or creatively integrate my eclectic equipment in non-traditional manners. This not only expands the potential of the gear beyond its initial intent but also ensures an uninterrupted flow of an artist’s creativity. They never have to pause, waiting for me, risking a dampening of their creative spirit. Gone are the days when they’d have to reschedule or compromise on their vision due to limitations in my setup. Today, the essence is about maintaining a ceaseless momentum in the creative journey.
Your bio mentions your ability to work on large consoles to DIY setups. Can you share an instance where this versatility was especially valuable?
Indeed, possessing a foundational understanding of every potential equipment tier is crucial. I recall working in a studio that catered to high-profile clients who operated at a rapid pace. The studio teemed with artists, many sharing spaces, requiring me to swiftly pivot between different setups, yet consistently deliver top-tier results.
The primary recording room boasted an expansive SSL 9000 series console, an array of analog hardware, and a revered Sony C800G microphone. In stark contrast, the secondary space was equipped with a UA Apollo Twin and a Townsend Labs mic, embodying the digital age’s adaptability and efficiency. These two setups epitomized the spectrum: the grandeur and iconic sound of abundant, historic gear versus the minimalism of modern, digital recreations. Regardless of the setting, the demand was unwavering: an A+ product worthy of the chart-topping, award-winning artists.
I believe my diverse experience provided a distinctive edge. Some engineers, lacking foundational training on large-format consoles, often had to pare down their techniques to their comfort zones. In contrast, my versatile background enabled me to harness the full potential of any equipment, ensuring the utmost quality regardless of the circumstances.
What strategies do you use to keep up-to-date with the latest developments in music production technology and software?
YouTube has been an indispensable resource in navigating unforeseen opportunities. Take the MTV Awards, for instance. When presented with the chance to work for the Grammy-nominated duo, Chloe X Halle, I felt overwhelmed and ill-equipped. However, from the moment I confirmed my involvement until the onset of the first rehearsal, YouTube became my mentor.
I scoured it for insights on the console, wireless devices, and troubleshooting methods that would be in play during rehearsals. I sought advice from veteran engineers, aiming to glean insights on what a typical rehearsal demands from someone in my role and any non-obvious setups that could be vital. This crash course enabled me to better prepare for an experience I was initially unfamiliar with.
What does it mean to you to have become a member of the Recording Academy?
It’s truly surreal. To be honest, being a part of something so elite and exclusive wasn’t even on my radar; I never imagined I’d be included in such circles. To say it’s an honor feels like an understatement, and with that honor comes immense responsibility. To think I can now vote for the Grammy Awards is mind-boggling. My perspective and taste are deemed significant enough to help determine the outcome of the world’s most prestigious music award, spanning an incredibly diverse array of categories. I’m still processing this recent development, but I’m deeply grateful and eager to embark on this journey as a member of the Recording Academy.
With your diverse range of engineering skills, from tracking to live sound engineering, how do you approach teaching or mentoring others in these areas?
When it comes to imparting advice, I prioritize the underlying rationale behind my decisions rather than the specific technical details. The likelihood of encountering the exact same issue, with identical frequencies or requiring identical compression settings, is slim. Therefore, I focus on describing the audible cues that alerted me to the problem in the first place. Then, I provide a general overview of the techniques I employed to address it. This way, even if the problematic frequency changes, they’ll have a foundational understanding of how to discern and rectify the issue.
