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Welcome Sasse! (introduction)
Old 28th June 2018
Reptil's Avatar
2 Reviews written
🎧 15 years
Welcome Sasse! (introduction)

For our Q&A session we welcome Klas “Sasse” Lindblad to the forum.

Through his aliases, he has produced quite a number of tracks, and now works as mixing and mastering engineer in his Berlin-based Blackhead Studio, and is the go-to man for many artists and labels. So for questions about modern and nineties music production of club music…. you should ask Sasse.
In this post I’ll make an effort to present a short overview his carreer, of course it’s only a selection.

At the end of the eightties Chicago House music was picked up all over europe, and played on selected radio stations. Even in the northern Finland it was heard by Klas who was impressed by it. In 1989 he bought two record players and a mixer and started DJ-ing in his hometown. A year later he started to build up a home studio:
The first gear was an Ensoniq Mirage sampler, a Yamaha TG33 synth and a drum machine, although I can't remember what it was. It must have been one of the cheaper Roland TR series, maybe a 505 or 626. I also built a one shot sampler from a mail-order kit, which I used to sample longer speeches or sound effect. That was amazing as sampling time back then was usually really short and the real samplers were expensive.(source: Musicradar)
He got together with some friends and as a collective they produced all kinds of things, ranging from Breakbeats, to House and Techno.
In 1992 Klas moves to the city of Turku in the south-west of Finland. Here he joins up with the Sähkö crew (Tommi Grönlund’s label - “sähkö” means “electricity”). There’s even a proper recordstore there, Klas quits school and dedicates himself to DJ-ing as “Sasse” and continues producing music. In his sets his preferences is in the direction of the deeper music like Jovonn and the techno made in Detroit.
During this time he’s organizing parties and from ’92-’96 he ran a club night, playing House music in Turku for 200-300 people. Which was different from the other emerging scenes in Finland which were mostly about Techno music.

In 1996 Klas releases his first House tracks on PUU, as sublabel of Sähkö Records and this Techno gem on Function Recordings.

From 1997 the well known funky track “Que Domingo Inquieto”, which he produced in cooperation with Jimi Tenor and Severi Pyysalo (not credited). It was made at his West20 studio in Turku.

In 1996 Klas starts his own label “Moodmusic” releasing various tracks under the alias of Sasse, Freestyle Man, Morris Brown, Sassomatic, Zoom (10) and Thirsty Monk He has released productions as Winston Fletcher on the label Station and as Cocamoto Exclusivo on his Must Records. (click on the names for a discography)

You can find a discography of Moodmusic here.

Come 1999 Klas made a big decision and left Finland for Frankfurt am Main. There he met Ata Macias and the late Heiko MSO (Heiko Schäfer) the founders of the Playhouse label. Ata was the owner of the Robert johnson club and he offered Sasse a DJ residency there.

(Sources: The Wall, Robert-Johnson)
He also met Corrado Izzo who supports Moodmusic through his ELP-Media distribution and they share the studio “Metalbar” in this period. A number of cooperations follow a.o. with Losoul and Marco Carola. Sasse also publishes a number of remixes. (o.a. Blaze, Dirt Crew, Thugfu cker, Slam)

In 2003 Klas moved to Berlin. A new direction, new cooperations.
He got together with Henrik Schwarz and after a few publications of Henrik on Moodmusic they started the Sunday Music project, and later (in 2008) the “As shole & Gentleman” project. In 2004 the EP “Soul Sounds” was released, a cooperation with the Dirt Crew, with this track on it. I’ve linked it in the forum preview but here it’s again because it’s such a kick ass song. It also appears on the 2006 album “Made Within The Upper Stairs Of Heaven” which was produced in the Blackhead Studios in Prenzlauer Berg, Berlin with Ewan Pearson and Filippo Moscatello, which he built in 2005.

Remixes from this track are being released on Raummusik label this month (june 2018): Here’s a link to the clips

In 2007 Sasse, Ewan Pearson and Darshan Jerani produced Tracey Thorn’s “It’s All True”.

From the same year is the “Belvedere” EP a cooperation between Kiki and Sasse. The synthesizer on it is the Elka Synthex.

And the Rhythm Kings vol 2 double LP on the Traveller Records label, with remixes from the Dirt Crew and The Timewriter, which was a bit of a hit record. Second one is “This Side Of The Moog”.

From 2008 is “The Bottom Line” album for Hairy Claw label. And another more “House” vibey track on the same label.

And here’s Amazonique” under the alias of Cocamoto Exclusivo (Must Records, which Sasse created to release tracks with a more Italo-Disco character. (source: RA)

Then this is a Sasse remix of Chopstick & Johnjon feat. Fritz Kalkbrenner. Sasse mixed this version (remix) of Kings Of Leon “Closer”.

By then Ewan Pearson has left for the UK and Blackhead Studios was all Klas Lindblad. link
Here’s interesting information how that studio was laid out (around 2011): It was based around a modified Yamaha PM1000 discrete mixing desk, with an Audient Sumo summing unit. His converters were RME Raydat into various AD/DA (Apogee DA16x, Big Ben clock) and a laptop with an UAD Apollo. At the time he used Pro Tools 11, and Ableton Live.
"I've been an Ableton user since 1.0 and I have to say I love the loop based approach of it. But lately I've been just doing a lot of modular jams and just been recording those into the DAW. It's a great way of getting away from the well structured Ableton mode.”
Favorite gear:
"I think it's my Yamaha PM1000 mixer. It's not a Neve by a mile, but it has something special in the sound - it ́s so thick and makes software synths sound fat with no EQing.
Also I love my Pultec EQ clones, they are done by this Polish company ProReplicas which are permanently sitting on my two-buss.”
"I recently got a really good deal on two old digital effects, namely the Dynacord DRP-20 Reverb and a Roland SDE 330 Dimensional Space Delay. I'm a bit of a second hand market junkie so I tend to try a lot of things and if it does not get used I trade them. I've already owned the DRP-20 and I really love the warm '80s modulated reverb and modulation effects. On the software side I bought the Eventide Anthology X plug-in suite upgrade as I'm a big fan of their plug-ins in general.”

EB.TV visised Blackhead Studios in 2013:

Recently Sasse focussed more on mixing and mastering:

Recent clients includes K7, Kompakt Records, Anja Schneider, Jonas Saalbach, All Day I Dream and Mobilee Records among others. (Source: Soundbetter.com}

I visited him in his studio in the heart of Berlin, he told me it’s an old studio he could move into, designed during the golden age of german broadcast and is IRT certified. It certainly sounds that way. On the side there’s a small room, with an open window to the street, set up as a writing room.
I’ll let the pictures do the talking, as a possible opening for questions. You can find more pictures in the post below.

And to top it off, 3 production tips:
Scoop out the resonant frequencies
"One of the most useful tips I learned from a great mastering engineer was to find the resonant EQ points on the kick drum, and in the low end in general. I use the Brainworx bx_digital EQ to scoop any resonant frequencies away, before then pushing the low end up a tiny bit with a hardware EQ. You can do this to most instruments, and thus get a much more punchy and clear tone. After cleaning up most of my drum sounds, I push the low end and top with a pair of vintage Siemens W295b EQs, which have an amazing low-end and silky smooth top end."
Mid-Side mixing
"I use Mid-Side processing in the mixing stage, which is a great way of making space and creating a wide, but mono compatible mix. It's great to clean up the Side channel low end of any unwanted rumble and delay tails which will clutter your mix. It took a while to get into the idea of using MS while mixing, but now I can't get enough of it. I still, of course, use normal EQs and compression, but for that special width and punch it's essential to process the Mid and Side channels separately."
Don't disregard digital
"Don't let the analogue craze take over. I also use a lot of software synthesisers, plug-ins and digital stuff, and it's not always that analogue is better. I personally like analogue EQs and compressors on the two-buss and I mix through a summing device, but for most of my track processing I rely on plug-ins. I love the latest generation UAD plug-ins and the fact that you can run as many instances of a great plug-in is just wonderful. And there are great soft synths, which are so versatile and sound really beautiful so not everything has to be analogue. I think a good mixture of classic analogue and affordable software is the perfect solution.”

So, that’s a huge blob of information. But it’s only a small percentage of the total.
A special thanks for J. Gabriel for suggesting this guest. Thank you.

Old 28th June 2018
Reptil's Avatar
2 Reviews written
🎧 15 years
Attached Thumbnails
Welcome Sasse! (introduction)-jusright-flyer.gif   Welcome Sasse! (introduction)-freestyleman-quedomi.jpg   Welcome Sasse! (introduction)-sasse-dj_the-wall.jpg   Welcome Sasse! (introduction)-robertjohnson.jpg   Welcome Sasse! (introduction)-sasse_masteringstudio.jpg  

Welcome Sasse! (introduction)-sasse_rack2.jpg   Welcome Sasse! (introduction)-sasse_rhythmsection.jpg   Welcome Sasse! (introduction)-sasse_writingroom.jpg   Welcome Sasse! (introduction)-sasse_masteringgear.jpg   Welcome Sasse! (introduction)-sasse_masteringgear2.jpg  

Welcome Sasse! (introduction)-sasse_fxrack.jpg   Welcome Sasse! (introduction)-sasse_keys.jpg   Welcome Sasse! (introduction)-sasse_eurorack.jpg   Welcome Sasse! (introduction)-sasse_desk.jpg   Welcome Sasse! (introduction)-sasse_5umodular-synths.jpg  

Welcome Sasse! (introduction)-sasse_rack2.jpg   Welcome Sasse! (introduction)-sasse_studer.jpg   Welcome Sasse! (introduction)-sasse_yamaha.jpg   Welcome Sasse! (introduction)-sasse-rack.jpg   Welcome Sasse! (introduction)-sasse_studio.jpg  

Welcome Sasse! (introduction)-b2_sasse_in_the_studio_large_musicradar.jpg   Welcome Sasse! (introduction)-e_sasse_in_the_studio_large_musicradar.jpg   Welcome Sasse! (introduction)-jusright_small.jpg  

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