Julian Chan 2018-02-27T16:48:03+00:00

JULIAN CHAN

Engineer/Mixer/Producer

“Earthworks microphones have become essential tools for me in the studio over the years. They capture sound so honestly and with such detail that they are my go to microphones. I cannot imagine a session without them.”

Producer and engineer Julian Chan started his career as a staff engineer at Interscope, Geffen and A&M, where he worked with many of their major artists as a recording engineer.  He eventually moved on to mixing for video game giants Harmonix and Activision for the games Rock Band and Guitar Hero.  Now he is back where he feels most gratified, recording and mixing albums. Currently working for Don Felder, he has worked with artists such as Gwen Stefani, Sting and Joe Satriani.

Currently Using

DK50/R

SV33

Q&A with Julian

Q: How long have you been using Earthworks products?

A: Since 2000.

Q: What Earthworks products are you using?

A: Currently using the DK50/R (QTC50 matched pair and SR30).

Q: Favorite Earthworks product?

A: QTC50s

Q: What is your favorite thing about Earthworks products and their performance?

A: First and foremost, they sound great. They are the most natural sounding microphones I have heard. And the fact that they can handle such high SPL levels make them really diverse microphones, from acoustic guitars, blaring guitar amps up to snares. They just pick up amazing details. When working with expressive musicians, you capture every nuance of their performance. Every string plucked, every ghost note, every subtlety brought to the performance from their years of devotion. You are capturing their essence.

Q: Best tip for using Earthworks?

A: Don’t be scared of the omni’s! Since they are not plagued with the proximity effect, you can get them up and personal with instruments. Take for example using a pair of QTC50’s as overheads on a drum kit. Drop them down low. I tend to have them a between 3 and 4 feet away from the snare, depending on how much room I want to bleed in. The left microphone sits around the first floor tom. The right microphone is placed equidistant from the snare, somewhere between the hi hat and high rack tom. Just measure the distance between the two microphones from the center of the snare and you have the snare right up the center. They are so small that they do not get in the way of the drummer, and you end up with an amazing stereo image of the whole kit, and really buttery cymbal sounds.

Q: Career highlights?

A: Working on Don Felder’s record. Working with a living legend of rock is a dream come true and the guests he has asked to be on his record reads like an amazing iTunes rock playlist.

Q: Anything else you’d like to share?

A: Earthworks microphones are super versatile microphones. I find them to be indispensable tools in big studios, but they really do shine in the home studio too. Being able to jump from vocals to acoustic guitars and percussion on just one great sounding microphone is a huge asset. I do a lot of recording of acoustic instruments in my home studio with them, and I never find myself wanting.

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