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Wisseloord Studios © Copyright 2018
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Around 2012 I left Kytopia and I started Studio Joneski, together with Sam Jones. We occupied a huge former postal service building for 4 years, where we were free to try the craziest stuff and really work on our chops. The building was sold in 2017 and in 2018 we got invited to join Wisseloord. How could we say no…?
AS AN ENGINEER
I have an affinity for gritty, weird, unique-sounding stuff. I like an old-school recording approach, trying to capture the sound of humans playing together in a room. When dialing in sounds, I like to be inspired by the unique traits of the artist in front of me and maximize that sense of identity. It all starts with a committed and heartfelt performance, though. In my opinion, a bad recording can’t destroy a great performance. But of course, I try and make great recordings every time, as well… I also work as a Front of House engineer for numerous bands, like Dakota, Kapok and Haty Haty, as well as the TivoliVredenburg and De Helling venues in Utrecht.”
NOTABLE CREDITS (recording/mixing)
Luwten, Kim Janssen, Blaudzun, Bartek, Kapok, Broken Brass Ensemble, BOT, Ode to the Quiet, the Kyteman Orchestra.
Life motto: “Se si muove ancora non dovresti mangiarlo”.
Over the years, Darcy has been honored with 4 Grammy awards and 10 nominations and has won several other awards for her work.
She has had the pleasure of mastering historical reissue projects for such prestigious artists as Billie Holiday, Louis Armstrong, Frank Sinatra, Tony
Bennett, Dave Brubeck, Stephen Sondheim and Johnny Cash. She has also worked on stereo, surround, and immersive-audio front-line releases for many talented artists including Steely Dan, The Eagles, Ozark Henry, Donald Fagen, Porcupine Tree, Peter Maffay, Udo Lindenberg, Patricia Barber, Marcus Miller, Jeff Mills, The Common Linnets, Anouk, David Garrett, Blind Guardian, and Jane Ira Bloom.
While quite content to work in stereo, Ronald specializes in surround sound, pioneering in recording/mixing and playing a key role in the development of new technology used in progressive high-resolution formats. In the early years of surround audio development, Ronald was a “test pilot” for Sony and Philips’ DSD/SACD format and many of the projects that he mixed in those days are still held up as benchmark examples of creative surround mixing – e.g., Guano Apes – “Don’t Give Me Names”, Kane – “So Glad You Made It”, Herbert Grönemeyer – “Mensch”. API’s flagship ‘Vision’ console, which features simultaneous stereo and surround mixing capability, and SPL’s benchmark MMC1 multi-channel mastering console are two examples of technological excellence stemming from Ronald’s original and practical ideas.
Ronald has now expanded to immersive sound, working in Auro3D (9.1) and other 3D audio formats. Some of his recent projects include Pure Audio BluRay releases for artists Ozark Henry, Tiësto, and Mando Diao, as well as Peter Maffay’s “Tabaluga” soundtrack, which was presented in Atmosphea (Shure’s 3D audio format) with accompanying animated video in planetariums in Germany.
Not one to be limited to the studio, Ronald also puts his talents to work in live broadcast, mixing live in stereo and surround for chart-topping clients throughout Europe, including the MTV Music Awards. One of his more recent undertakings was the album release of renowned German artist, Peter Maffay – a live broadcast in 5.1 (and stereo) to 72 cinemas throughout the German-speaking market.
Ronald’s knowledge and insight are well appreciated by his colleagues in the academic world. He’s been asked on numerous occasions to guest-lecture and give master classes on recording and mixing for universities around the world, including McGill, New York University, Middle Tennessee State University, and Banff Centre for the Arts. He has participated in and hosted many workshops and panel discussions at professional seminars in the U.S. and Europe, notably the informal “PMC Listening Sessions” at AES conferences where his demonstrations never fail to draw a crowd.
His long list of clients includes such notable artists as Simple Minds, Rammstein, The Scorpions, Mink DeVille, Richie Hawtin, Udo Lindenberg, Gotthard, Tina Turner, Ilse DeLange, Live, Within Temptation, Herbert Grönemeyer, Clouseau, Lori Lieberman, Manowar, Alain Clark, Peter Maffay, The Common Linnets, Ozark Henry, Raccoon, David Garrett, Jett Rebel, and Kensington.
As for a movie sound-track, he always tries to capture the story told by the artists during a live performance, and sublimate the unique vibe and alchemy that often happen during studio times. He sees the technical part of the job as a tool to repel the limits of creativity and experimentations, keeping the sole objective of understanding what the artist has in mind, and reproduce it on tape.
Julien is now sharing his time between France and the Netherlands, seeing the international work as a perfect opportunity to learn from the best, share and exchange with everyone’s professional experiences, and enrich his own way of doing records with different overviews.
Born April 28th 1966 in the Netherlands.
Played Trombone between my 10th and 15th in the local brassband. As soon as my arms were long enough to make the 7th position I became first player in the section, which tells you everything about my fellow players and nothing about me ;-).
Studied Double Bass and Bassguitar at the Rotterdam Conservatory 1984-1988.
Played a million jazz-, pop-, commercial gigs in the ten years after. Three random gigs I remember: A concert with Mel Lewis and Joe Lovano while at school, a concert with Randy Crawford and many tours with Charlie McCoy, who recently became a country-hall-of-famer. I was almost a good bassplayer.
Around 1993 I did a recording as the bassplayer and producer and the engineer fell ill and I sat in. Not a clue, yet I really, really liked it. Switched in the years after to engineering and mixing.
At the moment I switch between doing FOH, broadcast and studio all the time. I work with all the big names in The Netherlands, like Anouk, Kensington, Candy Dulfer, Marco Borsato etc, but those names mean nothing to you. I’ll try to come up with names that are familiar to you.
Al Jarreau and the Metropole Orchestra. Record a live CD (Grammy nominated)
Raul Midon and the Metropole Orchestra. Record and mix studio CD.
Vince Mendoza, Nights On Earth, orchestral recording (Grammy Nominated)
Many records with Anouk, Trijntje, Yuri Honing (Edison winner), Windkracht 7, Batik, Trijntje (all Edison nominated). Misc big band recordings. Do etc etc
DVD’s with Ladies of Soul with eg Sheila E, , several with Symphonica in Rosso (=Orchestra with misc. guests like Lionel Richie, Diana Ross, several Dutch artists).
Just did a live recording of the entire Goldberg-variations with JW Rozenboom.
The Voice of Holland. 2015 –
Pinkpop and many festivals.
Classical Radio from the Concertgebouw Amsterdam on Sunday mornings.
Showcases and performances by Simply Red, Randy Newman, Lionel Richie, Gavin DeGraw, Sheryl Crow, Anouk, Kensington, Candy Dulfer, Vrienden van Amstel.
Ladies of Soul live broadcast.
Symphonica in Rosso.
Popmusic with an orchestra, band and guests: Marco Borsato 2006 and 2016, Nick & Simon, Anouk, Simply Red.
Various shows with Oleta Adams, Katie Melua, Gregory Porter, filmscores, etc
Jazz Orchestra Of The Concertgebouw.
Concerts with Cristian Scott, Jose James, tribute to Aretha Franklin, Steve Vai
Tours with Candy Dulfer (ex-Prince), Larry Graham. Susanne Abbuehl (ECM jazz), the New Power Generation.
Julia Boutros in Lebanon, with the Armenian Symphonic Ochestra, 60 piece choir and traditional band.
Ara Gevorgyan/Sardarapat outside Jerevan with the Armenian Opera Orchestra, 80 piece orchestra, trad. Orchestra and popband.
Tour with James Newton Howard and orchestra + choir. 3 Decades of music for Hollywood.
Even though I became quite technical, music is the source of what I do, and I approach everything from a musical perspective. I can read a score better than a technical scheme. I know and use most of the Tonmeister-stuff in a recording- or broadcast situation, but I am a complete non-purist in a live situation. I don’t care how many mics and pickups we have to stick where to get what we want. I tend to make things bigger. Not very interested in a non-committal experience. Go from silky smooth to very uncomfortable if that’s what the music calls for. It’s nice when people comment on how good it sounds, but it’s much better if they don’t, if me and my speakers completely disappear, and there is a direct connection between the music and the listener.
Rob began his career at Galaxy Studios in Belgium in 2001 where, over a period of nine years, he worked his way up from assistant engineer to facility manager.
After leaving Galaxy and a small d-tour in broadcast, he decided to go back to music.
Rob joined the team at the start of the reconstruction in 2011.
He planned and supervised the overhaul, therefore knows this place inside and out and keeps it working smoothly so our clients can focus on their music.
On a daily basis he coördinates the assistants and interns, manages the schedule and provides technical support where needed.
Finding it hard to say “no” is part of his modest Belgian character.
Felix has quite the international background. Having lived in Asia for a significant part of his life, he even speaks Chinese. His interest in music started early with the violin, and eventually moved into the world of German-influenced, minimal techno. Through his interest in electronic music and his work as a DJ/producer in techno, Felix developed an even more intense interest in audio engineering and music technology.
Felix moved to the UK, studying Creative Music Technology at Bath Spa University. During his time there, he explored many facets of the music industry. He first became acquainted with studio life through his internship at Real World Studios, where he was trained as a tape machine operator, and assisted in the day-to-day running of the facility..