The Berlin techno icon, former Berghain resident and IMF label head shows us the tools of his trade.
Marcel Fengler – My Studio
I started to produce around 2002/2003 at a little recording section in my apartment. It worked out fine for me at the time, so there wasn’t really a requirement to change and to search for an external solution. This changed though, when my good fella Peter van Hoesen moved to Berlin in 2009. He was looking for a studio and so I changed my mind. This step has changed my entire production probably. Sometimes I even ask myself how I handled productions before. After some trouble with the initial landlord, we had to move out from our first studio and found a great opportunity at the previous studio of Marko Freivogel and Ingo Gansera of Exercise One. I work there on a Focal speaker system, an APB ProDesk-8 console and use Ableton as DAW since version 4.0.
APB ProDesk-8
The first studio device I’d like to introduce you to is my 24-input APB ProDesk-8 mixing console. I bought it five years ago, around the same time I produced my Sphinx EP, so I really do connect with it much more than just being an outstanding mixing desk. It’s even connected with the start of my own label Index Marcel Fengler (IMF) somehow. Since then it’s absolutely essential to my studio work and I’ve been benefiting a lot from it during the recording of my album Fokus and even more when Efdemin and I (as DIN) were producing the ballet Masse, since we had to manage a lot of different sound sources at the same time. What I like most about it are the four-band EQs per channel, as they are super musical, while at the same time allowing a very precise and confident workflow with sound sources.
Roland JV-1010
A little later, when Phillip (Efdemin) and I worked out the DIN remixes of the ballet Masse, I got in touch with the Yamaha FB01. I’ve been very impressed by the intuitive workflow of this nice little synth box. I mean generally I’m a big fan of FM synthesis and I’ve been working with Yamaha’s DX200 for a long time before. Although the FB01 has a similar sound module as a DX7, it wasn’t really sounding nice in comparison to it. But being attracted to these nice little synth boxes, I found the Roland JV-1010 synth module and since having it, it’s been used in almost all my productions. This little weapon unifies the sound of a Roland JV-2080 and JV-1080 and sounds so good. Especially in comparison to Yamaha’s FB01, it’s more then competitive and allows you to work with it very intuitively.
Trinnov ST2 Pro
Another feature I don’t wanna miss anymore is the Trinnov ST2 digital audio processor. On the basis of a very complex measurement algorithm to optimise bad room configurations, it comes with four parallel working sound processors and an outstanding AD/DA converter. The result was an absolutely impressive improvement of my monitoring. I couldn’t believe how much transient response optimisation and deleting of phantom acoustic sources improved the listening of almost every connected sound source. At the same time it was demasking the weak points of my monitor system. So now I’m much more confident in finding better solutions for my monitoring. I use it practically in every operating cycle and don’t wanna do any final mixdown without a Trinnov anymore.
Ensoniq DP/4
I bought the Ensoniq DP/4 a couple of years ago and don’t wanna go without it anymore. Most of all I appreciate the four independent effect processors, called units (A,B,C,D) that I use in all their configurations in almost every production. Each unit is a complete effect device in itself. Each sound effect sounds really fat and comes in high-quality multi-effect performance. I used it the first time when I produced my Frantic EP and shaped effects in ‘Frantic’ and ‘6 In A Row’ with it. Since then almost no production leaves the studio without being effected by my DP/4.
Arturia MiniBrute
It was a longer decision to buy this analogue monosynth a few years ago. I was thinking a lot how to pimp up my analogue studio setup in bass sounds generally. The range was big and beside real monophonic classics like an SH-101 or Moog, my search led me to the Arturia MiniBrute. I’ve been convinced immediately by the intuitive workflow with a good amount of modulation opportunities and its incredible sound. Paired with a pretty convenient price it’s been a quick decision to buy it. I’ve been working on my remix for Sandrien’s track ‘Haters’ and the MiniBrute arrived right on time since I missed a great bassline in there to give the finishing touch to the remix.
Tegeler Audio Vari Tube Compressor VTC
Just recently, Peter and I strengthened the studio setup with the Vari Tube Compresor VTC by Tegeler Audio. This mastering and bus compressor is just incredible. In my point of view it works at its best when you put percussion groups or groove lines in there, so you can experience the fantastic tube sound of the VTC perfectly. I just finished remixes for Luke Slater and Dave Clarke and was looping all grooves through it. The VTC helped me a lot to create a marvellous final mixdown.
Baseball
In the 90s I was a pitcher for an East German baseball team called Red Eagles. We were the first baseball team in Brandenburg, one of 16 states in Germany. This baseball has been signed by all teammates and I got it after we won a big match back in time. Most of them are still friends but don’t go out that often anymore, they aren’t into nightlife. So the ball reminds me that there’s also something else beside the whole world of a travelling DJ. It says that however important the whole thing is, for sure there’s always somebody or something else outside the business.
Marcel Fengler plays Drumcode Halloween on Saturday October 29th at Tobacco Dock, London. Find him on Facebook and SoundCloud.