We’re a team of two, most of the time.
Your mixes and masters are done by this one.
Recordings are usually done by this one.
Both of us have a long history of being musicians, producers and performers and we have completely different approaches towards music, which we utilize in order to focus on what interests us the most, in order to provide the best results possible.
On every other day, the team includes friends we met along the way, becoming colleagues on projects we’re taking on.
What is Electron Transition?
Electron Transition is audio production services, branched out of an experimental-electronic music organisation Electron Emitter.
It has two operating rooms for production.
Main studio, which is where Augustinas can be found, most of the time making Patchers. This is the space where post-production takes place.
Using experience from events, inspired by many experimental artists, producing music for many years and adapting our expertise towards a common objective with our clients, Electron Transition is tailored for someone looking for something unbound.
Our second room is a Foley studio, where Marius can be found, most of the time trying to catch rogue flies, which he was trying to record for a movie. This is the place where they all die, eventually.
Built to house Marius’s obsession with recording and sampling everything, to turn it into sound-installations, soundtracks or making improvisational performances.
Using experience from being a co-founder of a game development company and working as a designer, he is inspired by the intricate details in sound that carry over the feeling of the project taking place.
Why pick Electron Transition?
- Our priority is your sound design.
We make sure the existing sound design, actually comes through as the character of the tracks. This is usually dictated by the hardware or software used, artistry behind it and creative ideas. These need to become the feeling.
We’re musicians too and we hate butchering our own sound. We will adapt the techniques used for your existing sound design when mixing to ensure that you would get what you wanted it to be.
You want thick saturation warmth? Digital screeching? Acoustic or life-like sound? Ghostly and wobbly? Or do you want complete transparency with nothing else on top?
We’ve got some secret sauces for everything, thanks to our endless experiments and patchers. - We’re flexible on dynamics.
We don’t agree that you have to follow the current trend of loud, distorted or saturated, completely stuffed and packed with colours type of production.
We get the feeling, but we don’t do it this way. We call those mixes “dopaminergic”, where they fatigue your experience of listening in the first 30 seconds, because everything hits at maximum, all the time.
Let it flow, let it peak, let it breath, make it alive. And if you actually want to, we can make it choke heh. - We treat your albums as a whole.
If you send us to mix or master the entire album, EP, or a collection of tracks that will be released alongside each other, we’ll make sure they will sound like they belong together. - We can provide mixed stems, or individual tracks afterwards, grouped by your liking.
- We’re musicians – we can speak in conceptual.
Equipment we use:
All of the post-production happens using software. We don’t use any hardware or analog equipment, other than instruments.
We use Windows 10 on all machines.
Primarily we work with FL Studio.
Bulk recording and editing is done in Reaper.
We usually work in 96khz 32-bit.
Monitoring:
Event Electronics 2030 – three-way studio monitors (Main) 2x (we have a spare pair)
Event Electronics 2020 – studio monitors (Foley room)
Adam T7V – studio monitors 2x (Augustinas and Marius off-site)
Auratone Behringer C5a – (shitbox reference)
Event Electronics Project Studio 5 – surround system monitors (5.1)
Event Electronics 20/20/12 System Subwoofer – surround system subwoofer (5.1)
Calibrated manually, using Sonarworks only for measurements.
AKG K371 – headphones (Augustinas)
Sony SBH60 – headphones (Augustinas’s 10 year old reference)
Audio Technica M50X – headphones (Marius)
Audio Technica M20X – headphones (Marius)
1991 Volkswagen Golf GT (car)
2012 Ford Focus Titanium (car)
2011 Ford Mondeo Trend (even moar car)
Audio interface, recorder:
Motu 896mk3 Hybrid
Motu Ultralite mk3 Hybrid
Zoom F6 (Marius)
Zoom H5 (Marius spare)
Tascam DR70D (Augustinas)
Microphones:
Large Diaphragm Condensers:
AKG P420 2x
AKG Perception 420
AKG P220 2x
Small Diaphragm Condensers:
AKG P17 2x
sE Electronics sE8 2x
Rode NTG3B (shotgun)
Dynamic:
AKG P4 4x
AKG P2
t.Bone MB 75 2x
Else:
JRF C+ Piezo 1″ 2x
Piezo 0.5″ 2x
Soundshark Hydrophone Stereo
Boom pole.
Garbage:
M-Audio Vocal Studio
t.Bone EM 700 4x (2 semi-corpses)
t.Bone MB 60 3x (1 corpse)
Behringer XM1800 2x
Some Soviet-made Tesla microphones 30+x