How to Record Asian Pop with Enik Lin and Jae Chong

Join us for a detailed discussion of how to record and produce Asian Pop with Enik Lin and Jae Chong, two heavy-hitting music producers and Sphere L22 microphone owners.

Chapters:
00:00 Stream starts
05:56 Introduction by Julian David
07:04 Welcoming Enik Lin and Jae Chong
10:38 What are the challenges of producing and recording Asian Pop?
14:46 Why did Jae Chong switch to using the Sphere L22?
18:20 How has the Sphere L22 helped you deal with the pandemic?
19:53 What vocal sound do you need for Asian pop?
22:10 How do you make sure your sound fits the aesthetics of a genre?
25:08 Enik Lin's studio setup and vocal chain
28:13 Jae Chong's studio setup and vocal chain
33:12 Why Enik Lin prefers an analog input chain
35:35 Jae Chong's vocal processing in Pro Tools
40:19 Enik Lin's vocal processing in Pro Tools
47:37 What's Jae Chong's top trick to achieve a polished sound?
50:00 What's Enik Lin's secret trick to achieving a polished pop sound?
52:42 How do you work with vocal tuning and alignment?
55:00 What is IsoSphere and how do Enik and Jae use it?
56:50 What reflection filter would you recommend?
1:00:30 Closing remarks and switch to Clubhouse

Our guests, Enik Lin and Jae Chong, are both heavy-hitters in the Asian pop music production world. Enik Lin is a Golden Melody nominated music producer/mix engineer and the lead singer of the band FYKE. His production credits span from K-pop to J-rock and include artists Amber Liu, Royal Pirates, Van Ness Wu, Nicky Lee, OLDCODEX, and Solid. Jae Chong is an award-winning music composer/producer with over 70 million albums sold worldwide. As a member of "Solid", the first R&B group in Korea, he helped pioneer the K-pop sound in the early 90s. He is credited for countless hit songs in Asia from the 90s to the current day.

Both producers have recently adopted our Sphere L22 microphone as a cornerstone of their music creation process. We'll talk about why this microphone is so useful for their work and what challenges it has helped them overcome. What does it take to produce polished Asian pop tracks and how can the microphone help you get there? What microphone models are particularly well suited for K-pop, for example?

But the live panel will not be just about microphones. More broadly speaking, we'll touch on workflows, production techniques, and tips & tricks. Bottom line: Everything you need to know about how to record Asian pop!

// Join the conversation on YouTube and Clubhouse //
As always, we invite you to participate and ask questions as we go along. First, you can ask questions in the live chat on YouTube. Afterward, we'll take the conversation to a Clubhouse room where we invite you to share the stage with us. Tell your friends and mark your calendars today!

// About the Sphere L22 //
The Sphere L22 system consists of a dedicated, dual-channel microphone and its software counterpart, the Sphere plug-in. The exacting models incorporate transient response, harmonics, proximity effect, and multi-dimensional polar response. Thanks to Townsend Labs' exhaustive and curated study of classic microphones, the Sphere system currently brings the soul of 34 of the world's most revered microphones to life. The striking accuracy and sonic results have convinced owners from home recordists to seasoned industry veterans, such as Joe Chiccarelli, Billy Bush, and Allen Sides.

#AsianPop #SphereL22 #MusicProduction
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All trademarks are property of their respective owners and used only to represent the microphones modeled as part of the Sphere software.

[DenisAshton]

Thanks for doing this and having those 2 guys! Enik is an awesome dude and very down to Earth

[andikoyama]

Great discussion. I always love to hear about things, that I didn't consider before, such as fitting Mics for different languages.

One thing I'd like to add about the "strange" frequency preferences in Japan: I once read an article in the Japanese "sound & recording" magazine about the difference in mastering in Japan and the US. I remember the Japanese engineer talked a lot about how most Japanese don't listen through real speakers (they live in small apartments with thin walls and in the cities, most people don't drive cars) so a main focus is to make tracks that translate well on tiny headphones and in noisy environments (like a train).

[florezofficial]

Hello guys, I'd love to setup a similar chain to Enik. Do you need an HDX card to avoid latency? Also any insight on setting up the signal path would be amazing.

[elace]

What vocal chain do you use for tracking? Which vocal chain do you use for mixing?