João Paulo Pereira

During the civil engineering course back in his hometown, Rio de Janeiro - Brasil, JP recorded and produced local bands from different genres such as pop, rock, rap, fusion and jazz, while digging himself into the science behind electronics, recording, mixing and mastering. As a big 70's rock fan (Pink Floyd, Deep Purple, Led Zeppelin) and software programming enthusiast, JP's goal in his productions is to apply the best of what both analog and digital worlds can give, while maintaining the true nature of the artists. In 2017 JP moved to Australia to chase new musical horizons, where he makes himself at home through the fine studios at SAE.






Nitú is an amazing fusion/psychedelic-ish rock band from Rio de Janeiro. I really had to get the most out of each one of the microphones because all we had was a portable 8ch interface in a significantly small stage. The smaller the stage, the more resonance from other instruments you are likely to build on the drums - like the bass rattling the snare bottom. On the mix stage these things can be masked out but not completely removed, so a proper level work with the band and a few scotch tapes are paramount for recording at small spaces.

Roles:

  • Audio Engineer
  • Producer
  • Mixing Engineer
  • Mastering Engineer
 

Brooke asked us to record an acoustic version of one of her metal songs. I thought it was a good opportunity to come with some organic approaches so I suggested to create our own real reverb chamber at SAE's fire stairwell just like in the good old days of recording studios like Abbey Road and Capitol Records.

Brooke's powerful voice matched perfectly the stairwell acoustics where it created a decay that fits perfectly the song and bought the exact natural colour that we've aimed for the track.

 

Roles:

  • Control Room Tech
  • Producer
  • Mixing Engineer
 

Deadbeat Society is a punk rock band with interesting heavy guitars. We were short on time to record all of the EP's songs so all of our decisions had to be quick and precise. After recording the core instruments I decided to apply one of my bass mixing tricks in the real world by reamping the bass with a guitar amplifier and a few specific equalization curves in a way that we could preserve the bass punch while adding a sweet distortion to it.

 

 

Roles

  • Control Room Tech
  • Producer
  • Mixing Engineer
 


Loved to work in this track, it was my first time recording a banjo. It was quite handy to have Stephen changing the mic placement while I was monitoring the real time changes in the control room. So it took only a few changes to find the instrument's sweet spot. Only a few minutes away to finish the session I suggested some vocal harmonies in the chorus, it instantly brought more life to it.


Roles:

  • Control Room Tech
  • Producer
  • Mixing Engineer