Producer Spotlight + Interview: Von Hertzog
Foreword and Interview by Vero Kitsuné
Pennsylvania-based producer and engineer Von Hertzog has just released his trip-hop EP, entitled “David’s Crate” - a carefully crafted 6-track concept offering featuring samples pulled from a crate of records he inherited from a late friend. Lush, emotive and deeply immersed in ‘90s nostalgia with a stunning and cohesive depiction of longing and lost love, “David’s Crate” also features lyrics and vocal performances by collaborators Von often works with: Rob Rowe (Cause & Effect, VHx RR), Jennifer Maher Coleman (Architrave), Anniee and CZARINA. Aside from his own projects such as VHxRR and his eponymous solo brand, Von has had his hands in several productions, earning the trust of many artists and producers in the synth and electronic scene for his meticulous, analogue-digital hybrid approach in mixing, mastering and production engineering. In celebration of “David’s Crate” Absynth sat down with Von to discuss his process and philosophies.
What initially drew you to music production and engineering? Was there a specific moment or artist that inspired you?
Music has always been important to me. From the age of 2 I was picking and playing records on my parent’s turntable. Then one day I heard Beastie Boys Licensed To Ill and then N.W.A. Straight Outta Compton and they changed my musical world. I fell in love with hip-hop and by 1996 I was starting out as a hip-hop DJ. I was putting out mix tapes and when I was delivering some to a store, the owner asked me when I was going to start producing beats. Honestly, the thought hadn’t crossed my mind until then. I was happy DJing and trying to get better at it, but it did plant the seed. And by 2000 I was trying to cobble beats together in Fruity Loops 3.4 (now FL Studio). And from 2000 to 2012 I was immersed in hip-hop and that entire scene. In 2013 my dad unexpectedly passed away and that was actually when Von Hertzog was born. After he died I just would sit in my studio and make music as a way to process the grief. I decided to organize those songs into my inaugural album, Dearly Departed. I chose the name Von Hertzog as a tribute to my dad. My first name is Kent, but Von means from in German. And so Von Hertzog was born as a way to tackle the grief from losing my father.
How has your approach to production and sound engineering evolved over the years?
I would say my approach has changed with experience. 15 or 20 years ago I’d be looking for just the right plug-in and cycling through pre-sets to try and find what I was envisioning. I didn’t think about the theory of how to get what I wanted, I just kept scrolling presets until it was close enough. Now I do a lot more with a lot less. Meaning, I just need a compressor, and EQ and I can mix a record. Less is more. The more you add, the more points of potential failure for your mix. Plug-ins won’t save you. You need to know the basics of theory and application for compression and equalization. Understanding how the attack and release work on a compressor will take you much further than endlessly surfing presets hoping you hit the jackpot. 10 years ago I was still hiring an engineer for my own music because I was too close to it to engineer it properly. Production and Engineering are two very different mind sets. Now I’ve trained my brian to listen as an engineer not as the person who made the music. Can I be objective with how things sound from an engineering perspective even though I’m the one producing too? I’ve found the ability to do that about 6 years ago and it’s really made me a much better engineer. Also, when I got into designing my own studio monitors it really helped flip a switch in my brain for listening analytically. Like I said, the producer brain and the engineer brain don’t look for the same things. The producer's brain might be noticing “I could have used a crash cymbal there”, or “the bass line pattern needs a switch up”. The engineer's brain could look at that same stuff and say, “The cymbals sound good, but maybe cut 1dB at 7khz. The bass, regardless of pattern, needs some compression and EQ.” See how listening to the same thing but with different focus matters? Some artists are better off paying an engineer to finish their music because it’s a very different mindset and skillset than producing music. Can you do both? Sure, I do. But it took me 15 years to get to that point. Does it have to take 15 years? No, of course not! But that’s how my journey has gone.
When working on a track, do you have a signature approach to mixing and mastering, or does it vary depending on the artist?
I always approach every piece of music like it is unique, because it is! But I definitely have a template I start with. I always mix and master in analog, and that analog is always captured back to digital by the Dangerous Convert-AD+. So I start with a template in Cubase that has 16 stereo groups routed to the analog SSL mixing console where the levels can be individually adjusted and summed to stereo, in analog. But one day I will be working on a club banger and the next day will be working with a singer/songwriter. And I can’t take the exact same approach to both of those genres because they’re so different. I always say, “master to the music, not to a metric.” And I truly believe that. So while every song gets my TLC, how I treat them can vary greatly.
What’s a common mistake you see artists or producers make when it comes to mixing and mastering?
Not hiring a professional (haha). Seriously tho, like I tried to touch on earlier, if you are an artist, that does not mean you’re an engineer. If you’re a musician, that does not mean you’re an engineer. Can you be both? Sure! But it requires two very different skill sets that some people just haven’t developed. Music and artistry is very creative and fluid and engineering is much more like science. You have to be able to recognize both your strengths and your weaknesses and to ask for help when you need it. Also part of what allows me to do this is my equipment. I’ve spent 25 years trading up on gear to get to a point where my system is hyper revealing and it allows me to assess things quicker and easier.
Can you give us a brief walkthrough of your workflow when tackling a complex mix? What tools or techniques do you rely on the most and what are your favorite VSTs and Plugins?
I start in Cubase with my 16 stereo group channels & 8 FX channels sends template. I made a Youtube video where I break down my mix template (Link here). I have the SSL UF8, UC1, UF1 controllers so I have the SSL channel strip over every channel in the session. I typically use the 9000 emulation. My 8 FX sends are set up using 4 Reverbs and 4 Delays at varying settings and using channel sends with automation to breathe some life into it. It sounds a lot better doing it that way, than it does slapping reverb inserts onto individual vocal tracks. By using the same reverbs and delays for the song you’re creating the 3-D space that your mix lives within.
The plugins I rely on the most are, I love the Purple MC77 (1176 style comp) for vocals and bass. Also a fan of ELI Arousor which is their plugin form of the Distressor. Super fast attack and release times on it really lets you dial in exactly what you want. The Weiss Compressor/Limiter is a great 2 for 1 plugin that allows compression before limiting. Very clean and precise.
Von Hertzog, The Social Club Sound Studio
Are there any trends in music production or audio engineering that excite you or that you think are overhyped?
I’m tired of side-chained basslines (laughter). I rarely if ever go to that technique. The other thing that is overhyped is mastering plugins and AI mastering. Benn Jordan showed what a mess AI mastering is with his YouTube video. Good mastering is an art and it requires intelligent analytical adjustment so it can remain transparent. I think Ozone does people more harm than good because people don’t know what they’re doing and they have this confidence that the plug-in will do it all. Relying on a preset from any plugin is dicey because that preset is designed as one size fits all, not what best fits your song. I’m not sad to see Synthwave has started to run its course. We need innovation there, not more of the same. There was a golden age for Synthwave (2013-2018), at least for me. It was cool while it lasted but as musicians we owe it to ourselves to grow into whatever is next.
How do you balance preserving an artist’s vision while ensuring the final mix sounds polished and professional?
My goal is always delivering the artist’s vision. They’re the target. So if they want a specific sound or effect that maybe detracts from the whole of the song, I’ll try and treat it in a way that makes everyone happy. I don’t think any artist ever wants their stuff to sound unprofessional. But sometimes you can get demo-itis. Where you listened to the rough mix of something so many times and fell in love with it, warts and all, and now anytime something changes you feel it has lost something from that original version. And that can be a hard hump to get over. Because like I said, you need to switch from your musical brain to the analytical engineering brain. And while you may be loving how you played that guitar solo, if it’s shredding everyone’s ears at 5khz, no one will want to listen. So it’s about treating the musical elements with the engineering respect they deserve. And in the end, if the artist is happy with the end results, I’m usually happy.
What qualities do you think make a great producer and engineer beyond technical skills?
To be a great producer you need to be artistically creative. You have to be a student of the game. You have to understand what makes a great song great from a songwriting standpoint. Learn the little tips and tricks. To be a great engineer, you have to be able to hear things from a technical point of view. Don’t get caught up on what he played during the guitar solo, focus on how it sounds. What’s the frequency balance over the mix? Does this genre like the kick more up front? Being able to recognize these things quickly goes a long way to success. And be willing to try and fail throughout the process. Not every idea is a good one and sometimes you’ll try things that just don’t work out. Don’t be afraid to walk it back and try something different. Experimentation is key to being a great producer. Attention to detail is what makes a great engineer.
What advice would you give to up-and-coming producers and engineers who are new to the art and process?
Work on your own music. Produce and engineer your own stuff when you start. Because if you’re producing something, you know how you want it to sound in the end. You know the target. Then it’s up to you to switch to your engineer hat to get it there. And sometimes maybe you do 30 versions of a song before you nail it. But over time that number comes down as you gain more experience and efficiency. But working on your own material gives you the bonus of having as much time as you need to get it right. You’re not on the clock for a client. You’re your own client. So take it to version 27 if that’s what it needs. And the more you do it, the more natural it becomes. But there’s no shortcut to doing the work. The only way out is through.
What’s next for Von Hertzog?
I’m growing my studio, The Social Club, and I’m currently growing my YouTube following. You can check me out at Youtube.com/@socialclubsound. I’m trying to produce videos that are helpful to people interested in producing music or people who want to know more about speakers and the process of designing and building them. My speaker company INCLINED Fidelity is getting ready to release some new models. And I have my new trip-hop EP that just dropped on Feb 14, 2025. I got to work with some amazing artists on this one. Jennifer Maher Coleman of Architrave, Anniee, C Z A R I N A, and Rob Rowe of Whitewaits. Rob and I also have a new VH x RR EP dropping this late spring/early summer. I’m keeping plenty busy! I just want to say thanks for taking the time to interview me. I appreciate it. And if you’re an artist reading this who might need some engineering help, hit me up! Thanks!
“David’s Crate” is dedicated in loving memory of David Chapin.
For more Von Hertzog, visit https://vonhertzog.bandcamp.com
For VHxRR, visit, https://vhxrr.bandcamp.com
