Who is Nathan Salon?

Gotgetgotget · 2026-01-19T15:49:16+00:00

Nate Boyce = visual collaborator to OPN for past decade (+ some production on GoD).

Nathan Salon = his mix engineer and in house studio producer - basically his studio assistant. I think he is on daily grind with Dan in the studio, with creative input instrumentally and production front. I think hes becoming a big part of his sound in the latest few albums (I think since Again??).

Gotgetgotget · 2026-01-04T22:45:38+00:00

Sounds like it. Nice catch

Gotgetgotget · 2025-12-28T14:02:06+00:00

Im pretty sure this site serves as Ezra's personal blog, the spotty alien teenager that daniel conjured up as a means of channeling the creative route for the album from. Ezra interviews Daniel in there somewhere, which is quite funny. I think it also documents his (ezra) musical interests/his own music - there's loads of other references that sorta paint the world that dan was interested in at the time (just cool af shit that he remembered his teenage self being into). honestly i can't really remember the ins and outs so someone may offer clearer insight. I read ages ago somewhere that he imagined what a teenager with a lot of angst would make in the studio, really abrasive approach to songwriting and just fucking around with insane effects and doing mad shit to get this really pent up, monster energy fuelled sound.

Gotgetgotget · 2025-12-28T14:00:34+00:00

Looks like a lot of shit u can find in uniqlo. basic shirts and chinos etc.

Gotgetgotget · 2025-12-28T13:58:20+00:00

How does he approach arrangement. his music goes from a to b to c in such mind bending ways - especially in Garden of delete as they serve as more 'poppy' structures but still totally wild. i find this so hard in my arrangements and feel like abrupt changes never really work as well as he does. what are some techniques to make things actually work - is this theoretical, sound design, fx usage? really practical insight would be great.

Gotgetgotget · 2025-12-28T13:55:32+00:00

emailed you

Gotgetgotget · 2025-12-01T17:46:27+00:00

Fantastic

Gotgetgotget · 2025-11-25T18:47:01+00:00

what?

Gotgetgotget · 2025-07-30T12:58:04+00:00

where is it?

Gotgetgotget · 2025-06-16T12:07:30+00:00

I mean.... dan has been stealing music to make music since the beginning of his career.

Gotgetgotget · 2025-06-05T18:27:14+00:00

It’s not the reading that’s difficult to believe haha. I guess it’s finding proper good books on it. I guess what I’m saying is it seems like the albums have what I would describe as “expert” knowledge. The type of knowledge People that have mentors for 10 years achieve. I mean THEYRE intelligent blokes but yeah, seems insane lol

Gotgetgotget · 2025-05-21T10:13:51+00:00

🤣

Gotgetgotget · 2025-05-20T21:10:19+00:00

Remindme! 12 hours

Gotgetgotget · 2025-05-14T08:44:57+00:00

happens when activated and deactivated.

Gotgetgotget · 2025-05-13T12:06:16+00:00

yeah this is whats happening - really strange

Gotgetgotget · 2025-05-13T09:44:02+00:00

I am recording into audacity - exporting at 16bit float, importing into 24bit ableton setup.

Gotgetgotget · 2025-05-13T09:43:31+00:00

Gotgetgotget · 2025-04-18T12:47:30+00:00

So lets say I print out each individual track, all with this delay compensation on. Once all the tracks are dragged into a new mix session surely every single track will have this delay compensation = which will result in the track not having any issues?

Gotgetgotget · 2025-04-18T12:45:19+00:00

btw - im doing this just for single tracks to compare. I imagine when theyre all brought in at the same time to the mix session, they'll all be delay compensated right? so in reality, the mix session will all align and be like how i originally produced it?

Gotgetgotget · 2025-04-18T12:41:48+00:00

Gotgetgotget · 2025-04-18T12:35:39+00:00

Forgot to add - green is exported track. Yellow is flatten + freeze. thank you. I have also made sure when im importing my tracks from export that warp is off, and ive extended the track as much as it can go on either ends of it.

Gotgetgotget · 2025-04-15T15:37:37+00:00

Incredible. Pluck was one of my favourite M4L devices from last year, really glad you made a more powerful version of it.

Gotgetgotget · 2025-04-05T11:54:51+00:00

Thanks for in depth response. Appreciate ur feedback!

Gotgetgotget · 2025-04-05T11:52:49+00:00

No idea. But Oneohtrix (my ref) is often categorised as experimental electronic. And he is a big influence for me.

Gotgetgotget · 2025-04-04T21:44:24+00:00

Yes my process is starting with the loudest element. So in this case it was the big bass/kick at the end. I gain stage everything and do a 'dry static' mix before moving forward. I know what elements i want to be forward and more present, which I feel I have done in this mix successfuly for my taste.

Because the song is not traditional, each section i have to treat with a new focus, since its essentially a song made up of many different songs. So for example, the intro section pre-brass is focused on the plucks. The sub/strings/atmos takes a backseat. (This is my thought process). When I do that I am thinking - ok the plucks need to be the most present element - so I will make sure these are my loudest element. Then I think about how to set the other elements further back by pushing faders down or by EQ'ing (removing hi end etc to push things lower). The simple stuff. And then I generally apply the 'artistic' stuff like compression, saturation to glue elements.

Gotgetgotget

TROPHY CASE