PDF I’m not quite sure how I came across Neeraj, I think it was on Twitter. I thought it would be interesting to interview him because he is a professional audio engineer who works in Japan. Prior to working in Japan he interned under Phil Ramone, worked at the Hit Factory and he is also a graduate of Berklee School of Music.
What is your musical background?
I have always been into music from when I was a baby. In elementary school I started playing the trombone, which I still sometimes play to this date. In middle school, I also started playing the snare drum and bass drum in the school band. But my interest in computers led me to an internship with Phil Ramone (legendary music producer), and I worked with him for about half a year. He suggested I go to Berklee College of Music in Boston with a major in Production and Engineering, so I did!
How long have you been an audio engineer?
My first “professional” gig as an engineer was in 2004 I believe. I’m still in my 7th year. I have accomplished quite a bit, yet have a lot to learn.
How did you get started as an audio engineer?
After graduating college, I decided to travel around the world for 6 months, but fortunately, I had to cut that short because I got a call from Zoe Thrall, manager of The Hit Factory Studios in NY. She hired me as a general assistant at The Hit Factory and I quickly became an Assistant Engineer there. Unfortunately, the studio decided to close its doors, so I moved to Las Vegas with Zoe Thrall to work at a brand new facility called Studio At The Palms.
How Long have you been living in Japan?
The funny thing is, I actually grew up in Japan. I lived there for the first 15 years of my life before moving to USA for highschool and college. Then, I decided to go back to Japan in 2008. So I’ve been there for a TOTAL of 18 years. Yes, I speak fluently.
What do you primarily do as an engineer in japan? (Tracking? Mixing? Mastering?)
I would say I do about 70% tracking and 30% mixing. Thats a great balance for me because I love being in the studio during the tracking process and helping the producers and artists create their vision; sonically.
How do you think working in Japan compares to other places?
You know, Japan is great. Japan is amazing. The work environment is great. They have a great level of respect for engineers, and maybe it’s because I had a career in USA before moving to japan, but they just treat me really well here.
What was the worst session you were ever involved in?
There are bad sessions, and there are good sessions. It’s a balance. If every session was fun, I’d get bored of it. But those bad sessions are what makes us engineers better and better.
What is a typical work day like for you?
On most tracking days, I wake up at 10am and get all my gear prepped up to take the studio. Tracking usually takes place from 12pm/1pm to midnight. Vocal days usually end by dinner time. With all the clean-up and recalls, I usually get home around 3am.
On a mixing day, I usually wake up at Noon. I like to get some extra sleep before mixing. But on mixing days I usually get home at 6am, because of printing various mixes and printing stems takes forever!
What would you recommend for aspiring audio engineers to do to make it in the industry?
The game has changed now. When I was starting out, I started out as general assistant, moved up to assistant engineer, then became an engineer. It’s just not that easy anymore. There is a fine line between being annoying and being persistent. You HAVE to be persistent and work either at a studio or under an engineer that you love. I was very lucky being at The Hit Factory studio because all of my mentors there were engineers that I loved.
How do you usually approach a mix?
Depends on the genre. But I usually start with the foundation and then the vocal. But for example, for jazz, I would just bring up all the faders and start tweaking. For rock or pop, Bass and Vocals. It just changes every mix. I like to keep it interesting.
How do you feel about mixing in to a compressor on the main bus?
I love mixing into a compressor on the main bus. I do it every mix. BUT if not done correctly, it can kill your mix! I like to use either the Pendulum ES-8 or Neve 33609 on my main bus.
Do you have a favorite piece of gear or plugin?
Too many.
Analog —> Neve 33609, Neve 1073
Plug In —> SSLChannel, RComp
If you want to contact Neeraj here is info and discography.
Neeraj Khajanchi
Recording/Mix Engineer
neeraj@nksound.com
iChat/AIM: kingneeraj
Neeraj Khajanchi’s Discography
[2011]
稲垣潤一 – “TBA”
ChiE – “What Ya Gonna Do”
クリヤ・マコト – “Art for Life”
Versailles – “Philia”
倖田來未 feat. B. Howard – “Passying By”
相川七瀬 (Rockstar Steady) – “Gossip”
黒木メイサ – “Magazine”
鈴木雅之 – “Don’t Cry ~ もう悲しみを許そうか”
宏実 – “Magic”
[2010]
福原美穂 – “Regrets of Love”
Crystal Kay – “Spin The Music”
伊藤由奈 – “LOVE ~Singles Best 2005 – 2010~”
相川七瀬 (Rockstar Steady) – “Fine Fine Day”
Baby M – Disney’s “Urban Pop Disney” – 12/8/2010 release
AI – “The Last A.I.” feat. Judith Hill
Crystal Kay – “Journey ~君と二人で~ ”
伊藤由奈 – “守ってあげたい/Kiss Me”
中川翔子 – “Cosmic Inflation”
黒木メイサ – “LOL”
稲垣潤一 – “男と女３”
• 荻野目洋子 – “異邦人”
• 相川七瀬 – “愛が止まらない”
• 杏子 – “恋心”
• 川島あい – “シルエット・ロマンス”
• 水城奈々 – “笑顔の行方”
• 藤本美貴 – “また君に恋してる”
• EPO – “埠頭を渡る風”
鈴木雅之 – “30TH ANNIVERSARY LIVE THE ROOTS~could be the night~
円人図 – “Engine”
吉田ひろし – “Music Box”
AI feat. Judith Hill – “For my Sister” Japanese Version
中川翔子 – “Flying Humanoid”
Jamil – “二人でなくちゃ”
LIL JON – “Crunk Rock”
AI feat. Judith Hill – “For my Sister” English Version
SOULJA feat. 青山テルマ – はなさないでよ
Baby M – “Baby M”
LGYankees Presents DJ No.2 – “２番の美学”
meg – “Bright Star”
鈴木雅之 – “キミの街にゆくよ”
青山テルマ – “帰る場所”
JASMINE – “Dreamin’”
May J – “for you”
Jamil – “片思イノ想いイカタ”
Baby M. – “Bhuti”
May J – “Be Mine”
manami – “Hold Back”
[2009]
Boyz II Men – “Love”
K – “Merry Christmas”
牧山純子 – ”Libertá”
さかもと未明 – “人生”
Manami feat. Pharrell – “Back of My Mind”
Lil’ Eddie feat. Mya – “Searching For Love”
May J – “EVE ~ 君が好きだよ”
Love – “First Love ~ ラブレター ~
Inagaki Junichi – “男と女２”
• 森高千里 – “雨”
• 中村あゆみ – “悲しみは雪のように”
• 寺田恵子 – “世界中の誰よりきっと”
• 岡本真夜 – “真夏の夜の夢”
• 沢田知可子 – “夢の途中”
• 小林明子 – “けんかをやめて”
• 藤田恵美 – “YES-NO”
• 遊佐未森 – “フレンズ”
• 尾崎亜美 – “恋におちて -Fall in love- ”
Jay’ed – “Cry For You”
中川翔子 – “心のアンテナ”
黒木メイサ – “Shock”
May J – “Family”
伊藤由奈 – “Dream”
たなかりか – “Colors”
伊藤由奈 – “Trust You”
福原美穂 – “Love ~ winter song ~”
黒木メイサ – “Hellcat”
COLOR – “White ~Lovers on Canvas~”
鈴木雅之 – “Still Gold”
Biography
In a high stakes industry full of fast-paced professionals and rare second chances, Neeraj Khajanchi has knowledge, experience, and drive. He is a recording engineer who has worked with some of the best people in the industry, and his extensive background gives him the confidence and experience needed to make a client know he or she is in capable hands.
Neeraj Khajanchi has a diverse, international background and education. His family is East Indian, he was born in Los Angeles, California, and he was raised in Japan. At 15, Khajanchi moved back to the U.S. and landed a career-changing high school internship under world renowned music producer Phil Ramone, who has worked with musical legends like Frank Sinatra, Ray Charles, Barbara Streisand, and Quincy Jones. His internship was “a huge foot in the door”, Khajanchi says, because it enabled him to get into his highly competitive degree program, and it helped jumpstart his career. After high school, Khajanchi attended the prestigious Berklee College of Music where he double majored in Music Production and Engineering and Music Business. Khajanchi committed himself with fierce focus and finished the intense five year program in three years. He graduated with his B.A. in May 2004.
After a much needed two month vacation, Zoe Thrall, the manager at the legendary Hit Factory recording studio in New York City, interviewed Khajanchi for a general assistant position. She hired him the very next day. Within three months, she promoted him to assistant engineer. Khajanchi was the last general assistant promoted before the studio closed. Once it did, he left New York to work at the Hit Factory in Miami, Florida. While in Miami, he received credit on his first major project, Gonzalo Rubalcaba’s new album, Solo (Blue Note), winner of the 2006 Latin Grammy for best Latin jazz album.
Although Khajanchi enjoyed working with the diverse clientele at Miami’s Hit Factory, he sensed more budding opportunities out west. Khajanchi’s instincts were correct. Not even six months after his relocation to Las Vegas, Nevada, Khajanchi landed his second major project working alongside The Killers on their new sophomore album, “Sam’s Town” (Island Def Jam). Before the album was even released, it proved to be highly anticipated. iTunes declared it the #1 pre-ordered album, thus far.
Khajanchi has had the pleasure of working with several industry professionals including: Yolanda Adams, Boyz II Men, Michael Buble, Mariah Carey, Chayanne, Chevelle, COLOR, Celine Dion, Elephant Man, John Fogerty, Jamie Foxx, Miho Fukuhara, Gospellers, Bo Hagon, Paris Hilton, Yuna Ito, Randy Jackson, Jaheim, The Killers, John Legend, Lil’ Jon, Lil’ Kim, Damian Marley, May J, One Republic, Pink, Daniel Powter, Phil Ramone, Kelly Rowland, Gonzalo Rubalcaba, Jessica Simpson, Skoop On Somebody, Tony Suggs, Masayuki Suzuki, Britney Spears, Timbaland, Bobby Valentino.<
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