![]() Rammstein productions emphasize some specific German stereotypes in their sound, their overall aesthetic is international. This article analyzes Rammstein’s sonic signature from the perspective of the “art of record production.” It decodes the politics of Rammstein’s sound, which is inextricably linked to the exaggeration of German attributes and the associations attached to them. Germany’s premier rock music export Rammstein has been controversial since its formation in 1994. Capability of modern production tools, the shift from recording to mixing, and access to production knowledge resulted in a multitude of signatures within and across countries and cultures, making it harder than ever before to characterise national signatures in metal music. In the genre’s formative years sonic signatures used to be more distinct due to the smaller number of bands, producers and studios. The findings suggest that the same source material can be modified to create unique sounds as per the mixing engineer’s vision. Such an approach further considered practical challenges that real-world mixing and mastering engineers face when crafting music with specific sonic signatures in mind. Producing pastiche mixes – ›Teutonic‹ (German), American and British – of the same multi-track recording allowed to directly compare the sonic signatures of the full arrangements and their individual parts. Based on previous research involving interviews with seminal German producers, this article explores sonic signatures of three of the first metal nations. Popular music studies have seen a rising interest in what could be called »sonic signatures«. ![]()
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