Shining A Spotlight on Mastering Engineer Kentaro Kimura

Good morning to everyone browsing Sound House. I’m Owata, a DJ. Last time, instead of talking about guitar repair… I ended up discussing the film Liz and the Blue Bird (http://liz-bluebird.com/). In this article, I would like to introduce the mastering engineer who also worked on the soundtrack for Liz and the Blue Bird.

I know I’m changing pace here but: do you have a favorite mastering engineer? I do.

In the process of making music, there are often three types of engineers involved: (1) the recording engineer, who records the performed sounds; (2) the mix engineer, who adjusts the balance of the recorded sounds and their placement (called positioning); and (3) the mastering engineer, who compiles multiple mixed tracks into their final form as a single album ready for delivery. Each stage affects the final sound in its own way, and because mastering shapes the overall character of a work, it is not uncommon for older releases to be sent back into the world after undergoing a “redo” known as remastering. For example, Eiichi Ohtaki’s A LONG VACATION has had remastered editions released every ten years for its 20th, 30th, and 40th anniversaries, and even the earlier CD releases went through various trials and errors in mastering due to being produced during the transitional period from analog. It’s quite interesting, so I encourage you to check Wikipedia or similar sources.

Now, regarding the mastering process, there are famous engineers whose work you may have heard, such as Koji Maeda, who worked with artists like Motoharu Sano, Shiina Ringo, Denki Groove, Cymbals, and capsule, or Yuka Koizumi of Orange, who worked with Number Girl, early Cornelius, ART-SCHOOL, and the cabs. These are all well-known engineers who may be familiar to those of you who regularly browse Sound House. And the engineer I’d like to introduce this time is my personal favorite mastering engineer, Kentaro Kimura. After gaining experience at Orange and Side-Ra Mastering, he established his own studio, Kimken Studio, where he has been actively working.

Kimura is one of the engineers who has worked with Denki Groove (“30” and others) and Takkyu Ishino’s solo projects (“WIRE TRAX 1999-2012” and “CRUISE”), and his work spans across alternative and post-rock genres, with credits including Clammbon’s 2016 high-resolution remastering, SuiseiNoboAz’s “liquid rainbow,” and even the first landmark album by toe. He has also worked on Japanese rap artists like 環ROY and Mom. His portfolio is truly a dream for any music enthusiast.
However, on his studio website (https://www.kimkenstudio.com/), there is no list of works or artists he’s collaborated with—only a few mentions of his past work and artists in some interview articles. It’s a real shame, a huge shame. This definitely needs to be showcased somehow. That’s why I decided to write this article.

Kentaro Kimura's work spans over a wide range, but all of his projects share a powerful, clear sound where every individual element is sharply visible, coupled with excellent audio quality. This is especially evident in albums that lean toward alternative rock, like SuiseiNoboAz's liquid rainbow and Aru Sensation's Vital Respect. I personally feel this tendency stands out in those works. In an interview with Sound & Recording Magazine, Jūden, the main composer of Pa's Lam System, which Kimura mastered for their 2017 debut album Whatever, commented on the results: “Although I didn’t tell him anything in advance, all the issues I had with the mix were resolved, and I thought it was amazing. Overall, it was really brushed up and I was genuinely moved."

Among the works Kimura has worked on this year, the one I was most excited about was Beat Theme by Sweet William, released in June. Sweet William is a Japanese beatmaker known for collaborating on albums and tracks with talented rappers like Tetsu and Jinmenusagi, as well as providing songs and remixes for singers such as Kiki Vivi Lily and J. Lamotta Suzume. He’s also released remarkable solo works. His tracks “Karakahi” and “Amaneki,” co-released with Ichiko Aoba, are particularly stunning. Beat Theme is his first solo album in two years, following Brown, and unlike his usual works, it’s entirely instrumental, which is rare for him. The beats on this album are stylish yet have a deliberately catchy and subtle dissonance that’s woven into every track. To sum it up briefly, it’s an incredibly powerful sound.

I believe this is the first time Kimura has worked on mastering for Sweet William, and when I listened to the album, I could definitely feel the impact of his mastering work. In hip-hop, the use of sampling is a key characteristic, but Sweet William stands out not only for his sampling but also for the unique grooves of the keys and basslines he creates himself. His signature style is clear in this album as well. This is definitely hip-hop that musicians will enjoy. And the fact that Kimura handled the mastering of such a work made it even better. When I received the album and checked the credits, I was overjoyed.

So, whether you're into hip-hop, techno, rock, or any other genre, mastering engineer Kentaro Kimura’s work is something that should resonate with a wide range of listeners. I highly encourage all of you to check out his work as well. Personally, I’d love to one day try the studio monitors he uses. That’s all for now!

FOCAL / Twin 6 Be Red Pair

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