MÁS "HOME STUDIOS" QUE SETAS EN OTOÑO

Amiga/os con novios músicos: No dejéis ni una habitación libre en casa, porque a la que pueda, se montará un "home studio" y ya no le verás mucho más fuera de la habitación. Bromas aparte, ¿es interesante como músico tener un "home studio"? La respuesta es NO. 

1) Todo tu dinero lo invertirás en mejorar el estudio, cuando deberías de estar ahorrando para invertir en giras, promociones o instrumentos.

2) Todo tu tiempo lo invertirás en mejorar el estudio, en aprender a trabajar con nuevos programas, o en editar pistas varias, (o peor aún, en editar las grabaciones de tus colegas), cuando deberías de estar componiendo, ensayando o tocando.

3) Un "home studio" te aisla, para bien o para mal.

Piénsalo bien: Puedes pasarte un año montando un estudio y grabando, o pasarte un año tocando y de promoción, tras dedicar dos semanas a grabar en un estudio profesional.

He de decir que valoro mucho el trabajo de un buen productor musical, y que me encanta visitar diferentes estudios de grabación (no hay dos iguales). El último que visité fue Blind Records en Barcelona, responsables de la producción de gran parte de la discografía de Quique González, Sidonie, Love of Lesbian, Iván Ferreiro, Supersubmarina, etc., y del último trabajo de Izal, por ejemplo (en otro post os contaré más detalles de la visita). 

Así que no montes un home studio, a no ser que seas ingeniero de sonido y saques rentabilidad de ello. Y recuerda: 

                                                 Me encantaría conocer tu opinión! Send me a tweet!  

Y si me quieres invitar a conocer tu estudio, yo encantada!: gabytorrens@hotmail.com

"WHO'S WHO IN THE MUSIC INDUSTRY? PHILL BROWN"

Behind a good record, there's probably a good band, but there's certainly a good producer. Phill Brown has worked as a producer/engineer with some of the greatest artists ever. 

In 1967, at the age of sixteen, he began his career as an assistant at Olympic Studios, where he worked with Hendrix, Cocker, Traffic, Cohen, Small Faces, the Rolling Stones, and many more.  There he trained under Glyn Johns, Eddie Kramer and Vic Smith. At that time most records had to be recorded live with few overdubs, and records were made on four or eight track machines. 

In the seventies he worked in different studios. Back then every studio had their own desk, so everyone had different sounding desks. At Island they had Helios desks, similar to Olympic's. Trident had their own, Air had Neve. As a junior engineer, Phill learnt how to work on the Helios desks in Island Studios, where he was part of the team producing Pink Floyd, Led Zeppelin, Cat Stevens, Bob Marley, and so on. He also recorded many live concerts at the time, including Pink Floyd at Wembley in 1974.

In 1976 he started his career as a freelance engineer, producing/engineering albums for Dire Straits, Talk Talk,  Level 42, China Crisis, Dido, Faithless, Robert Plant, The Walkabouts, Bombay Bicycle Club, Throwing Muses, Spikedrivers, Jarvis Cocker and many others. 

Regarding technical aspects, Phill has obviously evolved over the years. He now uses less EQ and effects than when he first started. Although the technology today is amazing, he still feels the priority to capture a performance, and to interact with the artists and musicians in a relaxed atmosphere.

His book "Are We Still Rolling?: Studios, Drugs and Rock 'n' Roll - One Man's Journey Recording Classic Albums" (2011) is a must for those interested in music production and in the record business.

If you want to hire Phill Brown, you can send him an email: phill303@tape.demon.co.uk