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The Miami music scene is known the world over as one of the busiest, most groove inspiring places to be as a musician. Miami Beach Recording Studios, co-owned by Pablo Reynoso is a historic studio that’s seen the likes of Lil Wayne, Rick Ross, Flo Rida, Styx, and George Thorogood, to name just a few.
A died-in-the-wool professional musician and graduate of the Berklee College of Music, Pablo mentors with Recording Connection as a way to give back and make sure the producers and audio engineers of tomorrow have an easier way coming up in the industry than he did.
When asked how his journey into music began Pablo says his love for the art form started in childhood:
I kind of always knew that I was going to be a musician and that I was going to end up doing this for a living…I got a guitar when I was 6 years old. I grew up always listening to The Beatles and The Rolling Stones, Led Zeppelin, and later on Black Sabbath, kind of getting more into the rock stuff. But The Beatles for me was like the greatest thing ever, and I learned so much out of that, and partly also maybe developing my ear as a musician and as a producer just listening to those records over and over and over.”
Throughout his youth and time at Berklee, Pablo played in a number of bands. During that time a common occurrence frustrated him; no matter how good he sounded live, so much actually depended on the strength of the audio engineer to capture the performances in the best way possible:
No matter how good you were and how much you practiced, if when you played live, if the sound guy wasn’t on top of his game, then it didn’t matter…You can say all you want about tone, but if the sound guy sucks, your tone is not going to translate. So I was curious about that because I wanted [the music] to sound good.”
When asked if he sees himself as a producer/engineer or an engineer/producer, Pablo says it depends:
I wouldn’t really box it in…The production is more of a creative aspect. It is more about the sound and the feel of a song or record and the people involved. So it’s like the colors and the palates of colors and other things before the painter comes in. That’s kind of the realm of the producer. Then the audio engineer is really just kind of capturing all this stuff…A producer that engineers or an engineer that produces, I think that what really matters is what the client, what the project needs, what it’s looking for…It really just depends. I think it’s good to wear many different hats nowadays. For the most part, audio engineers should also know how to produce, because if there’s not a producer in the room, then really they’re in charge of what’s going down to tape or to Pro Tools, whatever, what’s being recorded.”
When asked to share his insights on how current Recording Connection students can make the most of the program, Pablo advises the following:
Really take advantage of it and really devote themselves…just to be around and to see what’s going on, really see the process outside of the one-on-one classes and stuff…be a part of the studio that you’re in, make yourself helpful. Usually the people that are around get to see what’s going on, get to meet people that are coming through and make contact or sometimes be involved in the projects and stuff when the producer has come back or the artist or whoever it might be…Just being in the studio is the opportunity.”
Misha Kachkachishvili on what it takes to work with Solange, Common, Aloe Blacc, Janelle Monae, Eric Clapton and other Greats