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Gregor Schweiger is a recording and mixing engineer, with 10 years of experience. He got into music, by being a guitarist in the punk rock and hardcore scene. His studies brought him to the Berlin Philharmonic Orchestra, where up to today is working as a recording and live mixing engineer. He worked with the Berlin Philharmonic and soloists like Anne Sophie Mutter, Lang Lang or Yuja Wang. His duties in different studios and concert venues throughout the years gave him the opportunity to work with artist of both Jazz and Pop music and actors, such as Till Brönner, Rolf Kühn, Sebastian Studnitzky, The Ting Tings, Talisco, John Malkovich or Bill Murray.
In 2016 he opened the Schweiger Studios and continued his path... now in his own rooms.
Gregor Schweiger is a recording and mixing engineer and producer.
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Interview with Gregor Schweiger
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Microtech Gefell M930 BAE 1028 CAPI BT50 API 2500 Bricasti M7
Q: What was your career path? How long have you been doing this?
A: As I already I started as a punk rock musicians in my teen years. I played the guitar in several bands. When I decided that I want to turn my passion into a profession, I studied sound engineering. While studying I became an intern at the Berlin Philharmonic for who I work for since. With that reference in my vita I luckily was able to pick up other project and freelance jobs quickly. After 7 years of freelancing I decided to open up my own studio and fulfill one of my biggest dreams.
Q: How would you describe your style?
A: I like transparency in sound. That does not at all mean, that sound can not be colored. It must be. With transparency I mean, that I am a fan of instruments getting their place, without overdoing on loudness. I rather place around with frequency range of signal than volume. At the same time I like it punchy.
Q: Which artist would you like to work with and why?
A: Lady Gaga. For my opinion she's not just a great singer and a musical genius... I like her music a lot by the way, but this is only a matter of taste... What really impresses me, that she stands up and fights for minorities in society. An artist of the pop-culture being politically involved is something that occurs not too often and gets all my support. The variety of music she offers throughout her discography is overwhelming and makes her a very interesting artist in addition.
Q: Can you share one music production tip?
A: The relation between the artist and the staff in charge is very important. No one can deliver perfect results in a tense work environment. That doesn't mean all have to be best friends, but there has to be a base of respect. When it comes to making the record (being in the studio) my advise is to focus on the recording performance. The quality of sounds is very much dependent on the recording. A messed up recording cannot be fixed with editing and mixing. Unfortunately some people see my console and my setup and hand me their rehearsal room recording and expect a Grammy winning mix out of it.
Q: What type of music do you usually work on?
A: The last two years I worked, without pushing into it, with a lot jazz, classical and pop music. In general I wouldn't turn down an inquiry, because of its genre, but as for comfort, knowledge and self esteem rock music (especially heavier sub genres), jazz and classical music are my personally preferred styles.
Q: What's your strongest skill?
A: I'm able to adapt a stressful and gentile situation like music production. I quickly can tell, when a client needs a lead in the process or prefers to be in charge himself and rather needs the service of making a record.
Q: What do you bring to a song?
A: Since my teenage years I was - and ideologically still are - a passionate punk rock musician. That gave me of course a certain sound background. Now I have been working with the Berlin Philharmonic since 2010 and also worked at several jazz studios. That vita gives me a wide range of experiences to influence in my work with music. The music, if wanted can stay in the genre, but we'd also be able to be innovative and experimental and let other genres melt into the current project.
Q: What's your typical work process?
A: When I record I turn the console into a split console and record all signals on the one side and can also live mix the session on the other side. It is a great time saver and can give me already a good idea, where the sound will go. Also the clients are able to go home with a first mix. And still I have the opportunity to start from scratch. When mixing I make myself comfortable with the material by myself (no clients) around. I invite the clients when I can present a first idea and also have an alternative at hands.
Q: Tell us about your studio setup.
A: My studio focusses on an analog technical environment. I'm happy to own a 64 Channel-fully analog-surround console by FIX Audio Designs. In addition the console is accompanied by a selection of other outboard toys. Of course the studio is also equipped with digital necessities. Other than gear a highlight is the Steinway D Grand Piano in the live room. The piano came right from the Berlin Philharmonic and is one of a kind.
Q: What other musicians or music production professionals inspire you?
A: I am absolutely amazed and inspired by the accomplishments of Jimmy Iovine and Dr. Dre for the modern music industry.
Q: Describe the most common type of work you do for your clients.
A: Being the owner of a recording and mixing studio, puts me of course in the situation, that most of my work is recording and mixing. I do produce as well. Next to studio work I also offer and proceed remote recording in different venue. Last but not least I am also a live engineer and make FoH and monitor jobs.