Hi, my name is Thiago, I'm a resident of Brazil. I have a vast professional portfolio, being able to deliver excellent results at various stages of the phonographic production process.
My walk in music started early, at the age of 6. At 12 I made my first multitrack recording. Over the years I have perfected myself through free courses, with great names in world music, and also through academic training (phonographic production). Making good music is my life's mission and, for me, it will be a pleasure to work on yours.
Send me a note through the contact button above.
Credits
Interview with Thiago Buist
Q: What was your career path? How long have you been doing this?
A: I've been working in the phonographic market for 10 years. During that time, I worked in several areas within music, for example, FoH engineer, recording technician, mixer, music producer, producer of film tracks and so on.
Q: How would you describe your style?
A: I come from rock, but lately I have been studying and working with Pop. Getting closer to Pop, made me change my style of working with rock a little. I have sought, even in heavier styles of rock, to work with automations and textures to bring an air of pop, making the songs more attractive to the listener.
Q: Which artist would you like to work with and why?
A: Foo Fighters is my absolute goal. I've been working hard to get there. Hey, Dave Ghrol, hire me ...
Q: Can you share one music production tip?
A: Spend more time preparing for recording than recording.
Q: What type of music do you usually work on?
A: I work on the independent scene of Brazilian music. Every year I travel more than 40,000 km recording bands, mixing and making projects become realized projects.
Q: What's your strongest skill?
A: My most important skill is to make a project happen. Regardless of the circumstances, the song needs to be released. For that I make adaptations, concessions, improvements and tricks so that an idea becomes a song on Spotify.
Q: What do you bring to a song?
A: My spice as a producer are organic and visceral sounds. I like to get unique tones that nobody would ever be able to reproduce them again - including me.
Q: What's your typical work process?
A: I really believe in the power of good music. For that, I like to dedicate a good part of the process in the first stages of producing a song like composition and arrangement. After that comes the recording, which is where the music takes shape, I like to define timbres and textures at this stage. Mixing is where we're going to put it all together in one file, adding effects and glue to make the song sound the best it can be. Finally, in mastering I make technical and artistic adjustments so that the music sounds the best possible in each distribution format: CD, Streaming, Vinyl.
Q: Tell us about your studio setup.
A: My studio is based on a British analog console Soundcraft Venue II from 1990. I record and mix through it. In addition, I have Focusrite converters, and renowned peripherals like DBX and Aphex.
Q: What other musicians or music production professionals inspire you?
A: I am fascinated by the recording process. I'm always looking to know how great artists record. In this search, I took Led Zeppelin, Foo Fighters, Queen of Stone Age and others as reference.
Q: Describe the most common type of work you do for your clients.
A: The jobs I do most are: music production, mixing and mastering.
I was the Music Producer and Mixing Engineer in this production
- Mixing EngineerAverage price - $200 per song
- Mastering EngineerAverage price - $50 per song
- Recording StudioAverage price - $300 per day
- Electric GuitarAverage price - $70 per song
- Acoustic GuitarAverage price - $50 per song
- Full instrumental productionAverage price - $400 per song
I am agile when receiving and delivering works, and I try to be the clearest and most transparent for excellent music projects without stress.
- Analog 40 channels: Soundcraft Venue II
- DBX 160
- Aphex
- Focusrite
- Shure
- AKG
- Sennheiser
