Wolfram Gruss – Productor musical

AMANDO-MONTES-LOVIN-HILLS (1)
Amando Montes – Lovin Hills Films
octubre 10, 2017
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Curso de fotografía dental – Clínica dental Henríquez
noviembre 17, 2017
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¿Quién es Wolfram Gruss?

Soy un compositor y productor musical que vive cerca de Frankufrt, Alemania. He estado haciendo música durante toda mi vida, pero siempre he estado buscando diferentes maneras de expresarme a mí mismo artísticamente. Probablemente ese es mi patrimonio dado que ha habido muchos escultores y pintores profesionales en mi familia.

Comencé mi carrera profesional con un aprendizaje de fotografía, luego le d una vuelta para estudiar cine, centrado en la animación, y trabajé como un cineasta independiente durante un tiempo, luego como ingeniero de estudio y luego volví a hacer música a tiempo completo. Todavía enseño cine en la Universidad de Ciencias Aplicadas en Darmstadt, Alemania, pero como un trabajo secundario. Además de ser compositor y productor, también produzco mis dos proyectos de artista como lo son PNFA y Spoq.

¿Cómo empezaste en la producción musical?

Cuando tenía unos 6 años, empecé a fascinarme por cualquier sonido electrónico e instrumental. Comencé a hacer remixes en cinta de canciones que me gustaban, simplemente por mezclar partes, cuando tenía alrededor de 9 años. En algún momento de mi infancia, recibí un pequeño teclado Yamaha para Navidad y mi padre estaba montando un sintetizador en el sótano como un Hobby y jugué y grabé mucho con ello. Finalmente, a los 14 años compré mi primer ordenador en los años 90 (Commodore Amiga 500) y de ahí construí y amplié continuamente mi estudio y produje discos. Mi primer lanzamiento oficial en una compañía discográfica bajo el nombre de artista PNFA fue en 2001.

¿Quién te ha influenciado en tu vida artística?

Probablemente una de las influencias más grandes en mi adolescencia fue Techno DJ Tillmann Uhrmacher (descanse en paz), que solía tener un programa de radio con lo que era en ese momento la música underground electrónica. Hay que tener en cuenta que crecí en un pequeño pueblo sin acceso a una tienda de discos, así que ésta era una especie de mi propia ventana al mundo de la música electrónica, la cual me fascinaba. Siempre he sido un gran fan de Amon Tobin y las marcas Ninja Tune y Warp. Ahora, la música que produzco para mí, simplemente, sucede. No pienso en ello, tengo una idea y luego hago lo que me apetece. Aquí podría decir, cualquier cosa y cualquier persona me influye emocionalmente,  pero pasar el rato en los estudios de otros compañeros y compartir tanto con ellos, también me da un gran empujón. También viajo mucho.

¿Cómo empezaste tu trabajo con DJI?

Contrataron a un piloto de drones, al cual conocía desde hace tiempo de grabar y editar algunos videos y me pidió que le ayudara con la música. Al principio, solo licenciaron algunas pistas que yo ya tenía, pero en el video de WRC Monte Carlo, sentí la necesidad de seguir e invertir tiempo, porque queríamos que fuera… ¡simplemente genial! Hay una gran diferencia si se edita el vídeo y “le pones” la música encima. Se puede hacer mucho más cuando la música y la imagen se apoyan entre sí con una banda sonora fuerte y en consonancia. Parece que se quedaron contentos con el resultado, así que me contrataron.

¿Qué significa para ti el hecho de crear la música para los videos de DJI WRC?

Lo bueno del WRC y también de otra música que produzco para DJI, es que me aprecian como artista. Eso significa que tengo la libertad de tomar las decisiones sobre la música y entregar el trabajo sólo cuando yo piense que está hecho como a mí me gusta. Es una relación laboral muy motivadora y satisfactoria. También son gente muy simpática.

¿Puede decirnos alguna otra gran colaboración como la de DJI?

Trabajo con varias agencias para crear el sonido para presentaciones de marcas como Volkswagen, Audi, BMW y Porsche). También produzco unas 2-3 bandas sonoras de larga duración para documentales teatrales y de televisión cada año. Éstos son generalmente los proyectos grandes, los cuales exigen mucho tiempo. Una de mis colaboraciones favoritas, aunque quizás no "grandes", es con el Instituto Städel, uno de los más reconocidos institutos de arte de Alemania. Trabajo para ellos desde 2010 y produzco más de 50 bandas sonoras para películas de arte. Los temas y los géneros siempre están cambiando completamente y siempre tengo la libertad para hacer lo que quiero, así que realmente puedo jugar mucho y crear cosas realmente “locas”.

¿Qué piensas de esta colaboración con Envideate en España?

Estoy realmente emocionado de ver lo que podemos hacer. Me encanta trabajar con cineastas jóvenes y apasionados, que disfrutan de lo que hacen y buscan mover a su audiencia. ¿Qué opinas de nuestros videos? Creemos que la música es lo más importante en una producción audiovisual potente Se ven muy bien y también los temas… ¡tienen un montón de potencial! Especialmente cuando se trata de deportes, la producción de vídeo tiene que capturar la dinámica y mostrar tanto la pasión y también toda la diversión involucrada. Y eso, por supuesto, también debe reflejarse en una buena banda sonora.

 
 
VIEW INTERVIEW IN ENGLISH

Who is Wolfram Gruss?

I’m a professional song writer and music composer and currently live near Frankfurt, Germany. I’ve been making music my whole life, but have always been looking for different ways to express myself artistically. Probably that’s heritage as there have been a lot of professional paintors and sculptors in my family. I started my work career actually with a photography apprenticeship, then turned over to study filmmaking, focused on Animation, worked as a freelancing film maker for a while, later as a studio engineer and then came back to make music full time. I still teach film making at the University of Applied Sciences in Darmstadt, Germany as a side job. Besides being a song writer and composer for hire, I also produce my own two artist projects PNFA and Spoq.

How did you start on the music production?

When I was about 6 years old, I started to be fascinated by any electronic sound and instrument. I’ve begun to make remixes on tape from Songs that I liked, simply by rearranging parts of them when I was about 9. At some point I received a little Yamaha Keyboard for Christmas and my dad was bulding a Synthesizer in the basement as a hobby. I played around and recorded a lot with that. Finally aged 14 I bought my first computer in the 90s (Commodore Amiga 500) and from that on built and continously extended my studio and produced records. My first official release on a record company under the artist name PNFA was in 2001.

Who has influenced you through your artistic life?

Probably one of the biggest influences in my teenage life was Techno DJ Tillmann Uhrmacher (rest in peace), who used to have a radio show with what was at that time underground electronic music. You have to consider, I grew up in a tiny village with no access to a record store. So this was kind of my window to the world of the edgy electronic music, that really fascinated me. I’ve always been a big fan of Amon Tobin and the labels Ninja Tune and Warp, too. Now, the music I produce for myself mostly just happens. I don’t think about it, I get an idea and then just do whatever I feel like. Here you could say, anything and anyone emotionally influences me. Hanging out in other fellow artist‘s studios and nerding around also gives me a big push. I also travel a lot.

How did you start your work with DJI?

They hired a drone pilot, whom I’ve known for a while to record and edit a few videos and he asked me to help him with the music. At first they just licensed some already preexisting tracks from me, but at the WRC Monte Carlo video, I felt the urge to push further and invest some time, because we wanted it to be just great! There’s a big difference if you edit footage and then just throw some music in. You can do so much more when you actually make sure that both music and image support each other with a strongly composed soundtrack. I think they were happy with the result, so I got hired.

What does mean to you to create the music for DJI WRC videos?

The great thing about the WRC and also other video soundtracks I produce for DJI is, that they appreciate me as an artist. That means I have the freedom to make the decisions about the music and deliver only when I think it’s done. It is a very motivating and satisfying work relationship. They’re also all super nice people.

Can you tell us any other "big" collaboratios like the one with DJI?

I work with several agencies to create the sound for mixed media fair presentations (VW, Audi, BMW and Porsche so far). I also produce 2-3 full length soundtracks for theatrical and TV documentaries each year. Those are usually the big projects, that also take up a long time. One of my favourite, yet maybe not „big“ collaborations however is with the Städel Institute, which is one of the most renowned art institutes in Germany. I work for them already since 2010 and produced more than 50 soundtracks for art films. The subjects and genres are always completely changing and I’m always free to do what I want, so I can really play around a lot and create really crazy stuff.

What do you think about this collaboration with Envideate in Spain?

I’m excited to see what we can do. I’m always happy to work with young, passionate film makers, who enjoy what they do and look to move their audience. What do you think about our videos? We think the music is the MOST IMPORTANT THING to start a video production They look great and also the subjects have a lot of potential! Especially when it comes to sports, the video production has to capture the dynamic and show both the passion and also all the fun involved. And that of course also needs to be reflected in a good soundtrack.


VIEW INTERVIEW IN ENGLISH

Who is Wolfram Gruss?

I’m a professional song writer and music composer and currently live near Frankfurt, Germany. I’ve been making music my whole life, but have always been looking for different ways to express myself artistically. Probably that’s heritage as there have been a lot of professional paintors and sculptors in my family. I started my work career actually with a photography apprenticeship, then turned over to study filmmaking, focused on Animation, worked as a freelancing film maker for a while, later as a studio engineer and then came back to make music full time. I still teach film making at the University of Applied Sciences in Darmstadt, Germany as a side job. Besides being a song writer and composer for hire, I also produce my own two artist projects PNFA and Spoq.

How did you start on the music production?

When I was about 6 years old, I started to be fascinated by any electronic sound and instrument. I’ve begun to make remixes on tape from Songs that I liked, simply by rearranging parts of them when I was about 9. At some point I received a little Yamaha Keyboard for Christmas and my dad was bulding a Synthesizer in the basement as a hobby. I played around and recorded a lot with that. Finally aged 14 I bought my first computer in the 90s (Commodore Amiga 500) and from that on built and continously extended my studio and produced records. My first official release on a record company under the artist name PNFA was in 2001.

Who has influenced you through your artistic life?

Probably one of the biggest influences in my teenage life was Techno DJ Tillmann Uhrmacher (rest in peace), who used to have a radio show with what was at that time underground electronic music. You have to consider, I grew up in a tiny village with no access to a record store. So this was kind of my window to the world of the edgy electronic music, that really fascinated me. I’ve always been a big fan of Amon Tobin and the labels Ninja Tune and Warp, too. Now, the music I produce for myself mostly just happens. I don’t think about it, I get an idea and then just do whatever I feel like. Here you could say, anything and anyone emotionally influences me. Hanging out in other fellow artist‘s studios and nerding around also gives me a big push. I also travel a lot.

How did you start your work with DJI?

They hired a drone pilot, whom I’ve known for a while to record and edit a few videos and he asked me to help him with the music. At first they just licensed some already preexisting tracks from me, but at the WRC Monte Carlo video, I felt the urge to push further and invest some time, because we wanted it to be just great! There’s a big difference if you edit footage and then just throw some music in. You can do so much more when you actually make sure that both music and image support each other with a strongly composed soundtrack. I think they were happy with the result, so I got hired.

What does mean to you to create the music for DJI WRC videos?

The great thing about the WRC and also other video soundtracks I produce for DJI is, that they appreciate me as an artist. That means I have the freedom to make the decisions about the music and deliver only when I think it’s done. It is a very motivating and satisfying work relationship. They’re also all super nice people.

Can you tell us any other "big" collaboratios like the one with DJI?

I work with several agencies to create the sound for mixed media fair presentations (VW, Audi, BMW and Porsche so far). I also produce 2-3 full length soundtracks for theatrical and TV documentaries each year. Those are usually the big projects, that also take up a long time. One of my favourite, yet maybe not „big“ collaborations however is with the Städel Institute, which is one of the most renowned art institutes in Germany. I work for them already since 2010 and produced more than 50 soundtracks for art films. The subjects and genres are always completely changing and I’m always free to do what I want, so I can really play around a lot and create really crazy stuff.

What do you think about this collaboration with Envideate in Spain?

I’m excited to see what we can do. I’m always happy to work with young, passionate film makers, who enjoy what they do and look to move their audience. What do you think about our videos? We think the music is the MOST IMPORTANT THING to start a video production They look great and also the subjects have a lot of potential! Especially when it comes to sports, the video production has to capture the dynamic and show both the passion and also all the fun involved. And that of course also needs to be reflected in a good soundtrack.

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