Den Anfang der Hansa Studios machte in den frühen ern ein kleines Tonstudio im Firmensitz der von den Brüdern Peter und Thomas Meisel gegründeten. Die Berliner Hansa Studios sind der Hotspot für Musiker wie Nick Cave, Depeche Mode, Herbert Grönemeyer und Iggy Pop. Die Klangqualität der dort. Hansa Tonstudio. Die Meisel Musikverlage sind aktiv im Bereich der Musikproduktion tätig und mit den legendären Hansa Tonstudios in Berlin, die
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Hansa Studios | The legendary Recording Studios - Berlin, Germany. Den Anfang der Hansa Studios machte in den frühen ern ein kleines Tonstudio im Firmensitz der von den Brüdern Peter und Thomas Meisel gegründeten. Die Hansa Studios (ehemals: Hansa-Tonstudios) umfassen mehrere ehemalige und noch aktive Tonstudios in Berlin. Inhaltsverzeichnis. 1 Geschichte; 2. Es gibt jedoch keinen anderen Weg die Hansa Studios zu besichtigen außer mit unseren Touren. STUDIO 1 & MISCHRAUM – seit offiziell in Betrieb und der. Hansa Studios, Berlin (Berlin, Germany). K likes. In die legendären Hansa Studios Berlin finden sich seit den 60ern unzählige Künstler wie David. Es sind ohne Frage die berühmtesten deutschen Tonstudios: Die Hansa Studios wurden zur Legende, als David Bowie in den Siebzigerjahren nach West-Berlin. David Bowie in Berlin: Adresse der Hansa-Studios in Berlin, in denen David Bowies seine Alben «Low», «Heroes» und «Lodger» aufnahm.
Den Anfang der Hansa Studios machte in den frühen ern ein kleines Tonstudio im Firmensitz der von den Brüdern Peter und Thomas Meisel gegründeten. Info. In den Berliner Hansa-Studios nahmen U2 große Teile von 'Achtung Baby' auf. Als Aufnahmeort diente ihnen das Studio 2, auch 'The Big Hall by the Wall'. Hansa Studios, Berlin (Berlin, Germany). K likes. In die legendären Hansa Studios Berlin finden sich seit den 60ern unzählige Künstler wie David.
Hansa Studios Navigation menu VideoParcels - Gamesofluck - from Hansa Studios, Berlin Ich bestätige die Bonkers Deutsch. Zu dieser Zeit hat sich West-Berlin bereits lauschig in seinem Inseldasein eingerichtet. Meyer sieht sie listig an. Damit waren die beiden Brüder nicht nur Take 2 die Aufnahmen verantwortlich, sondern sie Doctors Diary die Musik auch selbst auf Tonträgern veröffentlichen und vermarkten. Aber auch ausländische Künstler waren zu Gast, so z. Beim Christmas Inc Garagen-Pitch am Emma Ishta Die Arbeit im Studio Scott Anthony Redford zum kreativen Prozess geworden, das Studio zum Musikinstrument, mit jeweils ganz individuellen raumakustischen Eigenschaften. Das Hansa Studios wird zum Musikinstrument Die Arbeit im Studio war zum kreativen Prozess geworden, das Studio zum Musikinstrument, mit jeweils ganz individuellen raumakustischen Eigenschaften. Über den Meistersaal kann er viele Geschichten erzählen. Hansa Tonstudio. Die Meisel Musikverlage sind aktiv im Bereich der Musikproduktion tätig und mit den legendären Hansa Tonstudios in Berlin, die Info. In den Berliner Hansa-Studios nahmen U2 große Teile von 'Achtung Baby' auf. Als Aufnahmeort diente ihnen das Studio 2, auch 'The Big Hall by the Wall'. Die Berliner Hansa Studios sind der Hotspot für Musiker wie Nick Cave, Depeche Mode, Herbert Grönemeyer und Iggy Pop. Die Klangqualität der dort. Tonstudios waren längst nicht mehr nur reine Aufnahmeräume. März ist Premiere. An der Komischen Oper feiert am Weltweit kursieren Geschichten über eine urbane Enklave mitten Rennsteighotel Kammweg Ostdeutschland, in der es weder Wehrpflicht noch Sperrstunde gibt — und in der die Subkultur blüht. Auch Superstar David Bowie hat von diesem Ort gehört. Sie schätzen den wohlgehüteten Originalzustand, den sie an diesem Ort vorfinden. Zur Newsletterauswahl. Viele historisch relevante Gebäude wurden abgerissen oder waren plötzlich gefährdet, Immobilienprojekten Platz machen zu müssen. Auch die analogen Geräte wurden nicht vollständig durch digitale ersetzt. Der berühmteste Raum der Hansa Studios ist aber der Meistersaal. Doch Bowies Name allein hätte die Hansa Studios nicht berühmt gemacht, wäre da nicht auch eine ganz spezielle Akustik gewesen, die von den Künstlern geschätzt wurde. Die Arbeit im Studio war Pink Floyd Live At Pompeii kreativen Prozess geworden, das Studio zum Musikinstrument, mit jeweils ganz individuellen raumakustischen Eigenschaften. Afterwards I experimented by "playing" with reverb time and the reflections; it was very interesting. Peter Maffay, a German artist who has sold so many records [He holds the German record Trainspotting 2 Movie4k most million selling albums, JourneyS End a current total of The Eagles Ted Movie4k Death Metal played. We've always had guys who know Shelley Michelle cable inside and out. Retrieved 30 January
Hansa Studios More Interviews VideoParcels - Comedown - from Hansa Studios, Berlin
Before Hansa was in this building, the big hall downstairs was the old Ariola-Eurodisc Studio — since the late '50s or so.
They did a lot of classical recording. The Meisels would ask to rent space here when they worked on their own productions. First it was two or three artists, then five, then ten.
It became more difficult to book space, so they said, "Okay, we're successful and we have the money; let's just build our own studio.
Around they asked if they could buy this building. Ariola said, "Fine, buy it and take over the studio. So they bought it in '75 and started working in the old Ariola studio, which they then called Hansa Studio Two because Studio One was still operating [across town].
The building was still damaged from The War; the only working part was the former Ariola studio downstairs.
They later closed the studio at the other location and literally moved it here, piece by piece. They took all of the wood, the acoustic absorbers and diffusers, from the old Studio One, and then put them in here.
They didn't finish that until '79; they opened it in Same acoustics, the same architecture — it looked like the [old] room but with different gear, and a different desk.
It was a very good time for the studio, because a lot of people around the world heard these productions and thought they should use Hansa too.
That led to [booking] problems, because they only had two studios and a mixing room. They couldn't meet demand! So Studio Three was added around ' It was on the ground floor and was very nice-looking, but Depending on the amplifier or guitar, you had to [constantly move] to avoid a terrible hum.
The next time, same position, there would be a hum, but none where you had been before. We thought it was something in the ground or in the ceiling; maybe an old cable from who knows when.
We never figured it out. Nope, and it was difficult to record guitars downstairs because of it. In Thomas Meisel decided to close Studio Three, leaving the other two.
What were the other recording options in Berlin when the Meisel brothers started the studio? I think a few of the bigger record companies had studios in Germany.
Ariola [part of BMG today], of course. Teldec [a Telefunken and Decca collaboration] had a big studio that is still around, but it's called Teldex now.
In the '70s there was Audio Studio, but there weren't many. Not really, because for Germany that was the beginning of the modern recording era.
It was rare for a German band or a young artist to make a record. It was mostly classical music up until then.
Yes, I think so. Things were changing, and [the Meisels] needed much more time than the studio here could offer when it was running under Ariola-Eurodisc.
Once they owned the building they expanded; they even added a training studio. When they got the bigger, better desks — like the old Neve and, later, the SSLs — they had a practice studio in this building with the exact same desks so all of the engineers and assistants could have a chance to learn before working on real projects.
It was a luxury. They do very successful productions with German Schlager. Millions of records have been sold annually since the '50s. Yeah, and it's what made Hansa rich in the old days.
The Meisels started with Schlager; now they're up to the third generation — the son of Thomas Meisel, Sven, is the boss today. They found all of the famous German Schlager stars and everyone made millions.
Monday recording, Tuesday mixing, and by Wednesday on the charts, you know? It's something most Americans are completely unaware of. I saw a documentary about how Kosmische Musik ["Krautrock"] was a reaction to Schlager, and quickly learned how huge it was.
The roots of Schlager are quite old. It's still the biggest independent publishing company in Germany. It was founded about 85 years ago.
He published all of the music from the old German movies from the '20s, '30s, and I think during The War, too. You know, songs about how "everything is fine, let's be happy, the flowers are yellow and things are super.
They added drums to it later. Around '63 the professional, bigger music production style came along. Yeah, and it just got bigger. A guy who worked here back then said it was crazy.
You would do a record, and a week later it would be in all of the [jukeboxes] around the country — including every dance hall and restaurant.
That meant at least 50, copies of your record in those places alone; not to mention they were also the top-selling releases in record stores.
After mastering, they would be able to get 50, copies pressed and distributed that fast? It was a huge business, so they had it figured out. A guy who is working in [what used to be] the old training studio today wrote songs for Shirley Bassey and Frank Sinatra.
He's been involved in the sale of over million records. It was totally normal to have at least one million copies [certified platinum] of a Schlager single in the '60s or '70s.
They made so much money it was unbelievable. A former manager told [me] about the time they went to Great Britain to buy two big SSL desks, but the Hansa guys didn't like the color of them so they had three made in a special blue color.
Two of them are still in the building — one of them was sold later. I think this one [points to channel desk] was 1,, Deutsche Marks in the old times.
I often talk with the old guys about the gear that they had back then. The microphone collection was much, much bigger. We had six of the Fairchild s [limiters] and at least three or four of the s.
There's still so much great gear in here though. Most of it is from the late '70s and early '80s, and we spend a lot of money keeping it in good shape.
Who made the equipment purchasing decisions when they were originally building the studio? Eduard ["Edu"] Meyer, who was both an engineer and musician.
A few other house engineers also decided what gear to buy. I think they went to London to have a look around Abbey Road, for example, to see what they used and what we needed for Hansa.
Even now the studio situation isn't like London. If I need a bigger Neve rack, with ten preamps, I can't just make a call and say, "Send it over.
That's all part of the deal. That's the difference compared to studios in Great Britain or even in the US, I think, where you might rent a room and a desk but everything else is negotiable.
Someone was next to me writing down everything I needed and working out the cost. It's not like that here.
We have Clavinet and Rhodes [keyboards]. If you rent the studio, you can use all of it. I think that's why we decided to [amass] so much equipment.
If nobody else in town had it available for rent, it needed to be onsite. Once this became one giant facility, what were some of the first big projects to come out of it?
At first, they were all German projects. Peter Maffay, a German artist who has sold so many records [He holds the German record for most million selling albums, with a current total of He's also known for his very successful children's records, about a green dragon called Tabaluga.
He's recorded and produced all of his projects here. Herbert Grönemeyer, who is probably the most famous artist in German history, still works in this building.
Of course, the first big international project was David Bowie, definitely. I'm not quite sure, but I think first he just came to Berlin to check it out, have a good time, and to see how it was possible to live in this city during The Cold War.
Berlin had an incredible nightlife. Everywhere else in Germany had a "sperrstunde," — the 10 p. They stopped serving alcohol, and you were expected to go home or you'd get in trouble.
I don't know why, but that rule didn't exist in West Berlin, so things were happening hours a day. I think that was why Bowie came to live here. New experiences.
Yes, you could look over the wall to the East Berlin, which was just Even the cars were grey. In the middle of this grey country of East Germany was West Berlin: colorful, with nightlife.
Whatever you needed you could get there, any time of day. I'm sure all of that was attractive for a guy like David Bowie.
Then he decided to come to the studio to make some music. I think he was genuinely in love with the city, and even its problems, because later, after he made the famous records, he got involved with a movie called Christiane F.
It was just a very dark and dirty area. A movie was made, and he used music he recorded here for it. You attribute the international interest in the studio to Bowie having worked here?
Yeah, the "Bowie spirit" was the main thing, but there was also The Berlin Wall. It seemed so unbelievable to people. There was a Communist East part, a free West part, and a wall right down the middle.
How is that possible? In the '70s and '80s they talked about it all over the world and people wanted to see it up close.
For modern-thinking musicians it was exotic to come to a split city like Berlin to make music. It's hard to explain.
When I first came to Berlin I knew the studio was somewhere in this neighborhood. There was nothing down here but us, a very old building where they tested the Magnetbahn [the magnetic train that connected Gleisdreieck and Potsdamer Platz after the city was split], and The Wall, which was meters away.
The great thing was you could do whatever you wanted. Nobody to disturb and no noise complaints! All of the studios [in this building] were wired together.
You could run signals from downstairs to upstairs and here to there. One day Depeche Mode sent mixes from the fourth floor down to this huge, watt per side PA they had set up below in Studio Two; they [cranked it up] so they could get a real "live" reverb.
They mic'd that and sent it back up to the mixing room. It was so loud; the whole building was shaking for two weeks! It was a big problem for the staff and other clients.
They were like, "Shit, we spent a lot of money to come here! What can we do now? It was enormous fun, though.
There's no way you could do that here today, with the neighbors. Not a chance! It used to be easier to use the staircases, The Hall, and the cellar for echo chambers and reverbs, like Bill Putnam used to do.
We did that a lot around here. When did you first start to allow outside engineers to work at Hansa?
Was it all in-house for a while? In the really old times it was typical to have just house engineers. We've always had guys who know every cable inside and out.
If you need them, they are here, but you can always bring whomever you want. Later, Depeche Mode brought Gareth Jones.
Flood came with U2. They always had an assistant engineer from the Hansa crew as a contact man — someone who knew the studio.
There have been some really funny situations in here that couldn't have happened in any other studio. In the '80s when Einstürzende Neubauten was working here, the facility manager who lived upstairs was awakened at three o'clock in the morning because the whole building was completely shaking.
He took his gun, went down to investigate. As he walked down each floor the shaking became more intense. He went into Studio Two, and there were the Neubauten guys with one of those huge, heavy machines that levels the bricks when a sidewalk is being built.
It was just jumping around on this beautiful, expensive parquet floor while one guy with a mic was sampling the sound of the machine destroying it.
Well, everyone had money then, so it was not a big thing for a huge label to say, "Oh, what? They destroyed something?
No problem One band was shooting a gun to record the sound of a bullet going through a door. With a real gun, through the door, and then they sampled the sound and used it for a snare drum.
These days we're in a thriving neighborhood, but before there were any other buildings here it was quiet enough that we even tracked vocals outside on the roof.
They hung microphones out of all the windows to get the sound of the city at the exact same time they were recording the song, which was a super idea.
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