Productores en la nueva escena de flamenco electrónico
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Publication date
2020
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Roquer González, Jordi
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SIBE Sociedad de Etnomusicología
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Abstract
El flamenco ha sido estudiado tradicionalmente por flamencólogos, literatos, antropólogos y recientemente por etnomusicólogos, sociólogos, etc., sin embargo, pocas veces ha sido estudiado en profundidad desde el punto de vista de la producción musical. Tendremos de este modo en cuenta como referentes a productores como Ricardo Pachón, Javier Limón –que han grabado a grandes maestros del flamenco– o la nueva generación de productores/músicos jóvenes como Alejandro Acosta, Pablo Cebrián o Pablo Díaz-Reixa “el Guincho”, que están detrás de las producciones de los proyectos de flamenco electrónico con mayor repercusión en la industria musical actual. Partiendo de un trabajo de campo previo, analizaremos algunos elementos identitarios/tecnológicos en dichas producciones y cómo estos son proyectados internacionalmente. Tales producciones son concebidas como un proceso colaborativo con grabaciones realizadas en Madrid, Córdoba o Sevilla y masterizadas por productores internacionales. Con este artículo centrado en uno de sus protagonistas, Alejandro Acosta, proponemos contrastar métodos y estudios de grabación en los cuales se conciben, graban y mezclan sus trabajos.
Flamenco has been traditionally studied by flamencologists or anthropologists and recently by ethnomusicologists, sociologists, etc. however, it has seldom been studied in depth from the point of view of music production. Taking as reference producers such as Ricardo Pachón or Javier Limón –who have recorded great masters of flamenco–, young producers/musicians such as Alejandro Acosta, Pablo Cebrian or Pablo Díaz-Reixa “el Guincho” are behind the productions of the projects of Electronic flamenco with the greatest repercussion in the industry today. After having carried out a new field work, we will analyse some identity/technological elements in these productions and how they are projected internationally. Such productions are conceived as a collaborative process with recordings made in Madrid, Córdoba, Seville, etc. and mastered by international producers. With this paper focused on one of its protagonists, Alejandro Acosta, we propose to contrast recording methods and studios in which their works are conceived, recorded and mixed.
Flamenco has been traditionally studied by flamencologists or anthropologists and recently by ethnomusicologists, sociologists, etc. however, it has seldom been studied in depth from the point of view of music production. Taking as reference producers such as Ricardo Pachón or Javier Limón –who have recorded great masters of flamenco–, young producers/musicians such as Alejandro Acosta, Pablo Cebrian or Pablo Díaz-Reixa “el Guincho” are behind the productions of the projects of Electronic flamenco with the greatest repercussion in the industry today. After having carried out a new field work, we will analyse some identity/technological elements in these productions and how they are projected internationally. Such productions are conceived as a collaborative process with recordings made in Madrid, Córdoba, Seville, etc. and mastered by international producers. With this paper focused on one of its protagonists, Alejandro Acosta, we propose to contrast recording methods and studios in which their works are conceived, recorded and mixed.