Miami, March 21, 2021 — More than just its recording and mixing engineer, Miami Beach Recording Studios (MBRS) co-owner Pablo Reynoso is also a skilled music producer, sound designer and tech geek. Having worked with artists as diverse as Lil’ Wayne and Paul Messina, to the Boston Choral Ensemble, Styx and Three Dog Night, Reynoso paints every record out of his MBRS Studio A control room with his signature array of polychromatic tonal hues, and has lent his “technicolor” flair to recent records by Orishas, Yuri, Concha Buika, Yotuel and Ivy Queen, since coming on board as a business partner in 2015.
When it came time to invest in a pair of studio monitors late last year, Reynoso went hunting for something that would sharpen the vibrancy of the sonic images over which he paints his trademark technicolor palette, so he rang up his old pal, P.K. Pandey, founder of Symphonic Acoustics, who installed a custom-built set of 2X8V monitors with matching 12” Subs, then tuned the sound for Reynoso’s MBRS Studio A control room.
“Some of the monitors that we’ve used in the studio previously have been very impressive,” said Reynoso, “and listening to certain recordings on them always elicits a response where the music gives me goosebumps, or I start crying and can’t even help it. But compared to all the other speakers we’ve had before, once the Symphonic Acoustics Dual 8V speakers were installed, it was like a veil had been lifted, and I saw the sonic image with greater clarity and transparency. These speakers go beyond everything else.”
Designed in collaboration with renowned audio and acoustical engineer George Augspurger, in addition to WSDG Founding Partner John Storyk, GRAMMY Award–winning engineer Renato Cipriano and REDI Acoustics, Symphonic Acoustics 2X8V studio monitors balance form and function for optimized efficiency. Capable of delivering large-format SPL from a 13”-wide cabinet each 2X8V speaker has been refined to improve sonic response and increase the cabinet stability, imparting to the listener a sound signature marked by extended bass response, punchy mids and smooth highs.
“I can tell people all about it, and I can even set up mics to try to help demonstrate to people online—but you have to be here in the room. It’s not just listening to the music through the speakers. Your hair needs to move; and, you need to get that physical reaction in your body that makes you wonder, ‘What am I experiencing?’”
Dreaming in technicolor
With a musical background that began around the same time he learned to count, Reynoso’s education at Berklee College of Music provided the launchpad he needed to get Technicolor Lounge Studios off the ground. Born in Mexico City and surrounded by musicians from both sides of his extended family growing up, Reynoso got his first guitar at age four, and started learning to play right away. From then on his dream was to grow up and become a professional musician. After years of telling his friends he planned to someday go to Berklee College of Music, he moved to Boston to study music synthesis and music production and engineering. At Berklee, Reynoso obtained not only a world-class education—but also the basic tools of his trade, as a member of the first generation of Berklee students offered the benefit of the school’s laptop purchase program, which gave Reynoso all the software tools he would carry with him to start his own recording business, Technicolor Lounge Studios, after graduation.
“Although I grew up in Mexico City, my dream has always been an American dream, and I’m living it,” Reynoso said. “I went to Berklee as a musician, but when I was thrown to the other side of the glass and into the control room, it became my lab—and it was in there that I decided that making music from the control room is what I want to do.”
With a Berklee degree, recording studio experience and a solid software foundation with which to start making music on his own, Reynoso first met Pandey while he was starting Technicolor Lounge Studios and looking for hardware to begin amassing a recording equipment arsenal.
“I had heard some underground stories about P.K., since everybody in the Berklee community seemed to have some connection to him, back then,” Reynoso said. “Once I decided to start my own studio, I sold my Mustang and was getting ready to buy some stuff. But, some people around Boston who knew my plans all started telling me that I needed to talk to P.K. before I acquired anything from a retail store. So, I got his number from a friend and set up a meeting. P.K. made me feel special, right away.
“Now, 20 years later, there’s a lot of stuff that I still have in my studio that I bought from P.K.—and he’s still one of my best friends.”
About Symphonic Acoustics
Currently collaborating with George Augspurger on new designs, the Symphonic Acoustics client list include s Alicia Keys, Ann Mincieli (Jungle City Studios), Pharrell Williams, Paul Epworth, Marcella Araica, Nate “Danja Hills, Ronnie Jackson, Khari Cain, Sony Studios LA, RCA Studios LA & Atlanta, Luny Tunes, Daddy Yankee, Chris Brown and more. With over 25 years of experience in recording studio AV design, engineering, fulfillment, installation, monitor manufacturing and support, they have facilitated the end-to-end design and delivery of countless artist studios, commercial recording studios, content + podcast studios, and education studios + classrooms.
