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Hans-Martin Buff

msm

About Me

Hans-Martin Buff began his career as a recording engineer and music producer at Pachyderm Studios in Cannon Falls, Minnesota, USA, where he made excellent coffee and then proceeded to hone his studio chops by assisting on projects such as Live’s million seller "Throwing Copper".
Hans-Martin worked his way through various Minnesota rock’n’roll factories, before he found a more permanent home at Prince’s Paisley Park Studios, whose personal engineer he became and remained for four funky years.
During this period, he wasn’t only responsible for His Purple Majesty’s recordings, but also for Prince’s collaborations with artists such as No Doubt, Chaka Khan and Larry Graham.
Being a native of Germany, Hans-Martin Buff relocated to his home country in 2001, where he has since recorded, mixed and/or produced a host of national and international talent, such as Mousse T., Joss Stone, Zucchero, Eric Burdon, Roachford, Maxi Priest, the Scorpions....
Since 2018, Hans-Martin has explored the subject of 3D-Audio, especially for headphones. Hans-Martin is now considered an industry expert, and he is proud to help artists lift their immersive adventures to the next musical level.
Hans-Martin is affiliated with msm-studios in Munich and Berlin, Germany, and with Real World Studios in Box, England, where he shaped the Dolby Atmos versions of Peter Gabriel’s latest release i/o.

Sessions

  • The Future of Immersive Music
    14:00 - 14:50 UTC | Wednesday 13th November 2024 | Bristol 2
    Beginner
    Intermediate
    Advanced

    There is a dramatically increasing demand for artists and audio professionals to create content specifically for 3D-immersive listening on headphones and at home plus new audio experiences as demonstrated by venues such as Lightroom (London), Dareshack (Bristol) and Sphere (Las Vegas). Most immersive music content, however, is re-purposed stereo productions never intended to be heard outside the two-speaker stereo environment with resulting output feeling disconnected and unfulfilling. Record companies and artists want to avoid paying for post-production immersive audio mixes of original stereo recordings. They are increasingly requesting music studios deliver cost-effective ways for recording music from the outset in […]