Enric Espinet

Music Producer / Sound Engineer

I studied Economics at the University of Barcelona. Yes, everyone does weird things once in a while... Alongside with my university activity I kept my interest in music as a guitarist in various rock bands and studying in the Aula de Música Moderna i Jazz de Barcelona, or in the Taller de Músics and the Escola de Música Avinyó, and specializing in modern guitar with masters like Eduard DeNegri or Andrea Grimaldi, among others.

After getting my Bachelor's degree in Economics I decide to leave it in a drawer and follow the call of art and creation around the sound. That's when I come in the Instituto de las Artes Audiovisuales and with my master Gerardo Revuelta formed myself in the fundamental principles of acoustics and sound techniques.

Later, and despite years of experience and work, I have not ceased in participating in seminars, courses and lectures in the sector, since the first and now distant in time visit to the 98th Audio Engineering Society Convention in Paris, in February 1995, to the last workshop in 2012 on the Isle of San Simón, in Pontevedra, organized by Dotbeat with Bob Katz (cool shirt Bob!), where a lucky few were able to share a few days of audiophile wisdom.

Estudio La Isla, 1993-1998.

Actually the training section should continue here. Although I had had experiences in studio as a musician, my first responsibility as a technician and musician was in La Isla, a small studio in Barcelona owned by Alejandro Palencia, with whom I worked hard for television, radio, advertising and even short movies. I was able to implement the combination of in that time the end of analog (now back) with digital incipient (worked with SSL Screendsound, and the first ProTools and first Yamaha digital consoles) and with an intensive MIDI use (Cubase, Logic) and hardware samplers, we composed, performed effects tracks and mixes not only for music but also audio for movies.

Montaje de Mozart, 1998-2003.

One of the trendy recording studio in Barcelona in that time, was interested in me. As soon as I started working there, was to reach and we mounted two new rooms (one Dolby) with the then head of audio, Alex Pérez, shared sessions with Marcos Martínez, who was the old-time engineer of the house, and I also got to work making music with the great Toni Saigi 'Chupi'.

Later we completed the audio team with the also greats Xevi Masip and Dani Espinet (my little brother, the greatest).

These were years of advertising and films. Everything was about audio for movies. sound for spots, documentaries, tv movies, films,...

My last years in Montaje de Mozart were as head of sound of the movies that were made there.

I took part in Agustí Villaronga's “El Mar”, “Adela” by Eduardo Mignona and “Amic amat” or “Anita no perd el tren” by Ventura Pons, among others. I was responsible for the audio post and mixes of such films as “Food of love” or “El Gran Gato”, also by Ventura Pons and tv movies like “La Mari” or “Des del balcó” by Jesús Garay and Ricard Figueres.

MASAMARA, Until 2003...

I was missing the music for the music and to experiment with it, so I created my studio, where I could develop my own way of working. When I left Mozart the idea was to afford a space to just produce music, though without abandoning the world of advertising and cinema in which I still work making music or doing audio postproduction sporadically. However in Masamara I take my time to experiment with space and air, microphones, the different techniques, psychology...

Throughout these years, many artists have dared to get in my hands (in my ears) and have given me their trust, sometimes as an engineer, other also as a musician and sometimes as artistic producer, musicians, bands and producers such as: Anita Miltoff, El Hombre Blanco, Don Vito y los Corleole, of course Toni Saigi 'Chupi' and Dani Espinet (who then would ride the brother studio BSO), Jules Bikoko, Èric Vinàixa, Rodamons, Alex TNT, Xarim Aresté, Dave Pybus Groove Quartet, Ummmo, Erm, Insomni, Aixonoéspànic, Macedònia, Zyclo, Peter Delphinich, Ruidoblanco, Niña Pija, Andreu Rifé, Triangulo Stereo, Calamento, Akliso, Carnal, Pantanito, Se7ge, Los Kalakos, Luxopolis, Iyexá, Tritò Jazz Band, Dani Coma, J.H. Coconut, Alma Afrobeat Ensemble, Claudio Cesar, No Parfum, Rapgenoma, Izä, Vier Nágueba, Sirius Dance, Holy Bouncer,Isabel Vinardell y Isabelle Laudenbach,Apres Minuit... among many others.

With Eric Vinaixa at Slim Studio, recording guitars, 2017.

Hold each production details and listening links in MASAMARA MUSIC section.


In addition to the musical Masamara productions, I have been making sound for movies and audiovisuals. Works like Pickwick Films “El dia de la sípia” or “Extraña forma de vida”, Mamba Films “Polis”, Zagora Films/Fundació Ictus “La cicatriz en la mirada”, and Setmàgic Audiovisual's “Comediants, amb el sol a la maleta”.

You can see sample videos in MASAMARA AUDIOVISUAL.


At the present time I'm also doing sound reinforcement works.

For the years 2013 and 2014 I was doing the live sound of the rumba-fussion band Don Vito y los Corleole.

I was also sound engineer in the ¨Germans de Sang¨ (Willy Russell's Blood Brothers) musical, in the 2014 new version directed by Ricard Reguant.

In 2014 I did the summer tour of the band Elefantes as a backliner.

From 2015 until today I joined the Aleteo's Alejandra Jiménez-Cascón theater company, doing Blanca Desvelada's music, sound fx and live engineering.

Blanca desvelada at the Teatro Fernan Gomez de Madrid, 2016.

Since 2015 I'm doing maintenance works and live engineering at the IMO Auditorium.

In 2016 I did the bso for Juan Mayorga's "Palabra de Perro" , directed by Elisenda Dalmau.


Beyond my studio work as an audio engineer and as a musician, both in musical productions and audiovisual, film, television, theater or dance, I have not stopped playing live as part of several bands of the most diverse styles, from El Hombre Blanco american rock, through Anita Miltoff pseudopunk-toff-folk or Erm's electronic pop, Bebra's industrial rock or impro as an essence with Anónima Ürbs, and even eventually collaborating with Don Vito y los Corleole or the mexican dub of Los Kalakos.

And I keep trying to catch the silence.