About

I listen to and work with many different genres. The music that first cought my interest and since then always has played a central part is what can be referred to as experimental or alternative pop/rock. Even though many great musicians has explored and evolved this genre my prime example will always be the Beatles, who in a few years almost perfected it. Since then I've walked down a lot of different paths, and nowadays I mostly listen to classical music, but still this is the type of music where I feel that I have most room to play.

For someone who doesn't know anything about electronics, studio equipment, especially vintage gear surrounded by massive hypes, can turn into mysterious objects.

This was definitely true regarding me before I started to explore the interiors of these units about fifteen years ago. Since then I've learned a lot about building, repairing, maintaining and designing audio electronics, and nowadays my own microphones, amplifiers, compressors, mixers etc get as much use as the original units beside them in the locker/rack.

Borgströmska Institutet is my company located in Malmö, Sweden. The primary aim with my business is to, in almost every way, work with the kind of music I really like and enjoy. The secondary aim is to poke around in vintage audio electronics.

Ever since I was I child I've felt a special attraction to music but my love for it exploded in my teens when I started to visit concerts, learned to play guitar and joined a band. During the years in my pop group Forest & Crispian I gradually developed an increasing interest in producing recording and mixing.

For me, the most intruiging part of music is the complex interplay between the musicians, their instruments, the composition and the arrangement. To work with like-minded, come up with and merge idéas, finding solutions and finally the challenge to turning this into a finished recording is what drives me.

Another very inspiring aspect of producing and recording music is the mix of art and technology. To consider the recording techniques and equipment as a part of the arrangement and emotional texture, rather than tools trying to optimize fidelity.

A session at its best is when the ensemble already during the recording process gets a clear vision of the final product and the musicians not only react to each other but also the recording itself.

So, welcome to my homepage. If you have any interest in my products or services don't hesitate to contact me.

Best Regards

Tomas Borgström

tomas@borgstromskainstitutet.se