Across the range of different projects Konstantin Kersting has written with, produced, engineered and mixed, there’s one constant—his philosophy of working together with the artist.
To Kersting, the role of a producer is to help bring an artistic vision to life. It’s about building a relaxed environment, developing good relationships and facilitating creativity—to make the best record possible.
Kersting first became obsessed with production while studying at University, dreaming of replicating the sounds of the music that wowed him. But he got his start in music way before that, learning violin via the Suzuki method when he was four years old, before picking up bass guitar and double bass in his teens and playing with orchestras and jazz ensembles around his hometown of Berlin.
After relocating to Australia, Kersting earned a Bachelor of Music from QUT and then started on his production dream, working as an in-house sound engineer at Airlock Studios, under the renowned producer Yanto Browning. He picked up tips and tricks from nationally and internationally acclaimed producers Paul McKercher, David Schuler, Mirko Vogel, Paul Dempsey and Tom Iansek.
Since the start of his career, Kersting has worked across a range of different genres for a range of different artists, including: The Church, Big Scary, Kingswood, The Belligerents, Moses Gunn Collective, The Jungle Giants, Mallrat, WAAX, Morning Harvey, The Furrs, Tia Gostelow, Ivey, The Vernons, The Jensens, Art Of Sleeping, Seja Vogel and Mosman Alder.
Konstantin Kersting can handle everything in the music production process—from writing to producing to engineering and mixing. He’s happy to work on any interest musical project, from any studio in the world. There’s clearly a hunger there, a desire to serve the music, that Konstantin perhaps sums up best: “the role of a producer in the studio should be whatever the artist needs it to be”.