July 2007
Alamo Sessions
"Parrot Tracks Goes Mobile"
Mix Magazine
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http://www.mixonline.com

Runner-Up
"Best of Austin Recording Studio"
- Austin Chronicle

"Studio Profile"
TEXAS BEAT MAGAZINE
Austin, Texas
Excerpts from Keith A. Ayres

... The thing that helps make PARROT TRACKS STUDIO unique is the fact that George is a musician as well as an engineer and a producer. This makes it possible for him to understand the wants and needs of his clients better since he can communicate with a band in terminology that they can understand.

In the Seventies, Coyne moved to L.A. playing and recording solidly for two years before deciding to return to the East Coast with an original band. It was at this point that George got more into the recording end of the business. The late Seventies saw George on the road as a singer/songwriter in the duo, Spare Change that would eventually settle in Austin, Texas.

George is an accomplished guitar repairman as well as an engineer/producer, he strives to bring out the best musical ideas that the artist hears in his head. He enjoys working with all styles of music

"Great Studios of Austin" PARROT TRACKS
Music City Magazine
Austin, Texas
Excerpts from John Conquest

In MC tape reviews, artistic content is always the first consideration, but we do admire technical quality, and this month's standout studio work is that of George Coyne. Originally a lead guitarist (and now also a well-known repairer of electric and acoustic stringed instruments), Coyne worked with Temptation, David Ruffin, Screamin' Jay Hawkins and Dave Mason, fetching up in Austin in 1978. Already working on demos, an injury put him out of playing action for two years and recording became his priority. Coyne played locally with Calvin Russell, Tom Pacheco and The Hellhounds, Jubal Clark, Mandy Mercier and W.K. "Cowboy" Gentry, and he feels that the fact that he is himself a musician is a key factor.

"Basically, I'm selling a personal approach Everybody in a band hears the sound a little bit different. I make the connection between the musicians and the equipment to get that sound, and I can talk to them in terms they understand, rather than technospeak. I relate to them and what they want and find some way of getting it. It's not the equipment, it's the guy behind the equipment"