Composer & Orchestrator

Q: What's the biggest misconception about what you do?

A: I'd say it has to do with the term "orchestration" and how it's often confused with the arranging process of working on the melody, themes, form, texture and whatnot before even talking about how to orchestrate it. But at the end of the day it's really just a silly and harmless misconception, and I completely understand when someone simply wants to transform their ideas into an orchestral version.

Q: What questions do you ask prospective clients?

A: There are two key questions I always ask. First if they need me to produce the orchestration with pro samples or if they need me to engrave the full score and part sets for a recording session. And secondly, I always ask about how much material can they provide for me to do my work (e.g. MIDI file, a sketch of the score, sheet music, reference audio)

Q: What are you working on at the moment?

A: Right now I'm arranging and orchestrating music for a new Pixar in Concert show! Always a fun experience :)

Q: Analog or digital and why?

A: I'm taking a philosophical stand here: Definitely analog. I'm a sample library junkie but really old school at the same time. I believe that music has to be written, on paper, by hand and on a piece of paper. The more organic, the better ideas come out of my head.

Q: Can you share one music production tip?

A: If you're orchestrating a song, keep an open mind and be creative, truly use the orchestra. Don't just double a line or thicken a guitar riff, you already have the band to do that. Do with the orchestra what the band cannot.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Bruno Montonatti and Matias Menarguez, they've been respectively my go to mixer and drummer for many years. We've shared many projects together, including live gigs, and they are the most professional and cool people I have ever met.

Q: What questions do customers most commonly ask you? What's your answer?

A: Usually, when it's a production that's going to be recorded live with an orchestra and there´s not going to be a fancy mockup, they're worried about the approval process since they can't read music, but in those cases I always share a demo using the latest version of Noteperformer in Sibelius, which is more than enough for the process and everyone is always very happy with it.

Q: Which artist would you like to work with and why?

A: I'd love to score an animated feature by Brad Bird. Simply because I love animation and I think he's a living legend.

Q: What type of music do you usually work on?

A: Honestly, I work on all kinds of music on a daily basis, and it amazes me how many people recognize the added value of an orchestra in their productions.

Q: What do you bring to a song?

A: Creativity. The orchestra is not there just to thicken the sound. There's a whole world of possibilities that the orchestra has to offer through its infinite colors, and through that I bring a new dimension of sophistication and interest.

Q: What do you like most about your job?

A: Being able to share the joy of music with others every day. I think that's a blessing.

Q: What advice do you have for a customer looking to hire a provider like you?

A: This is all about communication. Please be as clear as you can about what you want. I don't need you to speak in musical terms, that's my job. Neither in terms of emotions, that's music's job. Just try to express what music you need, why you need it and what's supposed to achieve in terms of clear concepts.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: A piano, a pencil, a pencil sharpener, an eraser and a ream of staff paper.

Q: What was your career path? How long have you been doing this?

A: I've been doing this since I was 11. I started out playing guitar in hard rock bands and taking classical piano lessons on the side (eclectic, yeah). After finishing school I started my oficial academic formation studing jazz guitar and arrangements. Over time I began to fall in love with classical music and that led me to my studies in composition at the national conservatory.

Q: How would you describe your style?

A: Actually all my works in concert music are very different from each other. Composing means a different thing every year for me. But I guess I could say that my music is very schizophrenic. I like contrast. That a strong and cutting gesture can coexist with an expressive and cantabile line at the same time. I believe music should always be saying something, otherwise there would be no reason to write it.

Q: Tell us about your studio setup.

A: I have my own studio in Buenos Aires with absolutely everything I need: a powerful PC to produce all my ideas, an iPad Pro with Metagrid PRO to speed up my workflow when recording sample libraries o editing a score, a big orchestration table, an A3/Tabloid printer and scanner, lots of paper, countless 2B pencils...and I do all my production and recording on Digital Performer as my main DAW.

Q: What other musicians or music production professionals inspire you?

A: Beethoven, Chopin, Ennio Morricone and Thomas Newman

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: That would be 'Mickey Mousing'. That's a project of my own in which I composed and conducted original jazz scores for six Mickey Mouse shorts from the 20's and 30's. I am particularly proud of that one because with lots of hard work I achieved to get hired by The Walt Disney Co. and do several private performances for them. My role in that project was particulary absolute.

Q: What's your 'promise' to your clients?

A: That I will never do with their projects something that does not make me proud.

Q: What's your typical work process?

A: I like to keep all technology apart from the composing process. I compose and orchestrate with a pencil and not with the computer, even if I'm producing the MIDI mockup afterwards. I firmly believe that the discipline of writing on paper helps develop a greater commitment to your ideas. For me, the computer is a great tool for making mockups, syncing music to picture, finding tempos for hit points, that source of stuff.

Q: What's your strongest skill?

A: I'm great at developing ideas and creating something huge out of the tiniest motif.

Q: Describe the most common type of work you do for your clients.

A: Orchestral arrangements, either produced with sample libraries or recorded live.