Comp, Arr & Orchestration

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

A: Started and developed as self-taught. Have been doing this for 11 years.

Q: How would you describe your style?

A: Classy, grand and magnificent, and versatile.

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

A: Maria Schneider. She is a mastermind of music and creates wonderful pieces that actually take you to another place. I would be flattered and honored to work either with her or for her; I'm totally certain I would learn plenty of trascendental things and would have the experience of my life.

Q: Can you share one music production tip?

A: Stay true to yourself, aim high and never settle.

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

A: Orchestral and large ensemble music. Soundtracks (Film scores), Jazz (love Big Band), Concert music, Blues, Pop, Rock, Latin, Regional and Traditional

Q: What's your strongest skill?

A: Music composition, arranging, and orchestration

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

A: Maria Schneider, Antonio Sánchez, Vince Mendoza, John Williams, Ennio Morricone, Alan Silvestri, Hans Zimmer, Jerry Goldsmith, Aaron Copland, Elmer Bernstein, The Beatles, Queen, Led Zeppelin, Van Halen, The Who, Daft Punk, Avicii, Arturo O' Farril, Duke Ellington, Paul McCartney, Quincy Jones, Dave Brubeck, George Gershwin, Alex Mercado, Herbie Hancock, Chick Corea, Tony Succar, The Piano Guys

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

A: I compose and produce high quality, beautiful music and write amazing arrangements and orchestrations for any kind of ensemble and genre.

Q: What do you bring to a song?

A: Creativity, style, know how and knowledge, feeling, and exactly the sound you are looking for.

Q: What's your typical work process?

A: Regarding composing, I start drafting ideas until I come up with one I really like. Through different techniques and strategies, I start developing the idea either to a very concise and marked structure, or to a free form where I don't know where I'm headed, but where I can find a journey full of surprises and interesting twists. I then proceed to arrange and orchestrate my music. Sometimes I also write while arranging and orchestrating simultaneously. What's amazing is that every little change on the workflow or on my mood has a great impact on the music! Regarding film composing, I look for the cues' tempo and start drafting ideas, even singing so that I give a louder voice to what's on my mind. I then start sketching with instrument libraries' ensemble patches as a kind of a demo, and once I have a clear and accurate idea, I start formally arranging and orchestrating, and programming with the fine specialty libraries Regarding arranging, I first listen carefully to the song/theme, make a proposal on the instrument part/arrangement, and modify it until it meets the expectations of the client. Once I have a clear idea of what the goals and aims are, I start working very hard on the piece.