Hybrid Mixing Engineer & Prod.

Q: Analog or digital and why?

A: Both. Digital gives me precision, recall, automation and an incredible range of tools. Analog gives me interaction, limitations and a type of character I enjoy working with. I don't believe one is inherently better than the other. My workflow is hybrid because I want to use each where it makes musical sense.

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

A: I will treat your song as music, not as a technical exercise. I'll listen to what you're trying to achieve, communicate clearly throughout the process and give the mix the same attention I would give to one of my own releases.

Q: What questions do you ask prospective clients?

A: What do you love about your current rough mix? What isn't working for you yet? Are there any elements that must remain exactly as they are? And can you send me one or two references—not necessarily to copy, but to understand the direction you're hearing?

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

A: Don't choose a mixing engineer only because of their gear or credits. Listen to their work and ask yourself whether you like the way their mixes feel. References are also extremely useful: show me what you love about your rough mix and a couple of records that represent where you'd like the song to go.

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

A: I started recording and mixing music in 1997 and later studied audio engineering in Santiago, Chile. I've spent more than 25 years producing, recording and mixing while also working as a composer and multi-instrumentalist. Over the years I've moved through different styles and technologies, from predominantly hardware-based studios to digital production and now back to a hybrid workflow that combines both worlds.

Q: How would you describe your style?

A: Warm, dimensional and character-driven. I like mixes with depth, movement and a strong sense of space, but I don't want them to feel sleepy or washed out. Even in lo-fi music, groove, dynamics and melodic detail are very important to me.

Q: Can you share one music production tip?

A: Don't listen only to individual tracks—listen to relationships. A guitar, piano or snare doesn't need to sound amazing in solo; it needs to occupy the right place when everything is playing. Context is everything.

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

A: Mostly lo-fi, chill, indie, ambient, alternative and electronic music, often with organic instruments and electronic elements living together. I especially enjoy productions with guitars, keys, synths, live-feeling drums and textures rather than music that is completely sample-based.

Q: What's your strongest skill?

A: Knowing what not to change. Mixing isn't always about making everything bigger, brighter or cleaner. Sometimes the most important decision is recognizing what already gives a song its identity and building around it.

Q: What do you bring to a song?

A: Perspective, character and cohesion. I like creating depth and separation without making a mix feel sterile or overly polished. I pay a lot of attention to how the arrangement, dynamics and space work together, while preserving the little imperfections that often give a recording its personality.

Q: What's your typical work process?

A: I start by listening to the rough mix before touching anything. I want to understand what already works, what the artist loves about it and where they want to take it. Then I build the mix around those priorities. I usually work digitally first for precision and automation, then incorporate analog processing where it adds something meaningful. I send a first mix, receive notes, make revisions and deliver the final mix and master.

Q: Tell us about your studio setup.

A: I work in Logic Pro with a hybrid analog/digital setup. My Tascam 644 console is an intentional part of my mixing workflow for routing, EQ, summing and character, alongside a pair of Golden Age Comp-54 MKIII transformer compressors and UAD processing. I also have hardware synths including a Moog Model D and Pro-800, guitars and other instruments for production work.

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

A: Most of my client work is mixing. I receive the stems and rough mix, understand what the artist wants to preserve or improve, and build the mix around the emotion and identity of the song. I also produce and master, so I can help beyond the mix when a track needs additional production or a final master.