Mastering Mixing Editing

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

A: Whats does mastering do or what is it for? Mastering is the process that not only gives the song its final commercial volume, but also the final touch on general tone and feel. A final correction of the overall mix if you will. Also if you master an album we try to "normalize" the songs so that they feel cohesive as an album, so the listener doesn't feel any uncomfortable change in volume/tone/etc inbetween songs.

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

A: Maybe that in mastering I can solve a particular problem of the mix like for example one of the guitars is too loud. Mastering is more about the full picture that the song provides, the overall tone, feel and volume of the recording.

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

A: Chris Cornell or Gustavo Cerati, such great songwriters. They knew a lot of the technical world of recording and understood the importance of choosing the right guitar, pedal, sinth, etc while recording, which made their records sound amazing.

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

A: Yes, Andres Mayo. Absolutely excelent mastering engineer.

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

A: I'm really proud of my thesis which involved Horacio Burgos Grupo, consisting of 8 people, with guitar, drums, percussion, vocals, flute, keyboards, bass and double bass. They are challenging instruments to record all together in one room and in one take. It was the most technically ambitious recording I've ever made. I had to modify Horacio's house to make it a suitable place for recording! It was crazy, and the result was great.

Q: Analog or digital and why?

A: Hybrid setup. Both worlds have pros and cons (digital: recall is perfect and is easier to make corrections, also Inter Sample Limiters. Analog: beautiful saturation and harmonics that can add depth and 3D feeling to a recording and make it even better). My philosophy prevents me from choosing or defending just one, I'm pragmatic.

Q: What do you like most about your job?

A: The camaraderie after a job well done, when I'm happy and the client is also happy. Being able to move people emotionally is unique.

Q: What questions do you ask prospective clients?

A: What type of music do you like in general? Why do you make music? What does this project mean to you? Have you had any difficulties in the process of your project?

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

A: You should always talk a lot first and hire somebody you can trust your music with. If you make the correct provider choice, then the result will be definitely good.

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

A: Treated room, a pair of focals, a re320 microphone, an Apogee Duet interface, and a computer.

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

A: I made my first recordings at the age of 11. And the first paid one at 14 (it was a punk band). I've never stopped since then. I moved temporarily to the capital city to study Sound Engineering and got work in a commercial studio there for 2 years, during that time I learnt a lot and gained many important contacts (musicians and colleagues.) Then, I came back to my town and built my own studio a few years ago where I currently work on about 35 different local projects. Today I'm available for your music!

Q: How would you describe your style?

A: I love making warm and meaningful recordings that can transmit a lot. I'm also pragmatic; I'll do anything needed to achieve the result I aim to.

Q: Can you share one music production tip?

A: You shouldn't buy monitors if you don't have an adecuate room to put them in. Those two things together are your most important tools to make decisions.

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

A: I work on several types of music from pop, reggae, tango or heavy metal, everything really.

Q: What's your strongest skill?

A: I would say that it's being able to "read" a song emotionally, as in "what should this make me feel like?". By answering that question, I can get to the sound the song needs more easily.

Q: What do you bring to a song?

A: 12 years of experience, countless hours of music listening/making and a lot of love!

Q: What's your typical work process?

A: First of all, I talk to the client about records, shows they might have been to, music experiences, and everything that can get me on the same page so that I can see a path to follow while working on the song. After that, I listen to the recording and if necessary, I send feedback asking the client for corrections. If the corrections can be made by me, I send the feedback anyway; I see it as a way of helping in the next project. Finally, I do the work and check it two or three days later to see if something has changed. Then, I send it to the client and wait for the feedback myself. Once the corrections are made, we finish the project.

Q: Tell us about your studio setup.

A: PC with Protools 12.5, which works with a Tascam DM-4800 that feeds a pair of Focal Solo 6 Be. The room is treated and I use Sonarworks Reference 4 to achieve the maximum correction possible on frequency response.

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

A: The most common type of work I do is recording and mixing. I've also been working on mastering productions that come from different parts of my country.

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

A: I will commit 100% with your material, trying to understand it as you do to be able to make the best decisions. Also, it's done when it's done!

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

A: Daniel Ovie. Andres Mayo. Nigel Godrich. Radiohead. Gustavo Cerati. Andrew Scheps. Tchad Blake. Jonathan Wyner. Gavin Lursenn.

Q: What are you working on at the moment?

A: Mastering a tango LP, recording and mixing a reggae LP and producing a pop EP.