Golden Road is a Professional Mastering facility located in Buenos Aires, Argentina. Mastering for CD, iTunes and Vinyl. Pre-warming.
My studio is a hybrid between digital and analog domain. I use Pro Tools as the standard DAW, equipped with best-of-breed plugins (Waves, Universal Audio, etc). On top of that, I also add an analog chain with specific Mastering devices like Manley Massive Passive, Cranesong STC-8, Rupert Neve Master Buss Processor, Preamps API 512, etc. We have nothing but the best: Apogee converters, Cranesong HEDD, Focal Solo 6 be and Yamaha NS-10 monitors and, last but not least, a lovely EVE Audio Sub for a really superb Mastering experience.
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Interview with Golden Road Music
Q: Describe the most common type of work you do for your clients.
A: Stereo Mastering, Stems Mastering, Mixing, Pre-warming mixes.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm proud of every single project I worked in, from Mastering a mainstream artist to an unknown one, every project is an enriching experience and I am very pleased and honoured to have been the chosen one =)
Q: What are you working on at the moment?
A: I'm Mastering an album by a pop singer in Costa Rica and mixing and Mastering another one by a jazz pianist in Mexico.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Yes, Candela Cibrián and Nacho Trejo, one of the best session singers I've ever worked with.
Q: Analog or digital and why?
Q: What's your 'promise' to your clients?
A: Nothing but the best: I won't stop until both of us are 100% satisfied.
Q: What do you like most about your job?
A: That every day is a new adventure and I learn more with every job I do.
Q: What questions do customers most commonly ask you? What's your answer?
A: There are many misconceptions around Mastering, specially around "loudness war". I explain that overcompressed material sounds wimpy and small in comparison to more open material.
Q: What's the biggest misconception about what you do?
A: Mastering is not a rubber stamp process. It’s an art in which compromises must be made in order to get a group of songs to work together, and translate to as many formats and playback systems as possible.
Q: What questions do you ask prospective clients?
A: Musical taste and objectives of the project. I also like to know about his/her musical career in general.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Try to first understand what you're looking for and then make sure you receive nothing but the best.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My Mac Pro, a solar generator, an audio interface, a condenser mic and my Beyer DT 880.
Q: What was your career path? How long have you been doing this?
A: I started as a musician, playing drums, then I studied harmony, composition and audio perception. While I was studying, I started working as an assistance in the studio and then I became the studio's main engineer. Since then, I haven't stopped working in records, from recording to Mastering stage, even making the arrangements and production.
Q: How would you describe your style?
A: More than a style, I have a rule: I give nothing but the best. Then I consider that the engineer shouldn't impose any style but try to translate and enlighten the given material the best he can.
Q: Which artist would you like to work with and why?
A: With Peter Gabriel, not only for being a big fan of his music but also because I consider he's been making timeless records and with such a tremendous musical taste.
Q: Can you share one music production tip?
A: Although it may sound basic, always take your time to first listen to the music and understand the arrangement before starting with any process.
Q: What type of music do you usually work on?
A: Pop, Rock and Folk, but also Tango and Classical.
Q: What's your strongest skill?
A: To be creative and always push beyond the limits and the project I am working on.
Q: What do you bring to a song?
A: When I am Mastering, I try to bring quality and balance without breaking the mix.
Q: What's your typical work process?
A: First of all, I start hearing the songs, I try to understand the arrangement and what the artist and the mixer/producer tried to achieve in each song and for the whole album or EP. The next step is usually levelling the songs, just trimming down the volume of the louder ones and then I start working individually. Next step is equalising, then I work with dynamics and at the end I re check EQ, color or some harmonic distortion.
Q: Tell us about your studio setup.
A: My studio is a hybrid between digital and analog domain. I use Pro Tools as the standard DAW, equipped with best-of-breed plugins (Waves, Universal Audio, etc). On top of that, I also add an analog chain with specific Mastering devices like Manley Massive Passive, Cranesong STC-8, Rupert Neve Master Buss Processor, Preamps API 512, etc. We have nothing but the best: Apogee converters, Cranesong HEDD, Focal Solo 6 be and Yamaha NS-10 monitors and, last but not least, a lovely EVE Audio Sub for a really superb Mastering experience.
Q: What other musicians or music production professionals inspire you?
A: Bob Katz, Frank Arkwright, Butch Vig, T-Bone Burnett, David Bowie, Sting, Gustavo Cerati, Miles Davis and many others!