Remote Mixing & Mastering

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

A: I am proud of many of my projects, but those in which I also participated in the production are the ones that I feel the most fortunate.

Q: What are you working on at the moment?

A: I am currently working with local artists from Argentina, producing and mixing. At the same time, I am an assistant in a studio, where I learn a lot every day.

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

A: I know Andres Mayo and he is an excellent Mastering engineer.

Q: Analog or digital and why?

A: I am more than digital. I don't have any analog equipment. In my workflow the analog slows me down, makes me slow down, loses freshness. Also, I like the idea and the possibility of being able to work from anywhere with headphones. The digital has nothing to envy to the analog, the important thing again is the criteria with which the tools are used!

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

A: My promise is that they will be satisfied with the sound. I put a lot of energy into understanding what the artist is looking for, and I listen a lot. And if this is not the case and the artist does not like what I did, I will have no problem understanding it and returning the money.

Q: What do you like most about your job?

A: What I like the most about this job is that it doesn't get repetitive, despite doing it every day. Like I said before, every song is a new world, so it's like playing for me. I am a lover of music and audio, working on this is fantastic.

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

A: How should I send you my song? To send me your song simply export multi-channel tracks of your project session in .wav format with no fx processing enabled (unless necessary) and put them in a zipped (.zip) folder. Make sure to bypass any plugins you have in your master bus as well! After an order is delivered, can I still make any sort of modifications? Of Course! The important thing for me is that the artist is satisfied. That's why when it comes to mixing I usually ask for references to understand the artist's idea of ​​how his song should sound for him.

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

A: To think that there are magic formulas that work for everything. There is a lot of information on the internet that is very good, but there is also a lot of misinformation. There are no formulas, no processes, no magic plugins. Each mix is ​​different and in each mix you have to do different things. That's the fun of this job!

Q: What questions do you ask prospective clients?

A: I usually ask for sound expectations, audio references. Let them explain to me how and where they made the song, how they want it to sound, etc. Understanding the artist's criteria makes mixing easier.

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

A: My advice is to find people who are actively involved in your project or song. That really look for the gem of each musician and squeeze it. Remote or online work is more complicated, because it is difficult to convey the expectations we have. Therefore, I would look for someone who not only mixes well, but has good communication.

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

A: It would have good monitors, a good pc and a good interface. With that is enough

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

A: I started making beats on ableton at age 14, to rap on top of it and to share with some "rapper" friends. When I finished high school I wanted to get more involved in the world of audio and studied for 3 years a career in recording and sound post production in Tecson, Argentina. Since I was 17 I have been recording, producing, mixing and mastering, almost every day of my life. A year ago I started working in a studio making sound for advertisements. I feel that every day I grow more. I really want to work and continue learning!

Q: How would you describe your style?

A: I have a modern sound. My references and audio gurus are usually young people. If I don't have a particular specification, I usually look for balance, definition and warmth in the sound. Those are my three fundamental pillars.

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

A: There are many artists that I would like to work with, many are famous and others are not. The important thing is that the music they make is good, that it transmits feelings. That is enough for me!

Q: Can you share one music production tip?

A: I think the best advice I can give is to stay open and constantly growing. Do not end up doing the same in all the mixes because it worked for you in one song, but stop to listen to the song before starting to work to see what it needs.

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

A: I specialize in hiphop, trap, R&B, pop, soul, but I have mixed almost all genres. The mixing tools are the same! The important thing is the criteria of who does it.

Q: What's your strongest skill?

A: I think my greatest virtue is understanding the artist's search. I like to talk to the musician or producer before mixing, to understand the sound they are looking for. Having that clear picture makes our work much easier. I like communication and I am very open to the feedback I receive.

Q: What do you bring to a song?

A: I try to contribute to the song what it asks of me. I do not have mechanized or repetitive processes, I use templates but before I start mixing I listen to the song several times. I try to be judicious and not "over-processing." There are no magic plugins, or unique and invincible methods that work for all songs. I think it's simply about listening to what the song asks for!

Q: What's your typical work process?

A: I don't have a particular work process. I think that an important characteristic that a mixing or mastering engineer must have is to be able to adapt to what the song asks for. The same methods will not always work for different songs. Sometimes yes, but the important thing is to be judgmental and listen to the song. Many times when having the work "mechanized" processes that are not necessary are repeated and results are not so good. Anyway, I usually spend the first few hours preparing for the session and editing vocals, putting everything to tempo, tuning, etc. Everything that requires little musical judgment. I leave the session and the next day I start mixing it.

Q: Tell us about your studio setup.

A: I have a small studio but acoustically treated by a professional. I am extremely used to the sound of the place, and I am very familiar with my SC207 monitors. I use a very powerful PC and a Discrete 4 Synergy Core as the main audio interface. I think the most important point of my setup is the acoustic treatment. It really was a before and after in my listening. I spend many hours in this place every day, so I love that it has a lot of sunlight, it makes working much more bearable.

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

A: I am Argentine and I believe that in my country there are very good productions and professionals, who have nothing to envy international audio geniuses. My local references are Nico Cotton, Evlay, Fede Vind, Javier Fracchia, Tweety Gonzalez, Andres Mayo, Rafa Arcaute, etc. Internationally there are many, but the first that come to mind are Jaycen Joshua, Finneas O'Connell, Michael Brauer, Chris Lord Alge, Andrew Scheps, Al Schmitt, Tony Maseratti, Tchad Blake, Josh Gudwin, etc.

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

A: What I do most is mixing and mastering. I work at "Portaestudio" doing sound design and mixing for advertising and audiovisual content. But where I enjoy doing the most is mixing and mastering music. I feel that all my years of learning music and my theoretical knowledge on the subject contribute a lot when it comes to mixing, because they made me develop a musical criterion that is essential to be able to work with this.