Session drummer, mixer

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

A: Does my drum kit count as 1 piece? If not, kick, snare, hats, the Beta 52A and the Neumann TLM 103.

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

A: I've been playing drums since 1998 at 8 years old and I started recoring for fun at age 15. Professionally I've been doing this since 2015 after finishing my studies at a great recording school called Tecson.

Q: How would you describe your style?

A: Really energetic and dynamic.

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

A: I'd love to record drums for Nightwish, Epica or Delain. They have super fun songs to play on drums. And,if possible, I would like to be recorded and mixed by Kris Kohle. That guy achieves hands down the best metal drum sounds in the business.

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

A: I usually record drums for Rock and Metal but, since I typically record local folk and blues musicians, I am well versed in those styles as well.

Q: What's your strongest skill?

A: My ability to change the way I play to suit the song's needs and to expand on the musical ideas presented to me.

Q: What do you bring to a song?

A: I bring energy and excitement to a song, wheter I help write, I drum or I mix it.

Q: What's your typical work process?

A: Typically I look for live material of the client I'm working with and I ask for a few known artist whose sound they want as a reference. If I'm drumming on their songs I do various takes and send them the idea as finalized as possible and we work from there. If I'm mixing I first check if it needs any editing or other type of correction. Once that's done I can focus on the real mixing and getting the vibe right. My philosophy for mastering is trying not to change the vibe and balance of a mix but to expand on it and take it to a place where it can compete with the client's favorite recordings.

Q: Tell us about your studio setup.

A: I'm recording through a setup of 2 interfaces. The main brain is a Digidesign Digi003 Rack with a Focusrite Scarlett 18i20 and the ART Digital MPA 2 pre amp. I also use Shure SM57, SM58, SM81 and Beta 52A, CAD Equitek E200 and E300 condensers and Neumann TLM 103 and KMS 105. The drums I use are a Gretsch Catalina Maple 7 piece, Mapex Falcon Hardware, Pearl Eliminator Demon Drive pedals, Los Cabos Drumsticks and Remo Drumheads. I play many Paiste Cymbals:14" Signature Heavy Hihat, 20" Signature Power Ride, 18" PST 7 Crash, 18" PST 8 Medium Crash, 16" PST 5 Medium Crash, 16" PST 5 Rock Crash, 19" 2002 Wild China, 16" 2002 China, 14" PST 7 Mini China, 18" Alpha Swiss Stack. I also own a wide array of guitars and basses (and a lap steel from the 50s) from Fender, Godin, La Alpujarra, Sigma by Martin and Jay Turser. My keyboards are a Korg M50 and a Studiologic SL73. My amps are a Marshall JCM900 combo, a Fender Blues Junior, a Fender Acustasonic Junior and a Hartke Model 2000. My pedals are a Harkte VXL Preamp, a Tech 21 Fly Rig, a Line 6 POD HD300 and a few korg expression pedals.

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

A: There's this album I recorded, mixed and mastered for argentinian folklore artist Perla Galarza. It was a very simple acoustic project but a very fun one. Working with someone with a great voice like hers is always great and coupling that with 2 of the greatest folklore guitar players I've ever heard was really easy and organic. The songs were really good and that adds a lot to the experience. When I heared the rough mix of what we were tracking I already felt that there's something special going on. That is the kind of project that I really love but sadly it they are few and far between.

Q: What are you working on at the moment?

A: A couple releases with a few of the metal bands I'm in and some argentinian folklore music solo artists I'm mixing.

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

A: Usually that I can fix every little mistake or weird noise in the mix. Even the unfixable ones.

Q: What questions do you ask prospective clients?

A: What records or songs do you have as a reference for your project? What's the game plan? Is it an full length album? A single? A demo? What's the target demographic for your project?

Q: Analog or digital and why?

A: Digital all the way. I think it's a lot more flexible to work with not only in the technical aspects but also in creative ones. You can even replicate classic analog sounds in the digital domain.

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

A: I promise I'll work on every song with the same enthusiasm as if I was working on any of my idols' songs. I really enjoy what I do and sharing the creation and spread of new music is something I always like being a part of.

Q: What do you like most about your job?

A: Watching as a song slowly builds up and becomes great.

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

A: Be mindful of what you want and need in a provider. Don't just hire whoever is the most voted or the cheapest if they don't fulfill your needs.

Q: Can you share one music production tip?

A: Never underestimate preproduction and being prepared for the recording process. I know it sounds stupid and obvious but you wouldn't believe how many musicians (even professionals) just try to wing it and waste time in the studio trying to piece together song parts into something cohesive. Also, practice to a click even if you won't record using one.

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

A: As far as musicians go, my main influences are Kerim 'Krimh' Lechner, Nightwish, Aborted and Kiss. I know, weird list. All over the place. I'm also a really big fan of the productions of Warren Huart, Kris Kohle, Joost van den Broek and Machine The Producer.

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

A: I typicaly record and mix songs for bands and singer songwriters. Occasionaly I play drums in said songs.