Creative Rhythm and Production

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

A: I've produced and recorded drums on Anna Ratto's Album "Tantas", (on all platforms). My role was to produce and play drums, as well as taking the artist to a new sound frame of her career. We had to work tonality, timbre, performance and vibe altogether and in the end we were all very happy. It was very well received by the midia as well, I'm super proud and happy with the results. And obviously my first album Om'Dub. A mix of contemporary electronic music mixed in and infused of Brazilian rhythms. I was the artist, producer, music director, recording engineer, assistant, executive producer and crowd fund raiser! It was a game changer, the year was 2014.

Q: What are you working on at the moment?

A: I'm working on producing and recording drums on an entire project of an album. All versions of a few classics such YYZ, Don't Stop Believing etc. I need to manage all the stems, mount the project in Pro Tools,make sure everything goes smoothly and understanding all the challenges of new realities when it comes to remote sessions

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

A: Yes, my friend and bass player Bruno Migliari

Q: Analog or digital and why?

A: Digital but with some good outboard devices too. In current times being in digital environments gives everyone a great quality and speed of the process. All this gives everyone a sense o accomplishment.

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

A: A light, fun, insightful and truthful process, whereby I make my best efforts to come up with a drum track/beat/production that best represents the clients desires and needs musically speaking.

Q: What do you like most about your job?

A: The playful aspect of it, from learning the music to achieving the right sound, and also the opportunity to get to know huge and diverse number of people.

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

A: How does the remote recording process work? What is required? How do I get the results I'm looking for? The answers may have slight variations according to the project, but in general is pretty much as follows: The remote process is very simple and economic. No flights, drive, parking expenses or time used, and in my case you may get to follow the recording process. The client sends me a guide track, as simple as vocals and guitar/piano (preferably recorded to a click) informing the BPM, with as much information about it as possible such as links to references and any ideas or further references, the more info the better. Finally the result is achieved via a close dialog where I get to send one version, and the client has the option to get 2 more takes included in the price, which means 3 opportunities to make adjustments and get the best possible version to his/her music

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

A: I guess is that the studio is a super serious uptight work environment, when it really is about having fun whilst being respectful and collaborative.

Q: What questions do you ask prospective clients?

A: I try to keep a very relaxed vibe and ask them stuff like, how it was written, what inspired it, what are the sonic references, as well as film, books, anything that is part of the song can be helpful.

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

A: The more info about the tracks the better. Be as specific as possible.

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

A: Kick, snare and hats (that's 3!!) erm... laptop with Ableton Live and a pair of headphones... Those questions are always sooo tricky. Lots of battery packs count as one item?? I could swap the hi hats for battery packs...

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

A: I've graduated in the Rio de Janeiro Federal University in music Education, (1995) which was followed by a being in an indie rock band (1995/1997) signed to Universal Music for 2 years, touring and doing band stuff. In 1998 I went to England to study at the infamous "Power House" at the Thames Valley University where I got a cerificate in drum performance as well a DJ Certificate from SAE and playing the local scene. The years that followed saw me touring in Brazil with Lobão and Marcelo Bonfá (Legião Urbana), DJing in Rock in Rio at the nascent electronic scene in Brazil, moving back to London where I've done several TV sessions such as Brit Awards with Avril Lavigne, BBC Top of the Pops with Eminem, and recording and touring with Patrick Wolf. I've also had the opportunity to record an unreleased track (sadly) for Destiny's Child Kelly Rowland, and releases for Jason Donovan and Shakin' Stevens, besides recording re-makes backing tracks to be sung in BBC celebrity music contests. Back in Rio de Janeiro in 2010 I've recorded with. Lenine, Roberta Sá, Pedro Luís, have played live with Marina Lima, released 2 solo works, been nominated for best electronic artist twice (2017 and 2018) have done a few remixes and re-started teaching, eventually becoming an Ableton Live Certified Trainer. As producer I've done not only my own work but have been producing other artists. Anna Ratto being the latest, with her well acclaimed album "Tantas".

Q: How would you describe your style?

A: Contemporary, yet steady and open minded and super friendly. I'm normally in search for what suits the track the best. If all is needed is just a little finger tap or some simple percussion then so be it. I tend to go for a natural sounding acoustic drum sound, or use the most advanced methods to get an electronic beat to stand out.

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

A: I wish I had worked with David Bowie. He was one of the most creative artists within pop music, with great meaningful songs that always stood out from the pack. Peter Gabriel and Radiohead, for their endless creative spirit.

Q: Can you share one music production tip?

A: Sometimes just one mic does it for drums when you're searching for a low profile sound

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

A: Indie/Pop, brazilian/electronic beats, almost anything with a groove, quirky leftfield stuff too.

Q: What's your strongest skill?

A: An open wide listening capacity, and understanding of what is being requested

Q: What do you bring to a song?

A: I believe I bring the energy needed, whether is a quiet or a heavier one. I tend to adequate to the style and also bring in unusual and out-of-the-the-box elements that I feel might contribute to the track itself.

Q: What's your typical work process?

A: The drums are mic'd up 24/7. When a project comes in I tend to ask as many questions as possible to understand very precisely what are the demands. I tend to ask for sound references as well as abstract references. I'll listen to the track a few times and make decisions of cymbals, drums, tuning, electronics if it's the case, what timbres etc. I position the track minus drums and the track with temp drums if it's there, create cues and get to work. Coffee and tea are part of the process, oh and biscuits too.

Q: Tell us about your studio setup.

A: Drum set: DW (1995), many different snare drums. Zildjian, Paiste and UFIP Cymbals. Mics: Matched Pair of Se Electronics Large capsule Condenser, Shure: Beta 57 and 52, SuperLux drum kit mics, AKGs. UAD Apollo 8p, Mac mini running Pro Tools or Ableton Live, Tannoy Reveal Speakers, Push2, several different MIDI controllers, Roland SPDSX, various percussion instruments.

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

A: It's a long list, but in short I'd say Rick Rubin, Prince, Liminha (in Brazil) for producers. For drummers: Steve Jordan, Steve Smith, Mark Guiliana, Marr Chamberlain, Bonham (of course) Marcos Suzano. Bass players who inspire me are Pino Paladino, Flea, John Paul Jones

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

A: What I do mostly is record drums and or beats and programming.