Mix Engineer

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

A: An album called Ayer, by Geovanni Leon. I produced, and mixed. I learned a lot from it. It took us a lot of time to make because budget was almost unexisting, but that album was my school. I'm proud of it, there's so much heart in it.

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

A: Haven't explored Sound Better's catalog that much, but I bet there's a couple of super skilled friends I could recommend.

Q: Analog or digital and why?

A: Digital. Short answer, just listen to the GOATS. Michael Brauer sold his entire analog gear, Tchad Blake has been mixing ITB for years. "To make modern record, you have to use modern tools" -Jaycen Joshua. Analog is cool, I like to work with it. But for mixing, digital is the future. Simple as, If you want a mix revision in the analog world, that could take days (and much more money), while in the Digital world it could only take hours.

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

A: That the success of their music will always be my priority. As long as we keep positive and open, we will get to whatever they have in mind. Any decision or ideas I may offer, will always be in the song's best interest in mind.

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

A: There's no fixing in the mix. [Insert Batman slapping Robin meme.] I can't change bad sounding things into great sounding things. We —mixers— of course do make things sound better, but mixing is a job about context and making things fit beautifully together, not about turning poop into gold, or an apple into an avocado. Example: If you give me an 808 that doesn't sound anything like the one in your reference track there's things I can do about it to make them compete, but their character is going to still be different. You should choose carefully the sound of your elements while you produce your song.

Q: What questions do you ask prospective clients?

A: Artistic/Aesthetic questions: Do you have any concept on mind? Are there any references? Does your song have the musical elements and textures that match that aesthetic? What's the type of energy you want your song to have? What are the emotions you want to express with it? Tell me about the song. Technical questions: Are the vocals in tune? Do you checked for clicks and clips? Are there any song references? Please be sure to give me the tracks in the same sample rate and bit rate they were recorded/produced.

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

A: Be very thoughtful about the sound you desire to get, and if it matches with the elements in your production. Even 2 songs from the same genre sound different for a reason. You cannot get an apple from an avocado tree.

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

A: Computer (MacPro 7,1), converter (RME ADI-2Pro), headphones (Audeze LCD-5), speakers (Dutch and Dutch 8C, PMC twotwo8, or ATCSCM45A), and a guitar (my beloved Strat).

Q: How would you describe your style?

A: Well, I love sonic landscapes. Almost trippy liberating atmospheres. But I also love silence and contrast. I love the clarity, punchiness and fullness of Michael Brauer but I also love the dirt, textures and character of Tchad Blake. And of course, Jaycen Joshua's expensive sounding low end.

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

A: As a producer, I often find myself thinking on how great it would be to work with older artists or bands that became to famous to take risks, and became their own cover band; I would love to be the guy who helped them to be young (in a creative way) again. I don't know if I could pull it off, tho. But... hey! This is about dreamin'! And as a mixer, I would like to work with any artist that's an actual professional with great work ethics. I love that kind of artists. Doesn't matter their music style, as long as I'm a good aesthetic match for them.

Q: Can you share one music production tip?

A: Sure! Thinking about how you would mix a song from the beginning makes a huge differences on the decisions you will take during the production process. Planning your production thinking on how you would pan things, which instruments will be more dominant on which frequencies, how wide the stereo image will be in which parts and how you could get a nice balance; stuff like that will make your mixing process so much precise and fun. You will open the door to creativity in the mixing process, instead of being worried on how to get a sound from a production that doesn't have the elements to actually get it.

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

A: All kinds, the palette is pretty wide, but mostly: Indie Pop, Alternative, Lo-Fi, Rock, Hard Rock, Hip Hop, and Latin Urban.

Q: What do you bring to a song?

A: First of all, my desire to make it sound as best it can. I describe my work as: The Sound of Your Ideas. For me it's all about helping you get your sonic ideas to thrive thru your music. Mixing is determinant for the quality of your sound. This is about making you happy and sounding great. That's what a bring to the table.

Q: What are you working on at the moment?

A: I'm mixing all the time.

Q: What do you like most about your job?

A: Being able to handle and create emotions trough music. Making things sound beautiful.

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

A: Questions always vary, but I'll be happy to answer anytime.

Q: What's your strongest skill?

A: I would like to think that it's searching for the voice of the artist through their music and also that I'm always open to new sonic ideas.

Q: What's your typical work process?

A: I do Mix Prep from the received Mix Session or the individual tracks, then I proceed to mix with all that that includes: There's some basic given things that will always happen: Phase check: Quick phase alignment check on multi-mic'd elements. Balance: Frequency, Volume, Width and Tone Dynamics: dynamic control individual and group, transient shaping. Automation: basically movement, excitement, interpretation, intention. My endless love for mixing and music of all kinds. And some other basic things natural to the process. Basic + HQ Audio(Mastering ready) Delivery And there's some things that might happen depending on the needs of your song: Drum reinforcement and/or replacement Tiny Miny Melodyne Pass: I'm not gonna tune your vocals and stuff. That's another gig, but if there's just a little-tiny issue somewhere, i'll fix it! Make a Radio Ready Mix: Not a Master —that's a separate process— but I can definitely deliver a loud enough mix, if that's what you need. Creative Edits: Small edit suggestions. Mostly delivered apart. Those are merely broad strokes of what happens in the process, but thought you might be interested in them. :)

Q: Tell us about your studio setup.

A: I'm an «In The Box Mix» engineer. Some of my rig is: a Mac Pro 2019 (7,1), a top notch converter —RME ADI-2 Pro—, and lots of fun plugins from brands like: Audio Ease, FabFilter, Waves, Valhalla, Brainworx, Acustica Audio, Sound Toys, iZotope, Empirical Labs, Sound Radix, SSL, Oek, Kazrog, Slate, Synchro Arts, Antares, GoodHertz, XLN, U-he, Nugen, Eventide, Zynaptiq, Celemony, etc.

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

A: I'm very inspired by Michael Brauer, Jaycen Joshua and Tchad Blake.

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

A: I mix music.