Magic Ear Mix Engineer

Q: What do you bring to a song?

A: Maximize the emotional impact it already possesses. Assist it in flourishing. Like many, I began as a musician, raised in a highly talented and renowned family. My father, an exceptional singer and masterful instrumentalist, instilled a deep love for music. Having studied sound engineering in 1992, I embarked on extensive touring, recording, and mixing worldwide—from San Francisco to Sydney, Denmark to La Paz, and even the Amazon. I've had my own bands, done songwriting, produced albums, and played various instruments. It's the fusion of this knowledge and experience that empowers me to perceive and feel music from its core, resulting in outstanding mixes across diverse genres, spanning classical to rock, folk, and electronica—I've done them all.

Q: What's your typical work process?

A: When taking over a mix from someone else, I listen attentively to enhance without leaving a noticeable trace, if that makes sense. If I'm starting a mix from scratch, I prefer to begin early in the day. I love commencing by balancing tracks without any processing or additions. Once that foundation is set, I delve into the details, adding only what's necessary.

Q: Tell us about your studio setup.

A: I embarked on this journey a long time ago, starting with tape machines and analog equipment. Over time, I seamlessly integrated remarkable digital tools one by one. I once owned a beautiful SSL and an extensive collection of outboard gear. Nowadays, I thrive in the ITB realm, using Pro Tools Ultimate with a Focusrite Red 8Pre, SSL controllers, and an Atmos 9.1.4 monitor system featuring Neumann Speakers in a meticulously designed room. The space is comfortable and laid-back, boasting a private entrance, toilet, parking, effective AC system, serene quietness, and a dedicated chillout area with a spacious sofa. It's a truly private oasis for creating exceptional sounds.

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

A: Q. Regarding pricing and turnaround times? A. The timeline and cost hinge on your budget. Quality is non-negotiable, whether it's a swift or more extended process. Q. Thoughts on their song and recording/production quality? A. I provide an honest, straightforward assessment based on the emotional impact. Personal taste aside, I focus on whether it resonates, flows seamlessly, and effectively transports us where the song or story intends.

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

A: Playing Guitar, Recording and mixing since 1989, I've dabbled in producing along the way but found my true calling in sound at the start of my career, handling mixes for notable live acts until around 2004. Mixing has remained a constant passion. My inaugural achievement was a number one album in 2001 titled "El primer siempre es Rápido" ("The First Is Always Quick") by the band "Fauna Crepuscular." Subsequently, Grammy Nominations followed with Los Amigos Invisibles for mixing "Arepa 3000" and beyond. I spent a few years living in the UK, working in studios, and learning from esteemed British mix engineers like Dave Bascombe (Depeche Mode, The Verve, Tears for Fears) and Jim Abyss (Bjork, Arctic Monkeys, Kasabian), also along side bands like Stereophonics, Ladytron and Tom Vek accumulating a rich portfolio of records along the way.

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

A: Nana Cadavieco, Atkinson, and Le Pico hold a special place because I took charge of the songwriting, production, recording, guitar playing, and mixing independently—a challenging yet rewarding endeavor. Collaborating with my Dad and his talented friends was always a joy. Additionally, working with my wife, a superb singer with incredible talent, brings me immense happiness. Plus, she's not just a great singer; she's also quite hot!

Q: Analog or digital and why?

A: Both digital and analog have their unique merits and drawbacks. While I appreciate both, I lean towards digital for practical, economic, and flexible reasons. I find enjoyment in its sound without asserting it's superior or inferior to analog in terms of audio quality. Fortunately, I can make this statement confidently after working extensively in both realms for a considerable duration

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

A: That I will work on it until everybody is happy.

Q: How would you describe your style?

A: Emotionally charged, dynamically punchy, substantial in its richness, and present when required – all delivered with a profound depth and realism.

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

A: Bands like U2, Jamiroquai, Tears For Fears, and Pink Floyd, fueled by my deep admiration as a devoted fan

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

A: Many are great, and to count them all would be challenging. Some notable engineers include Mick Guzauski, Michael Brauer, and Ken Scott.

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

A: Get involved as a collaborator/advisor from the beginning of the project to enhance the production's potential and then handle the mixing. At times, I receive poorly done mixes from others that artists or labels want to redo properly. Additionally, I work as a ghost mixer on occasion.