Music Engineer / Producer that specializes in Mixing and Mastering for bands, producers, and film composers. My studio is in Los Angeles just outside Hollywood and was designed by Michael Blackmer of Blackmer Design.
Manu started mixing and mastering over 10 years ago, working with independent artists from all over the world. Building great relationships with artists that lasts for years, man clients keep coming back because of trust, teamwork and personalized services. The studio delivers incredibly accurate sound quality and all the work is guaranteed until the client is absolutely happy.
Contact me through the green button above and lets get to work.
Reviews (12)Endorse Manu Jimenez
Manu is a fantastic engineer. His passion for music is evident and he creates a really laid back fun atmosphere. He's reliable, and when working with him there is no doubt that the end product will be exactly how you want it.
Manu's work on a recent mastering project came back promptly with amazing sounding results. I literally ran around listening on every pair of headphones and speakers I could find. Highly recommended.
Manu mastered my single and I was very happy with the outcome. He is mastering my coming EP as a result. He was very professional, caring with my opinions, patient, and very kind. I can guarantee anyone would be satisfied with his product. I definitely look forward to continue working with him.
Manuel recorded, mixed, and produced our debut album Indigo Sky in his studio, Arimaka. He treated all 10 songs on our record like small jewels, giving each one the time and attention they needed to shine. Manu loves his art and it shows. He is creative, patient, and fun. A real pleasure to work with him.
Manu's attention to the dynamic character and musicality of our masters has been a highlight of working together. He's great with feedback and he's happy to offer suggestions to help tighten up a mix before mastering. His stem mastering work is the best I've heard and we look forward to working with him as often as possible.
Worked with Manu with the entire Un Rojo Reggae Band "Reborn" Album. He was patient, understanding, creative in his approach and always willing to listen to the artist's need. I'm privileged to have him around artistically and highly reccomend his craft.
I've mastered many projects over the years with Manu and it's been always a rewarding experience. He knows by now that I tend to be somewhat of a perfectionist which could be frustrating for someone else, but Manu is always up to the challenge and manages to dial things just right!
Manuel Jimenez is a hard working engineer that cares about the music he works with. We have worked together in multiple projects and I always recommend my clients to him as he is a professional, fun, and caring engineer. Everybody that has worked with him only has wonders to say!
Manuel has helped me out a lot with mixing/mastering my music as well as dedicating time to help me promote and guide me through the entire process. He is someone who takes his craft seriously and loves it at the same time. Definitely someone I would recommend to anyone looking to sound tight and professional!
Manuel has been the mixing and mastering engineer of several projects I have composed music for, including the music for the BUNDESLIGA official 2015 season opener at the Allianz Arena in Munich, which was performed in front of an audience of more than 67,000 people. He is extremely dedicated to his craft, and I always can count on him during tight deadlines and fast turn arounds.
I have worked with Manuel in several ocasions, co-producing, writing and he mixed beautifully my first album.
Not only he is very knowledgable in all kinds of studio gear, but he is very talented as well for mastering. Highly recommend him!!
A mastering engineer can either makes your music sound better, or, fucks up your mix. Manu made me smile when my mixes came back. Many makes it better.
Interview with Manu Jimenez
Q: Analog or digital and why?
A: Both! Tools are just tools, it's really the engineer / producer that puts them to work. Analog and digital both have their benefits and flaws, it's a matter of knowing what to use when and also trying different things. I'm never set on a particular workflow for any of my projects and I am comfortable working in any format.
Q: What's your 'promise' to your clients?
A: Satisfaction and Customer Service! That will always be my main goal. I have built a business on clients coming back, rarely do I work with a producer for just one project because my energy is focused on them loving the final product. Music is here to inspire us, to communicate, to make other feel something; I make sure my clients connect with this every step of the way.
Q: What's the biggest misconception about what you do?
A: The biggest misconception in Mastering is that we are there to make it LOUD or to use compression. Mastering has very little to do with either of those things; it's about making the project ready for delivery, to be the final advocate for the listener and the artist. Focus on ENERGY not loudness!
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I hope this desert island has power :) I would take a laptop with Logic Pro X, a Universal Audio Apollo 8p, my ATC 25A's for great monitoring, a vintage Shure SM7 and a Fender Telecaster. With those 5 things I can make records for years.
Q: What was your career path? How long have you been doing this?
A: I started playing guitar at age 13 and had a rock band until I was 18. While in the band, I started doing live sounds for many other bands that I played with and finally fell in love with music production when we recorded our first album. When I graduated high school, I started working in advertising; recording voice overs, doing sound design and mixing commercials for both TV and Radio. This experience led me to use the studio after hours to mix my first commercially released album at age 20. This passion for music lead me to Berklee College of Music, where I graduated in 2008. While at Berklee I focused on starting my business as a music mixer, and worked on several albums including "Solo Paz" by the band Porpartes that was nominated for Best Pop Album at the Latin Grammy's in 2007. After Berklee, I moved to LA where I worked with great engineers like Gavin Lurssen of Lurssen Mastering and Pablo Munguía before I opened my own room Arimaka in 2011.
Q: Can you share one music production tip?
A: With today's technology, the best tip I can give is to go for it, to try things, experiment. In the past, artist had to get everything right in a rehearsal room before going into a studio; today it's a very different story as everyone has some kind of home setup. Don't be afraid to do something you have never done, the best tools in digital are Save As and Undo, as well as the infinite options in sounds and processing.
Q: What's your strongest skill?
A: My strongest skill is critical listening. This skill is vital for any musician or engineer as it's the basis of everything we do. It's a skill that you must learn, practice and perfect.
Q: What's your typical work process?
A: The first and most important part of my work process is communication. I get the songs from the artist or producer and have a conversation about what they are looking for, the current status of the project and what their expectations are. This constant feedback is very important as every song is different and every artist has their own unique style. I will give feedback on the mix and production if that is what they are looking for.
Q: Tell us about your studio setup.
A: My studio is a unique space, because it's hybrid in both analog and digital processing as well as that it's setup for mixing, mastering and recording. My main system is connected to outboard mixing gear and a Dangerous 2-bus summing mixer, as well as to Lavry converters for monitoring or mastering. My mastering console is all analog and has some of my favorite pieces from manufacturers like Manley Labs, Pendulum Audio, API, Dangerous Music and Maselec. This console is connected to my second system which is a capture computer for mastering that uses a Custom JCF Audio A/D Converter. The room was designed by Micheal Blackmer of Blackmer Designs, who helped me get the acoustics just right; it's truly a great sounding control room.
Q: What other musicians or music production professionals inspire you?
A: As a Mixing Engineer, I've always admired the work of Michael Brauer, Andy Wallace, Mick Guzauski, Al Schmitt and Tom Lord-Alge. This diverse group of engineers run the gamut of genres, mixing styles and techniques; yet all of them bring a unique musicality to their projects. Tracks that they have mixed are always in my inspiration playlists when I am working in the studio.
Q: Describe the most common type of work you do for your clients.
A: The most common type of work is post-production for music. My role is either as a Mastering Engineer, Mixing Engineer or both. I truly enjoy the final stages of a production, working closely with the artist or producers who have put so much time into making their project the best it can be; I'm the last pair of fresh ears to really take it to the next level.