Antonio Romero on SoundBetter

Bilingual Composer, Sound Designer, and Audio Post Expert with over 20 years of experience in Sound Design, ADR, Foley Art, Spanish Localization, Dialogue Editing, and all aspects of audio post-production for Film, TV, Podcasts, and advertisement. Trusted by world-renowned brands such as Porsche, Kellogg’s, AMEX, and Coca-Cola. Grammy voting member

I provide original music scoring and audio post-production services for narrative films, documentaries and audiovisual projects in general. My services include Foley art, Sound design, Dialogue editing, Audio restoration and noise reduction, 5.1 Surround mixes, Re-Recording Mixing, and pretty much any sound related service you might need for your project.

Send me an email through 'Contact' button above and I'll get back to you asap.

Credits

Discogs verified credits for Antonio Romero (3)

Charly Duur
Greasy Grapes
Greasy Grapes
Grupo Maestro Iribarren, Antonio Del Pino
Greasy Grapes

1 Reviews

Endorse Antonio Romero

by Matthew Olivarez
I would recommend Antonio to anyone who wanted to work with a very professional composer. Not only is the work he did for my project stellar, he also completed the project very quickly. He is also very easy to work.

Interview with Antonio Romero

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: An acoustic guitar, Sheet music notebook, and a pencil.
Q: What do you bring to a song?
A: A connection between the story, the sounds, and the listener.
Q: What's your 'promise' to your clients?
A: That I'll do my best to translate their storytelling to the audience.
Q: How would you describe your style?
A: I like to combine classic production techniques and approaches with contemporary production values and modern gear.
Q: What do you like most about your job?
A: Being surrounded by music and new sounds every day.
Q: What questions do customers most commonly ask you? What's your answer?
A: They ask for my rates, and it depends on what they want.
Q: What's the biggest misconception about what you do?
A: The huge amount of time we put into making things sounds great
Q: What type of music do you usually work on?
A: Cinematic Scores, Americana, Rock, Blues, Funk, Jazz.
Q: What's your strongest skill?
A: Being able to translate director's storytelling in terms of sound to the audience.
Q: What's your typical work process?
A: With time, I've learned to approach every project in a different way. All projects are different and you have to find out what the project really needs from you, and how can you translate the emotions and the story of a song or a film more effectively.
Q: What questions do you ask prospective clients?
A: What they want from me, timelines, budget, expectations.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Research, do your homework, know what you want.
Q: Which artist would you like to work with and why?
A: A creative artist who clearly understand why they need my services and are willing to listen to my input even if that means changing their original concept.
Q: Tell us about your studio setup.
A: Protools HD 12 based and 5.1 monitoring system. More plugins, guitars, and sound libraries than I can remember.
Q: What other musicians or music production professionals inspire you?
A: I really like the work of Phillip Glass, Gustavo Santaolalla, Ry Cooder, Daniel Lanois, and Robbie Roberson, among many others.
Q: Describe the most common type of work you do for your clients.
A: My work spectrum is pretty wide actually, from writing film scores to produce other artists. I'm also a dialogue editor, and sometimes I get some work as a session or live guitarist.
Q: What are you working on at the moment?
A: I'm currently working on indie films as a composer or doing audio post.
Q: Analog or digital and why?
A: I used to be an analog snob but not anymore. Both worlds have advantages and disadvantages, all you need to do is know it and make it work for you. These days digital simulation of analog gear is pretty close to the real thing and having instant recall to do revisions of your mixes without touching a single fader is priceless.
Q: What was your career path? How long have you been doing this?
A: I've been doing this for about 20 years now. I play guitar since I was 8yo, started playing in bands then I went to music production and engineering school and graduated in 2005. I've been working non stop with bands, composers, TV stations, as an independent film composer sound designer, teaching audio engineering and music production and even as an Acoustic consultant for recording studios construction.