Analogue+Digital Mixer

Q: What's your strongest skill?

A: Evaluation of an arrangement's strengths and a vision for potential improvement.

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

A: A Collection of classic songs by the Peruvian Composer Chabuca Granda. The project is entitled: A Chabuca, comprised of 12 of Chabucas’ most loved songs sung by some of Latin America's and Europe's most senior and serious artists. I had the honor of editing and mixing the project. The reason for feeling pride in the project is the sense of meeting the challenge of combining, in a single album 12 songs and artists created over three continents and 17 studios by at least as many engineers into a work that, surprisingly has an integral continuity from song to song where none existed previous to mix and mastering. My dear friend and collaborator of forty years, Manuel Garrido-Lecca produced and Andres Mayo mastered the record; their work was fundamental to its success as a work of art. We received "Record of the Year” Nomination from Latin GRAMMY in 2019 for 2 songs.from a single album ( to my knowledge the only time that has happened so far in GRAMMY history). https://music.apple.com/us/album/a-chabuca/1187043180

Q: What are you working on at the moment?

A: I have three production projects going on. A new artist, singer-songwriter from Colombia; tremendous poet. A country singer from Pennsylvania with a love of Tex-Mex Culture, and an album mix for a Venezuelan Classical Tenor of Neapolitan art songs with Symphony Orchestra.

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

A: I am happy to recommend my friend and collaborator for the last ten years, Mastering Engineer Andres Mayo. Put your music in his hands, you will be glad you did!

Q: Analog or digital and why?

A: Both, Absolutely. In the manipulation of audio, each design has areas in which it is better than the other. The secret is to choose which for which job.

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

A: To satisfy my client’s expectation 100%. If I can, I will exceed that expectation.

Q: What do you like most about your job?

A: Music is an exceptionally expressive language. The interaction between music’s harmonic matrix and the physical and physiological makeup of humankind creates an opportunity to manipulate the audiences’ emotions almost directly. My place in the project is to engage the listener and hold their interest for the length of the song using tools that professional audio provides. To find the optimal path for each song is a fascinating challenge.

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

A: Overwhelmingly, the most common question I am asked is, “Who is the most important artist you have worked with?” My answer is. "The artist I am working with right now."

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

A: My advice would change slightly dependent on genera but: In general it is critical for a mixer to be quite familiar with the genera. Upon listening to the mixer’s work, the client should at least like, or better love, the taste that the product expresses. Upon interacting with the mixer the client should find they can understand him or her.

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

A: Answering the question as a mixer: (1). mid-Field Monitors I can trust: Genelec (2). reliable platform for tracks, DSP, and summing: ProTools w UAD, WAVES, SPL Mod 2384 (3). 5 Star Vocal Opto Compressor/Limiter: LA2A Opto Comp/Limiter (4). flexible EQ with a wide tonal range: NEVE 1081, 1084, or 1073 (5). Stellar A/D convertor with stable dig. clock: CraneSong HEDD192

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

A: I am based in Miami Florida. Dance music was a very important part of the 80’s Miami music scene. I had the opportunity to become recognized by the major labels in that period. In the 90’s the Multinational labels opened offices in Miami as it became the center for Latin Music production in the US. By the mid 90’s I was doing a mix of Latin and Anglo pop records. That continues to today but there are always interesting projects in Jazz, Blues, Pop-Rock, Rap, R&B, Soul, Gospel, Funk, Hip Hop, Rock, and Classical that pop up.

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

A: Forty five years. When I was finishing my Masters of Music in 1979, I was arranging commercials and doing album recording sessions as a trumpet/flugelhorn player. I started doing recording; that led to mixing. I had my first Billboard Pop #1 in 1987. I have built three studios for myself since 1985. The record sales and GRAMMY Nominations have come along as I have grown.

Q: How would you describe your style?

A: Committed and hardworking. I am fortunate to do something for a living that is the central passion of my life. I strive to do it the best that I can.

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

A: Any Artist who is committed to their art and passionate to communicate their stories is someone i would love to work with.

Q: Can you share one music production tip?

A: Every day, try to advance in critical listening. Ear-training and the wisdom that comes from evaluating excellent musical work is the most efficient way to develop first-rate production criteria.

Q: What do you bring to a song?

A: My musicianship and communication skills. Forty five years recording, mixing, and producing some 3000 songs in a dozen genera. A commitment to reach 100% satisfaction for my client.

Q: What's your typical work process?

A: First, I listen to the music. I work to memorize the Arrangement and Structure. I evaluate tuning, timing, track sync, and phrasing. Then I may have questions for the Artist about the recording procedure and how they feel about where the song is at the current point. Our conversation usually leads to a plan of action for the song.

Q: Tell us about your studio setup.

A: Since the 80’s when I built my first studio. I had a Multitrack Tape Machine, Console, and outboard gear. The studio I am in now was originally designed as a traditional mix studio. I had 48 channels of DA88 Modular digital tape and a Class A NEVE 8068 Console with Flying Fader automation. The studio I have now is a hybrid Analogue/Digital Studio which functions as a console. The mix path has ProTools at the front-end, but uses a Class A Analogue summing matrix to incorporate the racks of outboard gear intro a MultiStemMix before recording the final Stereo mix back into ProTools. This signal flow has the advantage of adapting to binaural, 5.1 Surround, or Dolby Atmos seamlessly.

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

A: A Short-List of Production Professionals I admire must include: Trever Horn, Sir George Martin, Bob Ezrin, Bob Clearmountain, and George Massenburg. I am constantly inspired by the Artists with whom I have the opportunity to work; talent and potential greatness is all around us.

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

A: At the start, clients hire me to mix their music. Frequently, in subsequent projects, I am asked to produce.