Grammy Winning Mix Engineer

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

A: At the time of tape recordings, I was still an assistant and I deleted a live recording with an orchestra that had not yet been released by the Record Company.

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

A: MacBook Pro, Avid Pro Tools Ultimate, UAD Apollo Twin, SSL Fusion, Neumann KH120.

Q: Tell us about your studio setup.

A: My system is all hybrid. I have dozens of external compressors and equalizers, such as API, 1176, Neve, SSL, Fatso, among others. However, I really like to use some plugins along with analog ones. I really like this mixture. But we have to know how to apply all these tools for each type of music to be mixed. Sometimes a song may sound better with plugins than outboards. Others sound better with outboards than plugins. We need to understand and respect each song.

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

A: I follow and like the careers of Serban Ghenea, Chris Lord Alge, Rick Rubin, Max Martin, Manny Marroquin, Phil Tan, to name a few.

Q: What do you like most about your job?

A: Watching music come alive by taking the sounds of different instruments and combining them in a tasteful manner is something that will always bring me immense pleasure!!!!

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

A: There are so many...but I think I get more is if the album will sound like the album artist "X". I answer simply and objectively. "His album will sound with their sound". With its your essence.

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

A: Nowadays I'm mixing more than recording. When I work on recordings, I like to be deeply involved with the music. I often end up working as a producer and directing aspects of the recording process. Recording is pure engineering where mixing is much more artistic, and I love that combination. Many independent artists who mix records with me end up asking me for advice about the music industry, especially with this new market where music is not only heard but also seen.

Q: What's your typical work process?

A: I like to hear the music as I receive it dozens of times before I start mixing. I think hearing the music exactly as it was heard the last time before being delivered to me, brings me an idea of how to get started, and a better understanding of the music. And I like to listen without looking at the session. Generally preparing a coffee, reading the news, just enjoying the music as a listener. After a few repetitions, I sit in front of the session, hear the song a few more times, and begin taking notes. I start with the vocals.

Q: What do you bring to a song?

A: People often say that you don’t ever finish a mix: you abandon it. I disagree. I don’t like rushing through mixes, and that is why I built my own studio. I need to feel touched by the song first, so I can transmit the energy to the people who hear the mix. I like to respect the recordings as much as I can. I like to bring value to the essence of the music, making it grow.

Q: What's your strongest skill?

A: Many people call me "echo man", so I think I have a certain skill with effects. They are always present in my mixes, and even though they cannot always be heard, they can be felt, and that's very important.

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

A: I work with to all kinds of music, but I think I fit best into rock and pop and. I love these styles.

Q: Can you share one music production tip?

A: Listen to great music and do not be attached to only the techniques. Feel the song, and apply your technical knowledge in favor of the song. Forget mathematics behind each piece of equipment. Just feel the music and make it amazing! Be happy and make the public be happy! Be happy and make the public be happy!

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

A: Tough question...but I believe that two artists who have my attention are Metallica and Alicia Keys. The way they work is inspiring, and at the same time I love to hear their music during my spare time. In addition to that, I admire their career paths.

Q: How would you describe your style?

A: I do not like to follow patterns. I think each song has a story to tell and I give myself entirely each song. I cannot say that my style is bold or conservative: I respect the music. Sometimes it's bold, sometimes it’s conservative. Sometimes the music sounds very modern, sometimes simple, but what matters is that it sounds good and thrills me, because I know that if I am thrilled, I can thrill the listener as well.

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

A: "If I were you, I would the mix my next album with Luizinho Mazzei".

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

A: I can promise my clients that I will contribute to their music in the best way that I can. I have true passion for what I do and transmit that passion in every song that I work on.

Q: Analog or digital and why?

A: The music has to be good, whether it be done in analog or digital. I work in both worlds and each has its charm, but your ears and your experience are what will make the music sound good, not the equipment.

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

A: We have many high level engineers here, including Manny Marroquin, Andrew Scheps, Yoad Nevo, and others.

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

A: My first gift was a radio from my parents. So music has been with me since I was a baby. I started studying drums at age 11, bass at age 12, and by age 15 I was the resident DJ for parties in the building I lived in. After that, I started playing at various parties in my neighborhood, and at the age of 17, started working in a professional studio. I started as an assistant engineer. At that time, I did not know the difference between the cables they had, LOL. I was an intern and had to work only 6hrs a day, but my love and interest was so great that I doubled my work hours almost every day. I wanted to learn, and my effort and dedication at the studio was endless. In less than one year I had already been hired for a full-time position, and had met fantastic engineers. I gained confidence and began to conquer my space, as the studio would usually put me in charge of vocal recordings. One day I went to work on recording a single, but the engineer didn’t show up. I ended up recording the song and it became the most performed song in Brazil for months. I started recording more frequently, and quickly became the studio’s chief engineer. On my first album as chief engineer, the artist who I was recording invited me to work in her studio and mix her shows. After that, I started working as a freelancer, which I continue to be. This was 1993...