TRAP & POP Mixing & Mastering

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

A: That I’ll treat your song like it’s my own. My goal is to translate your vision into a final product that moves people—and competes sonically with what’s out there today.

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

A: Trap, Pop, Reggaeton, Latin Pop and Pop Rock. I enjoy energetic, modern production with bold vocals and textured low-end

Q: What's your strongest skill?

A: Translating an artist’s identity into sound. I know how to make a mix feel wide, clean, punchy, and still human, like it belongs on a playlist next to top level releases.

Q: What do you bring to a song?

A: A balance between technical control and emotional intuition. I want the mix to feel right, not just look perfect on an analyzer. I bring clarity, impact and intention to the sound.

Q: What's your typical work process?

A: I start by organizing the session and cleaning up audio (clicks, pitch issues, timing). Once everything’s solid, I begin shaping the mix: balancing tones, creating space, enhancing impact. I work in stages, always referencing the artist’s vision and the emotional center of the track.

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

A: It's often thought that mixing magically fixes what wasn't done right in previous steps, which is incorrect. The idea of mixing is to enhance what was already done well, although there will always be details we need to control along the way. Sometimes, there are also artists who ask me to make production changes in the mix, like adding or changing a synthesizer, which is the producer's job, not the mixing engineer's.

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

A: I’ve been involved in music since early childhood, and after studying composition, arranging, and production, I’ve spent over a decade working full-time in the studio. My mixing and mastering work has developed alongside my background as a songwriter and producer, which gives me a strong musical foundation when shaping the final sound

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

A: I’m drawn to artists who want to create music with impact, those who care about detail, emotion, and sound quality. Whether they're signed or indie, what matters most is the drive to push the song to its best possible version.

Q: Tell us about your studio setup.

A: I work fully in the box, in a space I’ve fine-tuned for over 10 years. My biggest asset isn’t gear—it’s knowing exactly how my room and monitors respond. That consistency allows me to deliver reliable, polished mixes that translate well across systems.

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

A: “ADELANTE” by Kauti is one of those tracks that captures my full approach: I produced, mixed and mastered it, guiding the song from demo to final release. The mix balances clarity, low-end energy, and emotional drive—exactly what I aim for in every project.

Q: What are you working on at the moment?

A: I’m mixing and editing several projects recorded during a production trip I did in Buenos Aires. It’s a mix of urban pop, reggaetón and indie with emotional vocal focus—exactly the kind of hybrid sound I love to work on.

Q: Analog or digital and why?

A: Digital. I work in the box and love the precision, speed and recall it gives me. With today’s tools and proper monitoring, there’s zero compromise in sound quality. Analog for tracking is great.

Q: What do you like most about your job?

A: I love being able to get involved in amazing projects from anywhere in the world.

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

A: Artists often have many doubts about where the boundaries lie between mixing, production, and mastering, which is normal since nowadays, one can do everything in a single ProTools session. However, there are separate functions, and keeping them in mind will help us approach the work step by step in the best possible way.

Q: What questions do you ask prospective clients?

A: It depends on the project, but there are some questions that tend to repeat: Do you have all the tracks already edited in terms of noise, fades, audio repairs, manual tuning, and tempo? What do you like about your rough mix, and what don't you like? Do you have a reference track that you'd like us to aim for, or do you just want us to improve the idea worked on in the rough mix? When do you need the project completed?

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

A: To ask me any questions they think are necessary to start their project in the best way possible.

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

A: Laptop, interface, headphones, microphone, and an acoustic guitar.

Q: How would you describe your style?

A: While I can be quite subtle with some elements at times, I really enjoy aggressive sounds, big and saturated mixes, and strong, well-defined vocals

Q: Can you share one music production tip?

A: The most important advice I believe I have is: try to make the song work before you start producing or programming it. When a song has many production details, it's often because there are aspects of the composition itself that need compensating. For this reason, if you achieve a strong composition that stands on its own with just voice and piano, everything else is an uphill journey from there.

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

A: For many years, I based my mixing approach on Michael Brauer's philosophy. After that, I started studying Jaycen Joshua's sound to integrate it into my workflow. Following Serban Ghenea closely for some years has also helped me grow and improve my own work philosophy, combining what I've learned from these great engineers.

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

A: It's quite common for artists to reach out to me to improve the sound of a mix or demo they already have. Mixing and mastering are usually my main services. However, if vocal editing or adjustments to some tracks are needed, I handle that as well.