Professional Drummer

Q: Analog or digital and why?

A: Trying to get the best of the two worlds!

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

A: I've been working as a professional musician/drummer for more than 16 years. I got a degree as a Professional Musician from the E.M.B.A. (Buenos Aires Music School), which is one of the most respected institutions for musical studies in Argentina, where I was also granted of a scholarship due to performance. I took private lessons with Mark Guiliana (USA), Greg Hutchinson (USA), Daniel "Pipi" Piazzolla, Carto Brandan, Eloy Michelini, Dorian Mori. I've been fortunate enough to be surrounded by amazing musicians from different kinds of music, who have trusted in me for their albums/tours/gigs, and still do. I got to play with lots of recognized musicians such as Pedro Aznar, Javier Malosetti, Richard Bona (while in Argentina), Mario Parmisano, etc.

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

A: It would be Perceptual Trio, Olvide San Telmo and The SoHo Rentals. I'm proud because they are personal projects where my rol was not only as the drummer but also as the composer and producer of various songs.

Q: What are you working on at the moment?

A: I'm working with my jazz trio "Perceptual Trio", on a theater play called "Los Monstruos" (winner of several recognized awards in Argentina as the Best Musical of 2016), on "Olvidé San Telmo", and different session situations.

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

A: No.

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

A: I will deliver what is expected in a timely matter, and I will do everything in my power to achieve what's expected and hopefully more.

Q: What do you like most about your job?

A: Everything.

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

A: I usually get asked: "What would you play here?", "Do you think this can work?". My answer is a track with the different possibilities and an explanation on why would or would not work.

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

A: I don't think there is really a different misconception about the drummer's job than there is about a bassist's for example, but there has to be a clear message from the composer to the performers in every instrument. Usually the drummer gets directions on what to play in a non conventional way, like "play like tum tum pa" when other instruments get a music sheet with the arrangements written down.

Q: What questions do you ask prospective clients?

A: What do they expect from the drummer and the drums sound. Do you want me to record and alternative track with my own ideas?

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

A: I would say be as clear as you can about what you want, bring examples if you like so, be open to suggestions if any, and trust that I will do my job the best I can, no matter what the music is.

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

A: I'd probably take a snare drum, a bass drum and a hihat, then Brian Blade Fellowship's "Landmarks" album and something that can play that album.

Q: Can you share one music production tip?

A: Always be open to hear what the musicians working on the song have to say, take your time to process all the information, and then proceed as you believe is the most convenient way for the music you intend to record.

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

A: I usually work on Jazz (traditional and modern) Fusion, Pop and Funk music.

Q: What's your strongest skill?

A: I believe I'm a great listener, I'm always aware of what's going on in the song, and I understand that everything I do as a musician has to contribute and serve the music, not otherwise.

Q: What do you bring to a song?

A: I hope to bring my own voice while serving the music, I'm always open for suggestions/requests, and I can always contribute on the production of ideas or the whole song if request.

Q: What's your typical work process?

A: I like to receive the original song or idea with or without drums, and get to understand what is to be expected from the drummer. My main goal is to serve music, and achieve what is expected. I usually record several drafts to discuss with the composer until we agree on what's best. I'm extremely responsible with due dates and feedback.

Q: Tell us about your studio setup.

A: I usually record at my home studio in Buenos Aires with a Gretsch Catalina Jazz drum kit (18-12-14) with a Ludwig & Ludwig Standard Deluxe snare drum from the 40s. I always use a turkish 15" K Zildjian hihat from the 50s, a 22" Crash-Ride from Ottaviano, a 21" Istanbul Agop Ottoman Jazz Series Crash-Ride with 3 rivets and a 24" Bosphorus Jazz Master Series Ride. I mostly produce and record on Logic and Reaper through a Focusrite Saffire Pro 40 audio interface, with Behringer C3 conderser mics and Samson 5pc Mics.

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

A: I'm trully inspired by musicians I consider honest in what they do. I'm a great fan of drummers such as Brian Blade, Mark Guiliana, Jeff Ballard, Nate Smith; and musicians as Joni Mitchell, John Mayer, David Bowie, Beck, Brad Mehldau, etc.

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

A: I usually work as a Jazz drummer, but I've been working for more than 16 years as session drummer for different music genres such as Pop, Blues, Funk, R&B.

Q: How would you describe your style?

A: I like to hear what's happening, and then react in the most honest way to that. I'm a very versatile drummer who likes to "float" around songs as much as keeping a steady groove.

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

A: There are many artists I'd like to work with, but to avoid giving names, I've always respected artists that know what they want but are willing to hear different opinions and ideas. This is a collaborative process between everyone that is working, being surrounded by proactivity and new/different ideas is always refreshing. Most of the composers I admire understand that.