Latincore Legend

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

A: One project I’m especially proud of is building and releasing music under my own artist project CRRDR, alongside running my label and collaborative releases. What makes these projects meaningful isn’t just a single track, but the end-to-end process. I handled the full creative chain: concept, production, sound design, arrangement, mixing, and final delivery, while also thinking about how the music would live in DJ sets, clubs, and international contexts. Many of these tracks were tested in real dancefloor situations before release, which directly shaped the final decisions. I’m particularly proud of how these releases balance function and identity. They’re not made to chase trends, but to represent a specific sound and cultural perspective while still working on big systems and in diverse scenes. My role was everything from creative director to producer and final decision-maker, which forced a high level of responsibility and clarity. Those projects define how I work today: intentional, self-aware, and grounded in real-world use, not just studio theory.

Q: What are you working on at the moment?

A: At the moment I’m focused on a mix of production, releases, and collaborative projects. I’m working on new club-focused music—both my own and with other artists—shaping tracks that are meant to function in DJ sets and live contexts. Alongside that, I’m finishing and refining projects for clients, mostly taking ideas or demos and pushing them to a release-ready level. I’m also spending time developing my broader ecosystem: curating releases through my label, preparing new material, and building tools and workflows that keep the process fast and intentional. Everything I’m working on feeds back into the same goal: making music that’s current, functional, and culturally grounded, not just technically polished.

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

A: I don’t have personal contacts on SoundBetter, but there are several highly rated professionals on the platform across different areas that many creatives trust and work with: Producers and engineers with verified reviews and strong portfolios—SoundBetter lets you browse by Recommended and Recently Reviewed so you can hear samples and see credits before you reach out. In the mixing/mastering category you’ll find curated engineers and Grammy-level pros who’ll help take a track from demo to release quality. A range of feedback services are offered by experienced producers and engineers who will give structured notes on arrangement, mix, and production before you even start a hire. When I recommend someone to clients I focus on fit and communication rather than name alone — find someone whose work resonates with your style and who clearly understands your goals. Listening to their samples and reading verified reviews on SoundBetter is the most reliable way to gauge that.

Q: Analog or digital and why?

A: Digital—with intention. Digital gives me speed, flexibility, and total recall, which are essential for modern workflows and collaborative projects. It lets me move fast, test ideas, and make confident decisions without friction. For club music especially, that efficiency matters more than romanticizing process. That said, I don’t see analog as “better” or “worse.” I see it as a texture. When I use analog or hardware, it’s to introduce instability, character, or performance feel, which I then capture and shape digitally. So the answer isn’t ideology, it’s purpose: digital as the foundation, analog as spice.

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

A: My promise is honesty, focus, and results. I won’t overproduce, overpromise, or drag a project out unnecessarily. I’ll be clear about what works, what doesn’t, and what will actually move the song forward. Every decision is made with the final context in mind, not just how it sounds in the studio. I promise a process that’s efficient, collaborative, and intentional, and an end result that feels confident, finished, and ready for the real world—especially on dancefloors and releases.

Q: What do you like most about your job?

A: What I like most is the moment of clarity—when a messy idea suddenly clicks into something focused and confident. I enjoy helping artists move past doubt and overthinking, turning fragments into tracks that actually make sense and feel intentional. There’s something very satisfying about shaping energy, simplifying chaos, and watching a song become functional in the real world—especially when it lands on a dancefloor. I also value the exchange itself. Every project is a dialogue, and I’m constantly learning from different perspectives, scenes, and intentions. That balance between creative problem-solving and real-world impact is what keeps the work exciting and meaningful for me.

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

A: The most common questions are usually: “Can you make it hit harder?” My answer is that impact rarely comes from adding more. It comes from contrast, space, and intention. Once the groove and low end are right, power comes from what you don’t play. “Is this ready to release?” I look at translation, not just sound quality. If it works in a club, in a DJ set, and at low volume on everyday systems, then it’s ready. If it only works in the studio, it needs more decisions. “How long will it take?” It depends on clarity, not complexity. Clear direction and trust in the process usually get better results faster than endless tweaking. Overall, my answers always point back to the same idea: strong music is about focus and decisions, not excess or shortcuts.

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

A: The biggest misconception is that my work is mainly about gear, presets, or technical tricks. In reality, most of the value is in decision-making: knowing what to keep, what to remove, and how to shape energy so a track actually works outside the studio. Two producers can have the same tools and get completely different results because the outcome isn’t defined by equipment, but by judgment and context. Another misconception is that club-focused music is simple. Making something that feels direct and physical while still being intentional, distinctive, and durable takes a lot of restraint and experience. What I really do is help ideas become clear, functional, and confident records, not just well-produced audio files.

Q: What questions do you ask prospective clients?

A: I focus on questions that define intention and avoid wasted time. I usually want to know where the music is meant to live: club, festival, streaming release, sync, or performance. That context shapes every decision. I ask what references they feel close to—not to copy them, but to understand energy level, tempo, and attitude. I also ask what stage the project is in and what they actually need: finishing a track, improving a demo, building something from scratch, or fixing a specific problem. Just as important is understanding what they don’t want, because limitations create direction. Finally, I ask about timelines and expectations. Not to rush creativity, but to make sure decisions are realistic and focused. The goal of these questions isn’t control, it’s alignment—so the process is efficient and the result feels intentional, not accidental.

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

A: Come with clarity, not perfection. You don’t need a finished idea, but you should know why you’re making the song and where it’s meant to live—club, release, sync, or performance. The clearer the intention, the more effective the collaboration will be. Be open to feedback and decisions. Hiring a producer isn’t just outsourcing tasks, it’s inviting perspective. The best results happen when there’s trust to simplify, cut, and reshape ideas instead of protecting everything. And finally, value the process, not just the file at the end. Good production is not about endless revisions, it’s about making the right choices early so the track feels confident, finished, and ready for the real world.

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

A: I’d keep it practical and adaptable, even on a desert island. First, a laptop with Ableton Live—that’s the brain and the sketchbook. With enough power and flexibility, I can build entire worlds from there. Second, a solid pair of closed-back headphones, because they’re portable, reliable, and honest enough to make decisions without a treated room. Third, a compact MIDI controller—something simple that lets me play rhythms and ideas physically instead of clicking everything. Fourth, a portable audio interface for clean monitoring and the option to record anything I find or create. And finally, some kind of small field recorder or microphone. On a desert island, sound is everywhere—wind, water, metal, voice—and being able to capture and reshape that into rhythm or texture is basically unlimited inspiration. Minimal tools, maximum imagination.

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

A: My path has been non-linear and hands-on. I started as a DJ and producer, learning by doing—playing clubs, releasing music independently, and building my own projects rather than following a traditional industry route. That DIY approach pushed me to understand the full process early on: production, sound design, mixing, distribution, and how music actually circulates in real scenes. Over time, this evolved into releasing and curating music internationally, collaborating with artists from different countries, and developing a clear identity around club-focused, Latin-forward electronic music. Running my own label and creative projects sharpened my ability to make practical, fast decisions and to think beyond just one track at a time. I’ve been doing this for several years at a professional level, and the experience comes less from time spent in isolation and more from constant real-world feedback—clubs, releases, collaborations, and audiences. That’s what continues to shape how I work today.

Q: How would you describe your style?

A: My style is rhythm-driven, bold, and intentional. It’s rooted in club functionality first—strong grooves, heavy low end, and clear energy flow—but filtered through a global and Latin perspective. I’m drawn to sounds that feel physical and direct, while still leaving room for experimentation, distortion, and unexpected textures. I avoid over-polishing or chasing trends. Instead, the focus is on character and impact: music that feels raw enough to have personality, but controlled enough to translate on big systems and across platforms. Overall, it’s a balance between dancefloor logic and creative risk—music that works in the club, but doesn’t sound generic or disposable.

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

A: I’d love to work with Arca. Not because of genre overlap, but because of approach. Arca treats sound as language, identity, and emotion all at once. There’s no separation between experimentation and functionality, or between personal expression and club impact. That mindset aligns strongly with how I work: pushing systems, breaking expectations, and still making something that moves people. A collaboration would be less about fitting into a format and more about building a new one—where rhythm, texture, and cultural context collide in unpredictable but intentional ways. That tension is where the most interesting music tends to live.

Q: Can you share one music production tip?

A: Finish the structure before you perfect the sounds. A loop can feel incredible for hours and still fail as a track. As soon as the groove works, sketch the full arrangement—intro, drops, breaks, transitions—even if everything sounds rough. Once the energy flow is clear, every sound decision becomes easier and more intentional. Most unfinished music isn’t missing better sounds, it’s missing decisions. Structure creates momentum, and momentum is what turns ideas into finished records.

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

A: I usually work on club-focused electronic music with a strong emphasis on rhythm, energy, and cultural identity. That includes styles rooted in Latin and global club culture—reggaeton-influenced rhythms, baile funk, guaracha, hard and experimental club, hybrid bass, and forward-leaning electronic music that doesn’t fit neatly into one genre. Most of the projects I work on sit somewhere between functional dancefloor music and more experimental approaches. Regardless of style, the common thread is that the music is designed to move people—physically and emotionally. I focus on tracks that are meant to work in clubs, festivals, and DJ sets, while still being distinctive enough to stand out as records, not just tools. In short: modern, rhythm-driven electronic music built for real-world systems and global audiences.

Q: What's your strongest skill?

A: My strongest skill is turning ideas into finished, release-ready records that actually work in the real world. I’m especially strong at reading a track early on—understanding its potential, what it needs, and what should be removed. That allows me to make fast, confident decisions around groove, structure, and energy, instead of overproducing or getting stuck in details. Technically, this shows up in rhythm programming, low-end control, and arrangement, but the real strength is the combination of creative intuition and practical experience. I know how music behaves on dancefloors, in DJ sets, and across platforms, and I build tracks with that context in mind. The result is music that feels intentional, efficient, and finished—not just good in the studio, but effective once it’s released.

Q: What do you bring to a song?

A: I bring clarity, direction, and intention. Beyond technical skills, I bring an outside perspective that helps a song become focused and functional, without losing its identity. I’m very good at identifying what actually matters in a track—what drives the groove, what the listener remembers, and what makes it work in real contexts like clubs, festivals, or releases. Creatively, I bring a strong sense of rhythm, low-end design, and energy control, shaped by years of DJing and releasing club music. That means knowing when to push, when to leave space, and how to build tension without overproducing. I also bring decision-making. Many songs don’t fail because of lack of ideas, but because of too many. I help reduce noise, strengthen the core idea, and turn concepts into something finished, confident, and ready to be released. In short, I help transform ideas into records with purpose, identity, and real-world impact.

Q: What's your typical work process?

A: My process is idea-first and outcome-driven. I usually start by understanding the context: where the track needs to live (club, festival, streaming, sync), the artist’s identity, and the emotional or physical reaction we’re aiming for. From there, I build a strong rhythmic and low-end foundation, because if the groove doesn’t work, nothing else matters. Once the core loop is solid, I move quickly into arrangement and energy flow, sketching the full structure early instead of getting stuck perfecting details. This keeps the track functional and makes it easier to judge what’s actually needed. Sound design, textures, and details come after the structure is clear. I treat mixing as part of the production, not a separate stage. Levels, space, and dynamics are shaped continuously so the track already feels finished by the time it reaches the final polish. Revisions are focused and intentional, always referencing real systems and current releases. The end goal is efficiency without shortcuts: clear decisions, fast execution, and a finished track that translates in real-world scenarios, especially on dancefloors.

Q: Tell us about your studio setup.

A: My studio is minimal, flexible, and built for speed and clarity, not gear worship. I work primarily in the box, using Ableton Live as the core of everything I do. The setup is optimized for fast idea capture, rhythm programming, and sound design, which is essential for club-focused music. I rely heavily on custom racks, curated sample libraries, and my own sound packs, so I can move from concept to structure very quickly without breaking creative flow. Monitoring is treated seriously: a clean listening environment, accurate speakers, and trusted headphones so decisions translate well from clubs to streaming platforms. I constantly A/B against real-world references to make sure the low end, transients, and energy work on large systems. Hardware is intentionally limited and used as a creative tool rather than a centerpiece. When I use it, it’s mainly for texture, distortion, or performance-oriented ideas, which I then resample and shape digitally. Overall, the studio is designed to remove friction. The goal is not complexity, but control, intention, and translation, making sure every track works where it matters most: the dancefloor.

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

A: I’m inspired by artists and producers who push club music forward without losing cultural depth. People like Arca, who treats sound design as identity and emotion, not just technique. DJ Python for proving that restraint, atmosphere, and low-tempo club music can be just as radical as peak-time energy. Safety Trance for blending Latin rhythms with experimental club structures in a way that feels raw and futuristic. I’m also influenced by newer voices like Nick León, who deconstructs Latin and bass music with a very modern, internet-native approach, and projects like Dengue Dengue Dengue, who show how heritage and club culture can coexist without sounding nostalgic. More than specific names, I’m inspired by producers who build worlds, not just tracks—artists who understand that sound, rhythm, and context are inseparable, and that club music can be experimental, political, emotional, and fun at the same time.

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

A: I mostly work with artists, labels, and creators who want club-ready, forward-thinking electronic music with a strong Latin/global identity. My most common work includes full music production from idea to final master, building tracks tailored for clubs, festivals, and digital release. This often involves rhythm design, sound selection, arrangement, and creative direction, not just technical execution. I’m frequently hired to develop a rough idea into a finished track, or to elevate an existing demo into something competitive at an international level. I also do vocal production, edits, and mixing/mastering specifically optimized for high-energy systems, DJs, and modern streaming standards. Many clients come to me because they want something that feels current but not generic, rooted in Latin club culture while still functioning globally. In short: I help artists turn concepts into powerful, distinctive records that actually work on the dancefloor and in real-world releases.