In the industry since 1987 Mastering since 1995
Works that won a Latin Grammy:
2019 Best Samba/Pagode Album Mart'nália Canta Vinicius De Moraes Mart'nália
2018 Best MPB (Musica Popular Brasileira) Album Caravanas Chico Buarque
2018 Best Portuguese Language Song As Caravanas Chico Buarque
2017 Best Samba/Pagode Album + Misturado Mart'nália
2017 Best MPB (Musica Popular Brasileira) Album Dos Navegantes Edu Lobo, Romero Lubambo & Mauro Senise
2012 Best Brazilian Song (Portuguese Language) Querido Diário Chico Buarque
2008 Best Engineered Album Dentro Do Mar Tem Rio - Ao Vivo Maria Bethânia
2005 Album Of The Year Cantando Histórias Ivan Lins
2005 Best MPB (Musica Popular Brasileira) Album Cantando Histórias Ivan Lins
2004 Best Classical Album Jobim Sinfônico Mario Adnet & Paulo Jobim
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Interview with Luiz Tornaghi
Q: What advice do you have for a customer looking to hire a provider like you?
A: Listen to what they've done, make sure you like what you hear. Exchange a few words, if possible chat for a while. Make sure communication is fluid, that there's availability and common purpose.
Q: What was your career path? How long have you been doing this?
A: I started as a synthesizer programmer in 1987. I studied music ant the New England conservatory, in Boston. I worked recording and mixing in NYC in1992-95. Back in Rio de Janeiro, I specialized in mastering but never fully abandoned recording and mixing. Since 2005 I have my own studio, Batmastersom.
Q: Which artist would you like to work with and why?
A: I've had the privilege of working for many of my heroes! Sometimes an artist you didn't know brings the most fresh and inspired music.
Q: What do you bring to a song?
A: The song brings everything. It takes me for a walk and hopefully it sounds more itself when I'm done. That said, the fact that I master even more than I mix does bring something particular. The sound in my head always aims for the final product, it's size, texture, depth, definition, punch, openness...
Q: What's your typical work process?
A: When mixing I usually try to use the same workstation the project was recorded in. Be it Pro-Tools, Logic, Cubase, Reaper... The first thing is listening to the client and trying to capture what sound is he/she looking for. References are welcome. The next thing is listening to the raw track and imagining where I want it to go. Falling in love with the music and the artist's vision for it is THE key for everything. I tend to work listening to all the tracks at the same time. The music builds with all instruments together. I solo very sparsely. This is more than a procedural preference, it has to do with feeling the music at all times and breathing how each instrument relates to the others. I always listen to references before I start and there is always a track with references at hand. If the bass is heavy, that's always a choice. A choice made comparing what I'm doing to other music. I prefer to alternate between songs or projects, with frequent breaks, than to stick for too many hours on the same song. Coming back with fresh ears is a lot more revealing and efficient. At some point the music tells you it's happy. At that point it's time to show it to the client and wait for more input. More often than not I just get an ok, but sometimes the clients comments allow us to go to new more beautiful places.
Q: Tell us about your studio setup.
A: The main star is the sound of the room. The care given to the acoustics and monitors are key in making sure what I do reflect well in other places. I work in the box, using an Antelope clock and almost all my work at 192KHz. Of course you don't gain anything by upsampling, but I certainly gain from having all the processing done at the highest resolution possible. The choice of plugins changes a lot according to the project. I'm constantly trying new tools, their textures interests me a lot more than any special features. Often two theoretically very similar plugins deliver very different results both in quality and in texture.
Q: Describe the most common type of work you do for your clients.
A: I work mainly with traditional Brazilian music, that in itself comprises of a very broad range of influences and textures, from acoustic ensembles to some pretty heavy and/or groovy sounds. And, of course, I have clients form all over the world, this diversity is a challenge I love.