Producer | Mixing Engineer

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

A: One of the projects I'm most proud of started as a very simple demo and gradually became a complete production through arrangement, instrumentation, vocal production and mixing. I handled most of the production process. Projects like that are my favorite because I can help transform an artist's original idea without losing what made the song special in the first place.

Q: What are you working on at the moment?

A: I'm currently producing and mixing several artist projects while developing my own music and expanding my studio in Mexico City. I'm also focusing on remote production so I can collaborate with artists internationally.

Q: Analog or digital and why?

A: Both. Digital gives me speed, flexibility and recall, while analog instruments, amps and recording chains can add character and unpredictability. I don't believe one is automatically better — I use whatever helps the record.

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

A: I won't treat your song like a template. I'll listen to what you're trying to create, communicate clearly throughout the process and make every production decision serve the song and the artist's identity.

Q: What do you like most about your job?

A: That a simple voice note can eventually become a record that means something to someone. I love the moment when the artist hears the production and suddenly realizes the idea they had in their head has become real.

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

A: “Can you make my demo sound professional without losing what I like about it?” My answer is yes — that's actually one of my favorite parts of producing. I want to develop what's already special about the song, not replace its personality.

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

A: That production is mainly about choosing sounds or making beats. A large part of producing is making decisions: structure, emotion, dynamics, performances, arrangement and knowing what should not be in the song.

Q: What questions do you ask prospective clients?

A: What do you want the listener to feel? What are your 2–3 main references? What parts of the demo do you definitely want to keep? Do you need production, mixing or both? Are the vocals already recorded? What's your deadline and are you planning a commercial release?

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

A: Don't choose a producer only because of gear or credits. Choose someone who understands what you're trying to say with the song. Send them your demo and references and pay attention to whether their ideas make your vision clearer rather than simply changing it.

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

A: A MacBook Pro, a guitar, an AKG C414, a great pair of headphones and an audio interface. With those five things I could still write, record and produce complete songs almost anywhere.

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

A: I started as a guitarist and musician, then studied contemporary music and production at Fermatta in Mexico City. Over time I moved deeper into production, recording and engineering, working both in studios and live environments. I've been working professionally in music for more than five years, and today I focus mainly on production and mixing.

Q: How would you describe your style?

A: Modern, emotional and detail-oriented. I like productions with strong identity, contrast and movement, combining organic instruments with electronic textures. I prefer records that feel polished but still human.

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

A: Latin Mafia. I really like how their music combines strong songwriting, unusual textures, intimate vocals and modern production without feeling predictable. That balance between experimentation and accessibility is something I find very inspiring.

Q: Can you share one music production tip?

A: Don't add something just because the production feels empty. Ask what emotion or function is missing first. Sometimes the answer is another instrument, but very often it's dynamics, automation, contrast or simply better arrangement.

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

A: Mostly Latin Pop, Pop, Urban, Indie Pop, Reggaeton and Pop-Rock. I also enjoy productions that mix organic instruments with modern electronic elements.

Q: What's your strongest skill?

A: Taking an unfinished idea and seeing the finished record before it exists. I think my strongest skill is knowing what a song is missing — arrangement, instrumentation, dynamics, sound selection or simply removing things that don't need to be there.

Q: What do you bring to a song?

A: Direction. I try to understand what the song wants to become before adding anything. I bring arrangement, musicality, texture, dynamics and production choices that support the artist rather than covering them up. My goal is always to make the song feel intentional and memorable.

Q: What's your typical work process?

A: First I listen to the demo and ask for 2–3 references. Then I talk with the artist about the emotion, identity and goal of the song. I build the arrangement and production around that direction, send a first version for feedback, refine it together with the artist and then move into final editing, vocal production and mixing.

Q: Tell us about your studio setup.

A: I work from Coliseo Studio in Mexico City, with a dedicated control room and live room. My setup includes an Allen & Heath QU-6, AKG C414, Shure SM7B, SM57s, Fender and Marshall amps, acoustic and electric guitars, basses, keyboards and a full drum setup. I work mainly in Ableton Live and Logic Pro with UAD, FabFilter, Soundtoys and other professional tools. I

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

A: I'm inspired by producers and artists who create a recognizable world around their music. I love the production approach of Tame Impala, the songwriting and textures of Latin Mafia, the simplicity and emotion of Rels B, and producers who know when a song needs more — and when it needs less.

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

A: I usually take an artist's demo, voice note or rough production and turn it into a finished record. That can include arrangement, production, programming, guitars, bass, vocal production, editing and mixing. I also work on mixing-only projects when the production is already finished.