Producer | Mixing & Mastering

Q: What's your typical work process?

A: You send me your stems and references. We have a short conversation about what you are going for and what you want to avoid. aI deliver a first mix within the agreed timeline. You listen, give me notes, and we go through up to two rounds of revisions until it is right. Simple, direct, no overcomplications.

Q: Tell us about your studio setup.

A: A boutique mixing and production room in Kreuzberg, Berlin. Neve 1073 preamps, SSL Pure Drive, Universal Audio UREI 1176 Blackface, Space Echo RE-20, Death by Audio Echo Master, Fender spring reverb. Monitoring on Dutch and Dutch 8c, ATC SCM 25A Pro and Neumann KH 80 DSP. A large collection of vintage synthesisers including Moog Subsequent 25, MiniKorg 700FS, Roland Juno 6, Wurlitzer EP200A and August Förster upright piano from the 1910s. Pro Tools, Ableton, Logic, SSL, UAD, Fabfilter, Soundtoys. A second room for drums and live recording on request.

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

A: The After Midnight EP by Minimal Schlager, recorded between my studio in Kreuzberg and Phil Manzanera's Gallery Studios in London. I produced, recorded and mixed the whole record. It was the most ambitious thing I had worked on at the time: bigger sounds, more complex arrangements, higher stakes. The process of working between two studios on two different ends of the sonic spectrum pushed me further than anything I had done before. The record came out in 2025 and I am still proud of every second of it.

Q: Analog or digital and why?

A: Both. Analog for character, warmth and the way it compresses naturally. Digital for precision, recall and flexibility. The best records I have worked on use both without thinking too hard about which is which.

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

A: I will be honest with you. If your mix has problems I will tell you before we start, not after. If I think something is not working I will say so. You are paying for a good record, not for someone to tell you what you want to hear.

Q: What do you like most about your job?

A: The moment a mix clicks. When everything is in the right place and the record sounds like itself. That moment is why I do this.

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

A: That mastering can fix a bad mix. It cannot. Mastering is the last step, not a rescue operation. A great master makes a great mix sound its best. It cannot make a poor mix sound great.

Q: What questions do you ask prospective clients?

A: What are you going for with this record? What do you want to avoid? What are your references? What is your deadline? Those four questions tell me almost everything I need to know.

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

A: Listen to their work before you reach out. Not their showreel. Find something they mixed for an artist in your world and listen to it on your speakers. If it sounds like what you want to sound like, get in touch. If it doesn't, keep looking. A good match matters more than a good price.

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

A: Neve 1073 SPX. Universal Audio UREI 1176 Blackface. Space Echo RE-20. Moog Subsequent 25. A laptop running Pro Tools.

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

A: I grew up in Argentina and moved to Berlin in 2014. I had already been producing and playing music for years but Berlin changed everything: the scene, the clubs, the people. I started touring internationally with my band Minimal Schlager, DJing and booking nights across the city, and gradually the studio work grew around all of that. Over 10 years in Berlin, producing records for Minimal Schlager, Fritz Ali Hansen, RUHR, Dlina Volny, Eddie Argos and Eva Bottega, including sessions at Phil Manzanera's Gallery Studios in London.

Q: How would you describe your style?

A: Precise but not clinical. Dark but not muddy. I try to make records that breathe and hold up anywhere: on a club system, on headphones, in a car. The goal is always translation without compromise.

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

A: Molchat Doma. They have built one of the most coherent sonic worlds in underground music in the last decade and I think there is a lot of space to push their production further without losing what makes them unique.

Q: Can you share one music production tip?

A: Reference tracks. Use them early, use them constantly, not to copy but to keep your ears honest. After a few hours in the same room you stop hearing things clearly. A reference snaps you back immediately.

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

A: Post-Punk, Darkwave, EBM, Synth-Pop, Coldwave, Cinematic Folk Noir, Neue Deutsche Welle, Italo Disco. Anything with a strong sense of atmosphere and intention. I am open to all genres but I am most at home with music that has a dark, considered, underground quality.

Q: What's your strongest skill?

A: Knowing when to stop. A lot of mixing is subtraction. Knowing what not to do, what not to add, what not to fix, what to leave alone, is harder than it sounds and takes years to learn.

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

A: Martin Hannett for the way he turned a studio into an instrument. Steve Albini for his honesty and his refusal to compromise. Alan Moulder for his work with Nine Inch Nails and My Bloody Valentine. Conny Plank for the records he made in Germany in the late 70s and early 80s that still sound unlike anything else.

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

A: Mixing and mastering from stems, mostly. Someone sends me their tracks, we talk briefly about what they are going for, and I take it from there. Some arrive with a rough mix they want pushed further. Others send raw sessions. The brief is usually the same: make it sound like itself.