Experimental Sound Composer

Q: What are you working on at the moment?

A: Mastering my new album.

Q: Analog or digital and why?

A: Both, none of them is better than the other.

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

A: My commitment is to offer professionalism, dedication, and meticulousness in my work.

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

A: Work with a structured agreement framework: first, exchange references and examples of starting points by both parties to understand what is desired and what can be offered. Then, define a number of instances for evaluating intermediate results before reaching a final outcome that is satisfactory for both parties.

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

A: First and foremost, I would bring a solar power generator system, otherwise I won't be able to connect my laptop. Additionally, I would take my old Sony headphones, my Tannoy monitors, my custom MIDI controller full of knobs, and another one with touch-sensitive pads (Keith McMillen's QuNeo).

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

A: I started as an amateur in my teens during the 90s, playing bass in a garage punk rock band. After working as a self-taught musician and collaborating with musicians from various backgrounds, I began my university studies in music composition with technology. Around 2010, I started doing professional work for others in my recording studio, which I maintained until the beginning of the pandemic. Alongside this activity, and after obtaining my doctoral degree, I have always worked as a university lecturer, where I have over 12 years of experience.

Q: How would you describe your style?

A: Unusual. Orderly chaotic and intensely slow.

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

A: I would like to work with Brian Eno. I imagine he must be a polite, courteous, and kind person from whom I could learn much more than just artistic things.

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

A: I work with experimental electronic music, ambient, and noise. In the past, I have worked extensively with classic rock bands, punk rock, and industrial rock.

Q: What's your strongest skill?

A: Innovation.

Q: What do you bring to a song?

A: My contribution focuses on unique and rare sounds that deviate from the mainstream. Depending on the type of repertoire, I can add synthesized textures, layers of processed abstract sounds, or even rhythmic structures with radical noises.

Q: What's your typical work process?

A: First, I request reference works to fully understand the client's request. Then, I create a brief sketch to finalize the work to be done. Once the sketch is approved, I proceed to the full-scale creation. After the approval of that version, I move on to the final mixing and mastering.

Q: Tell us about your studio setup.

A: I mainly work with digital synthesis using software. So my equipment includes my computer (which I regularly update), a Motu 8A sound card, and for microphone preamplifiers I use a SoundDevices device. My main microphone is an AKG 414. For monitoring, I use active studio monitors by Tannoy and various Sony headphones, such as the MDR 7506 and 7609 models. Regarding software, I primarily work on the Linux operating system, using programs like Reaper and Ocenaudio. I also have extensive experience and training in the Pure Data programming language, where I create my own compositional systems and synthesizers. Additionally, I have MIDI controllers to streamline interaction with the software.

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

A: Brian Eno, John Cage, Alva Noto, Harold Budd, Aphex Twin, Pan Sonic, Ryūichi Sakamoto, Stars of the Lid, Biosphere, Trent Reznor & Atticus Ross, Boards of Canada, La Monte Young, Kraftwerk, Robert Fripp, Erik Satie, Steve Reich.

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

A: Musical composition using digital media, such as synthesizers and samples. I can also produce sound materials, like specific sounds for video games.