Tell us about a project you worked on you are especially proud of and why. What was your role?
Every project is amazing, and I think also captures where you are as a person while you work on it. At the moment, this project for Pinto has become special because although I am not producing, the songs themselves speak of where I stand at the moment as a person, and also the fusion of bachata with pop and the urban feel that Pinto brings to the table is just special. I think it represents accurately the new wave of Latinos growing up in the US where we would listen to classic Latin genres but also turn on to top 40 radio. It has been a special experience.
What are you working on at the moment?
I am working on an album for Pinto Picasso, signed to Cartel Records.
Is there anyone on SoundBetter you know and would recommend to your clients?
Jon Blass. I had the pleasure of recording "It's Alright It's Ok" for Shirley Ceasar, he then took that vision, and mixed what ended up becoming a Grammy Nominated Album. He is great.
Analog or digital and why?
Hybrid. Analog is unbeatable in actual warmth and tone. Digital is untouchable in recall, editing, and certain effects. Using the proper combination of both you can get amazing results and allow you to really tap into your creativity.
What's your 'promise' to your clients?
My promise is that I will work tirelessly to provide the product that they envision. It is their baby first, not mine. They envisioned it before I did so I will work to provide them the results they are looking for.
What do you like most about your job?
I love the fact that I get to work on music that people have literally heard 100s maybe a thousand times, and provide them that wow factor again when they hear that first mix and give them that feeling of "this is what I envisioned from day 1". Nothing is more satisfying than that, when someone who has heard the song on every speaker the own and completely burned it already, can have that experience of being a first time listener again and actually being transported to a new place when they hear it.
What questions do customers most commonly ask you? What's your answer?
How quick can I expect mix 1? The day I schedule you for a mix, is the day you will hear mix 1 back. After that we work on revisions accordingly
Are you ITB or OTB? I have some pieces of gear, but depending on the recording, I tend to stay ITB to provide quick recalls. I do however have an outboard chain for my mix bus that I run every mix through, to get some warmth in the mix.
What's the biggest misconception about what you do?
That I will reinvent the mix. I'm here to finish what you've started. You're 1st and goal on the 10 yard line and need the right plan to get the ball in the end zone. I'm not here to start back at the 50 yard line and start over. Most clients know what they want to hear already and a simple conversation can clear up the confusion and give you the right gameplan to finish the job effectively.
What questions do you ask prospective clients?
What is your vision? Do you want your track to sound a certain way?
Can you provide reference tracks?
Have you committed to your sound?
Where is the mix so far? 10%? 90%? 50?
What advice do you have for a customer looking to hire a provider like you?
My advice would be to be 100% sure your song is ready to be mixed. Phasing has been checked, any piece of production has been recorded, any vocals, and make sure the files are ready, organized, and sounds are committed. This ensures that I can work as quick as possible and speeds up the turn around time with less mix revisions because I have a clear understanding of where you are heading.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
A Designs Pacifica
A pair of Focals
What was your career path? How long have you been doing this?
I started as an intern after graduating in 2009 from Full Sail University. I quickly went from intern to in house engineer, and eventually moved on to pursue a career in NYC as a recording/mixing engineer working under Pedro 'sP' Polanco, Edward 'Napoles' Grullon, and Stanley Brown. Working with them opened doors to work on industry records and understanding the demands that need to be met. I have been doing this now for 8 years.
How would you describe your style?
I love clear, defined mixes with punch and some grit.
Which artist would you like to work with and why?
Adele. I could just sit there and listen to her all day.
Can you share one music production tip?
Never underestimate phasing. Phasing can kill your song quicker than anything else.
What type of music do you usually work on?
Bachata, Mambo, Reggaeton, Gospel, CCM, and every now and then live recordings(tv)
What's your strongest skill?
Actually being open minded. I don't believe in my way or the highway. I think that is the most valuable thing a mixing engineer can have. The ability to listen to the client and keep an open mind as to where they are going is key.
What do you bring to a song?
I like to think that I'm not here to reinvent the vision of the song. If it is needed, and the client allows for that freedom then I will, but in this day in age the producer/artist has a very clear vision of where they are going, so I am there to finish off the final drive to provide the the sonic quality they are looking for as well as the creative vision they had.
What's your typical work process?
I like to take a simple approach. Less is more.
Tell us about your studio setup.
I use an Apollo 16 mkii, Isochrone OXC clock, Focal Solo6b, Dangerous Music Monitor ST, with a few pieces of outboard gear. I use ProTools 12
What other musicians or music production professionals inspire you?
Manny Marroquin, Serben Ghenea, Jacquire King, Al Schmitt, Andrew Schepps, Quincy Jones
Describe the most common type of work you do for your clients.
The most common work is mixing in the Latin genres(Bachata, Mambo, Reggaeton) and Gospel/CCM.