Music 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 my most cherished projects was working with the great and late Gustavo Cerati from Argentina. The album is called “Siempre es Hoy” (it means “Today is Forever”) This album was nominated “Best Latin Alternative” at the Grammy’s. Also “Best pop rock album and album of the year” at the Latin Grammys. Won’t the Gardel award form best album in Argentina. I co-produced it, recorded it and mixed it. It means a lot to me because growing up I was a big fan of “Soda Stereo” an iconic band founded by Gustavo Cerati, and when he became solo artist I never thought he would contact me to work for him. It was a great honor for me.

Q: What are you working on at the moment?

A: Many things! So exited about them! A great Punk Rock project with the drummer from iconic Mexican band Molotov and the crazy Colombian producer MrSunamy (Madonna Maluma). Some indie rock projects, some pop/urban projects, a mariachi project. Very happy to have all this collaborations and creativity outlets.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Haven’t had the chance to go through members but when I do I will answer.

Q: Analog or digital and why?

A: Analog for recording (into protools sometimes through tape), digital for mixing. Because that’s the way aha aha I like it aha.

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

A: My promise is to treat your music with the same care and attention as if it were my own. I’ll help you bring your vision to life, enhance what makes it unique, and make sure the final product feels authentic, powerful, and unforgettable.

Q: What do you like most about your job?

A: When we listen to the finished song or project and everybody is happy and exited. That look in everybody’s eyes. Good energy.

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

A: Can you help me make this great? My answer can be: yes! Definitely! 💯 percent, or it could be: it’s not really my style. I suggest you look for some one who fits better with you.

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

A: The biggest misconception is that I just “press buttons” or “make things louder.” In reality, my job is to understand the artist’s vision, help shape the emotion and story of the song, and bring out the best in the performance. It’s not just about the technical side—it’s about being a collaborator, a problem solver, and sometimes even a therapist. The magic isn’t in the gear; it’s in connecting with the music and the artists purpose.

Q: What questions do you ask prospective clients?

A: Some might be along this line: What inspired this project or song? How do you want people to feel when they hear it? Influences? Are there any artists or sounds you’re drawn to for this? What’s the vibe we’re going for? What’s the story or message between the lines? If this song were a color, mood, or setting, what would it be for you? Are there specific elements you absolutely want—or don’t want—in the production? How do you see this fitting into your overall artistic journey? What’s the intention? This kind of questions help me understand their vision. If they can answer that, we’re already off to a great start

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

A: Look for someone who understands your vision and can enhance it, not just execute it. Communication is key—make sure they’re open to collaboration and feedback. Also, ask for some examples of previous work that match your spirit and genre to ensure their style aligns with what you’re aiming for. Trust your gut feeling.

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

A: Ableton Live, guitar, Apollo, all purpose mic, keyboard controller.

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

A: I picked up the guitar when I was 11 years old, and that was the beginning of my journey into music. Soon after, I started playing in different bands. Some of them needed a bass player, so I decided to give it a try—and ended up loving it. By the time I was 21, I earned a half-scholarship to Berklee College of Music and moved to Boston. I initially pursued a performance major but switched after a year to focus on Music Production & Engineering (MP&E) and Arranging. I eventually graduated with a degree in MP&E. After Berklee, I moved to Los Angeles and began working with DJ U-Neek at King Pin Records, where I dove deep into recording Hip-Hop. I also spent time at Hollywood Recording Services with Mark Howlett, working on post-production for TV and film. I stayed in LA until late 2000, when I decided to return to Mexico. Back in Mexico, I shifted my focus to producing records for the Latin industrie. Over the years, I’ve had the privilege of collaborating with some of the most iconic Latin American artists. Those projects have not only shaped my career but have also earned me numerous nominations and awards—an experience I feel incredibly grateful for.

Q: How would you describe your style?

A: My style is all about striking a balance between boldness and subtlety, always playing with contrast. I lean into simplicity, but I’m constantly searching for those details that can get complicated and add depth and intrigue. It’s about finding the unexpected in what might seem straightforward. My approach is all about enhancing the song’s attitude and bringing out its core energy in a way that feels authentic and impactful.

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

A: Many! Freddy Mercury, Led Zeppelin, Jimmy Hendrix, Frank Zappa The doors, The beetles. Leonard Cohen, Fleetwood Mac, Childish Gambino, Dua Lipa, Calvin Harris, Avicii, The Chemical Brothers, Nine Inch Nails, The Cure, Depeche Mode, Timbaland, The rival Sons, The black Keys, Ozzy Osbourne, Bjork, The RHCP, Pink Floyd, Rosalia, Damon Albarn, and many more because they are awesome and inspire me.

Q: Can you share one music production tip?

A: When producing or mixing a track, take a minimalist approach by stripping away anything that doesn’t serve the song’s message or emotion. Try and put “the ego” aside and let the song’s story guide your decisions—sometimes less is more and sometimes more is more, I like contrasting. Always prioritize elements that enhance the emotional impact, whether it’s a single vocal line, a subtle chord progression, or a simple texture. I believe the listener connects more to a song by the feeling of it rather than the complexity of it.

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

A: I’ve worked across multiple genres, and I understand how to tailor production and mixing techniques to match the unique requirements of each style. All kinds of Rock, pop, hip hop, alternative, indie, EDM, Trap, Latin, world music, reggae, dub, jazz, country, cinematic, soundtrack. Bring it on.

Q: What's your strongest skill?

A: One of my greatest strengths is my ability to work closely with artists and producers and understand their vision. I’m skilled at translating abstract ideas into technical solutions that align with their creative goals. I pride myself on creating mixes that tell a story and evoke the emotion envisioned by the Artist and my intuition. My goal is always to serve the song and make sure the listener feels connected to the music.

Q: What do you bring to a song?

A: It depends. Whatever it asks from me. I’ll express it to the Artist. Show it. Whatever the Artist wants me to help him with achieving through the song.

Q: What's your typical work process?

A: Communication is paramount. I really like talking with the Artist about the project, how it was conceived, what inspired it, influences, direction, textures, arrangement, Lyrics, everything about it. Then get to work. If it’s only mixing and/or mastering, same process. A good talk before getting to work on it. When I’m working, if I feel there is space for something creative that enhances the Artist vision, I go ahead and propose the idea so they can hear it. We work on each song until we are all pleased with it and it’s ready for release.

Q: Tell us about your studio setup.

A: My studio is located in Cuernavaca Morelos which is about an hour drive from Mexico City and 45 minutes from the magic old town and ruins of Tepoztlán. It’s a place to go for a musical production retreat. We have a 9 bedroom hotel to accommodate for our clients. It’s called SOGA Records. Studio A has the heart of a Neve 5088, 24 track Mara Machine, brought from Nashville, if you want to record on tape. Great outboard gear. Mick Gusauski’s monitors. NS 10’s. Bare Foot. Full list of Backline and equipment available as PDF. Ask for it. Catering services. Pro Massage. Sight seeing. Mezcal tasting (If you are done recording your drums with our great mic collection). Love the Telefunken U-47, Chandler REDD. Coles, Beyerdynamic. Full list of equipment and Backline in the PDF.

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

A: Manny Marroquín, Flood, Tom and Chris Lord-Alge, Tchad Blake, Michael Brawer, Benny Blanco, Nigel Godrich, George Martin, Trent Reznor, Josh Gudwin, Jaycen Joshua. The Cure, Depeche Mode, Dr Feelgood, Timbaland, Dr. Dre, Damon Albarn, Dr. Luke, Mark Ronson, Rick Rubin, many many more.

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

A: Help them define the direction, concept, arrangements, textures, and details about their project. Sometimes just mixing and/or mastering. Sometime just Dolby Atmos mix. Sometimes programming beats and music. Sometimes I propose and play a bass part or add aguilar part if I feel the song needs it. I propose and then the Artist/crew decides what is best for his vision. Basically I help the Artist to realize and showcase their vision paying special attention to the feeling, the energy, the emotions, the colors.