Cinematic EDM Producer

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

A: One project I’m especially proud of is In Blue, a short film where I had the privilege of composing the score, designing the sound, and handling the mixing and mastering. It was an exciting and fulfilling experience, especially when we had the screening at Cinema Reel. The process of bringing the film’s emotional depth to life through sound was truly rewarding. We’re now in the preparations to submit it to several film festivals, and the thought of sharing it with a wider audience makes me even more proud of the work we’ve done.

Q: What are you working on at the moment?

A: At the moment, I'm working on two remixes, one for a contest and another for a song by a close friend’s Indie project. I’m also collaborating with a Colombian electro-folklore artist, and separately, I’m working with Leon DC. I’ve shared a fragment of the Leon DC collaboration on my profile. Additionally, I’m taking a Wwise course, developing a self-project using Unity for interactive music. I’m also working on a science fiction short film project to practice my skills and expand my portfolio.

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

A: I’m new to SoundBetter, so I’m still getting to know the platform and the talent here. However, I look forward to exploring and connecting with other professionals who share the same passion for sound and storytelling. I’ll be happy to recommend others once I’ve had more time to collaborate and discover the incredible work on this platform.

Q: Analog or digital and why?

A: In my experience, experimenting with analog was essential to understanding its value. It’s like the spices in a meal, adding warmth, depth, and that human touch. While analog brings soul and character, you don’t necessarily need it to create great music. Over time, I’ve learned how to replicate that warmth and texture with digital tools, achieving the same emotional impact with more precision and efficiency. The key is knowing how to balance both, using analog when it’s needed for richness, and digital for clarity and flexibility.

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

A: My promise is that we’ll have fun throughout the process, because when we enjoy what we’re creating, the listener can feel it. Together, we’ll craft something that not only captures your vision but also connects on an emotional level. The journey of collaboration will be just as meaningful as the final result, and I’m dedicated to making sure it’s an enjoyable and fulfilling experience for both of us.

Q: What do you like most about your job?

A: What I enjoy most about my job is that music and sound are a profound form of communication. They are an invisible code that moves through the air, evoking emotions that words cannot capture. Sound can make someone feel something they would never have experienced otherwise, turning it into a powerful and spiritual connection. It’s this ability to transcend the ordinary and touch something deeper that makes my work so rewarding.

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

A: A common question I get is, “How long will it take to finish the project?” My answer is that it depends on the complexity and scope, but I always strive to deliver work on time while ensuring it's true to the creative vision. Another question is, “What’s your process?” I explain that my process starts with understanding the emotional core of the project, followed by experimentation and refinement to make sure the sound fully supports the story.

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

A: It's mainly technical. While tools and precision matter, the real work is emotional and intuitive, shaping sound to tell stories and evoke feelings. Often, less is more. One of the biggest challenges is knowing when to stop, so the emotion and storytelling aren’t buried under overproduction. It’s not just about sounding polished, it’s about sounding honest.

Q: What questions do you ask prospective clients?

A: I ask about the emotional core of the project—what you want the listener or viewer to feel—and how sound fits into your narrative. I also ask for visual or musical references, technical needs, and deadlines. Lastly, I like to explore your personal tastes. Finding common ground helps me connect more deeply with your vision and allows you to connect more meaningfully with what I bring to the table.

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

A: Be as clear and open as possible about your creative goals, emotional intention, and references. The more context you provide, musical, visual, or narrative, the better I can shape a sound that truly supports your vision. A good reminder: we’re not in the technical business, even if technical quality is essential. We’re in the business of telling stories and moving people emotionally.

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

A: I’d take a Roland TR-909 drum machine, an acoustic guitar, a Roland TB-303, a multitrack recorder, and a microphone. These would allow me to create beats, melodies, and record vocals with a variety of textures.

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

A: I’ve been involved in music since 2008, playing in bands and experimental projects while working in another field. In 2020, I decided to fully focus on music and began studying production through self-learning and specialised courses. In 2022, I moved to the UK and completed an MA in Sound and Music Production by 2024. That journey marked the transition from a long-time passion to a full-time profession.

Q: How would you describe your style?

A: My style blends electronic and cinematic elements with organic textures. It's moody, immersive, and driven by emotion and narrative. I often combine analogue synths, atmospheric layering, and subtle folk influences to create a sound that feels both raw and detailed, always in service of the story.

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

A: I’d love to work with Gustavo Santaolalla. His emotional sensitivity and ability to blend folk traditions with electronic textures truly resonate with me. His work with Bajofondo, especially the 2008 track "El Mareo" featuring Gustavo Cerati, is a brilliant example of that fusion. I also admire how he used the ronroco in The Last of Us to convey depth and fragility. Being Latin American and Spanish-speaking myself, I feel a strong cultural and creative connection to his work.

Q: Can you share one music production tip?

A: A key tip I've recently noticed is the importance of working quickly and keeping things clean in the early stages. Focusing on capturing the essence of the idea without over-polishing or adding too many plugins can lead to a stronger final track. It's about avoiding overproduction, which can sometimes strip the soul of a good demo. Later, in the mixing stage, you can refine things, but it's crucial to preserve the raw energy and feel of the original idea.

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

A: In my project, I blend techno, trance, ambient, and cinematic styles, incorporating Colombian folk elements like the gaita (a traditional wind instrument) for textures and pads, and the rhythm of San Jacinto drums or marimba de chonta for percussive grooves. These sounds are often sampled and integrated into libraries. In my MA and recent projects, I’ve explored soundtracks and scoring, and I feel very comfortable working in this space, crafting music that enhances storytelling

Q: What's your strongest skill?

A: My strongest skill is creating immersive soundscapes that enhance storytelling. Whether it’s composing emotional scores, designing unique sound effects, or blending genres, I focus on crafting sounds that evoke deep emotions and elevate the visual experience.

Q: What do you bring to a song?

A: I bring emotional depth and atmosphere, focusing on storytelling through sound. My goal is to enhance the mood and convey the essence of the piece. Drawing from my diverse musical background, I create textures and melodies that support the vision, whether it’s cinematic, electronic, or organic.

Q: What's your typical work process?

A: I begin by improvising and building clips in Ableton’s Session View, using a performance-based approach to quickly capture the essence and emotional tone of the piece. I explore different combinations and translate them into scenes. Once the core structure is clear, I move to the Arrangement View to refine and shape the full composition. For tracking, I switch to Logic Pro when needed, and I often collaborate with session musicians/guitarists, vocalists, or Colombian folk instrumentalists when the track calls for it. I complete my work with detailed mixing and mastering in Logic.

Q: Tell us about your studio setup.

A: My studio is a hybrid environment built around a MacBook Pro M2 Pro and an RME Babyface Pro FS interface, offering reliable performance and pristine audio conversion. I work primarily in Ableton Live and Logic Pro, using tools from UAD, SSL, FabFilter, and iZotope. My setup includes analogue gear like the Roland SH-101, Behringer Kobol, and RD-9, as well as MIDI controllers, mics, acoustic guitar, and vocals (Spanish/English). I also collaborate closely with session guitarists, vocalists, and Colombian folk instrumentalists, which allows me to enrich productions with organic textures and cultural depth. This workflow supports music and sound for film, games, and electronic productions with both precision and soul.

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

A: I'm inspired by artists who blend emotion, innovation, and strong sonic identity. I admire Trent Reznor, Daft Punk, Vangelis, Hans Zimmer, Gustavo Santaolalla, Philip Glass, Brian Eno, Jon Hopkins, Ryuichi Sakamoto, Amon Tobin, Aphex Twin, and Buria. All of whom have shaped how I approach storytelling through sound.

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

A: I mostly work on scoring and soundtrack composition, as well as audio editing, mixing, and mastering for short films and media pieces. I've also done mastering for singles and remixes for other artists.