Session guitarist

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

A: Here are two of the most recent projects I have worked on, in chronological order: the album *Tears from the Fallen Angels* by The Fallen Angels Project, for which I composed the music, performed and recorded guitars and backing vocals, and handled the recording, mixing, and production; and the album *Ropecabezas* by La Smith, where I contributed to the composition and performed and recorded guitars and backing vocals.

Q: What are you working on at the moment?

A: I have just finished the guitar parts for a song for a musician from France; this is my second project with him, and we will soon be working on a third song.

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

A: Oh, sure. I’m in touch with some great musicians here on SoundBetter—truly excellent players—so we can collaborate, since they play instruments that I don’t.

Q: Analog or digital and why?

A: That depends on the client and the budget; I enjoy working in both digital and analog formats. We’ll definitely achieve a great result.

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

A: We will work on your project in such a way that you are completely satisfied with the work we deliver.

Q: What do you like most about your job?

A: It is rewarding to watch a composition grow and take the shape the client envisions. It is also very exciting when a client asks me to create something from scratch. There is great satisfaction in delivering the work and seeing the client truly happy with the result; that is deeply gratifying and is what I enjoy most about recording or mixing for others.

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

A: Many people ask if I can record guitar solos or arrangements. My answer is a definite yes—just tell me where, and I’ll do it. They also ask if, in addition to the recording with the specific tone I’ve chosen, I can send the raw DI signal—completely unprocessed—so they can choose their own sound. The answer is absolutely; I’d be happy to.

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

A: The biggest misconception many people have is that what I do is a hobby rather than a professional job. Of course, not everyone thinks that way, and neither do I.

Q: What questions do you ask prospective clients?

A: The first point is that he needs me. The second is the direction he wants his song to take, and then whether we have everything necessary to start working.

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

A: I don't usually give advice, but since you're asking... I'd just say that good communication makes music and art flow.

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

A: A guitar, and four sets of strings, of course ;)

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

A: My career began with my early training at the age of seven; between my time on stage and in recording studios, it spans a total of 37 years.

Q: How would you describe your style?

A: Modern, focused, and musical.

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

A: Right now, I would love to work with any artist who has a passion for music and needs someone to bring that same passion to achieve great results; the name doesn't matter—the music is what counts.

Q: Can you share one music production tip?

A: Exactly—it’s primarily about working on what the song needs and what it doesn’t, whether in the mix or the composition. Understanding the story the song tells allows you to interpret the direction it needs to take.

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

A: In recent years, the styles I have worked in most extensively are rock, classic rock, blues, melodic rock, pop-rock, progressive rock, and progressive metal.

Q: What's your strongest skill?

A: I am creative and connected to the artistic side of the song.

Q: What do you bring to a song?

A: If the client needs me to record a pre-written part, I deliver great tone and the best possible feel. If the client needs me to add something creative—such as when a song lacks guitar or drums (programmed or otherwise)—I draw on my years of experience to go beyond just tone and feel; I craft a part that serves the song's needs and makes the composition more interesting.

Q: What's your typical work process?

A: First, I carefully review what the client needs; then, I look for a sound that fits the musical style and aligns with what I understand the musician requires. At that point, I learn the song and begin working on it.

Q: Tell us about your studio setup.

A: When recording guitars—whether a Stratocaster, Telecaster, SG, or Superstrats like the Music Man JP, Ibanez, or Yamaha—my go-to method is running my Headrush pedalboard into a PreSonus FP10 or using the pedalboard itself as the audio interface. I also use a Mesa Boogie Mark IV head and cabinet with Celestion V30 speakers (available as an optional add-on for an extra fee). For vocals, I use a Rode NT1-A condenser microphone plugged into the PreSonus FP10, which yields a clear, high-quality sound. For acoustic guitar recordings, I typically use an NT1-A condenser mic combined with a DI signal.

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

A: John Petrucci, Joe Satriani, Steve Lukather, Angus Young.

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

A: Rhythm guitars, guitar solos, backing vocals, mixing, and mastering.