Recording, Mixing, Mastering

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

A: So many artists we all look up to! But my first guess would be Muse and Counting Crows. Both have a very interesting production and they booth look to shape their sound in different ways.

Q: What's your typical work process?

A: I believe preparation is key. Having a session ready to go for mixing when its time is essential, otherwise one would loose a lot of time going back and forth to fix technicalities. If the session needs editing and the client asks me to do it, it is the very first thing i'll do before even thinking of mixing. The same applies for tuning. I then move to the layout of the session: colour coding, grouping, editing silences, routing and buses. Finally I move to mixing part!

Q: Tell us about your studio setup.

A: At the moment, working at brand new studio in London. Mastering: - CraneSong HEDD D-A - Duntech Crown Prince Speakers - Ampex amplifiers - Room acoustically fine tuned and built to the speakers by Jeff Headback Mixing: - Fabfilter - UAD - Soundtoys - Waves etc..

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

A: Definitely! For starters, Guillermo Campoy! He is a great producer and has worked on a variety on genres! And he is also very dedicated to the projects he works on! Then Dax Liniere! One of the best producers I have ever worked with! Learned a lot from him!

Q: Analog or digital and why?

A: A bit of both! I believe analog is great for shaping sound when you record but it has a lot of limitations when you want to mix. On the other hand digital is reaching a point (regarding emulations) where you can really reproduce any kind of sound, and it allows you to go even further. Sometimes for mastering I will go for out of the box, for a special gear unit, but I will do it mostly in the box and the results are as great as with analog!

Q: What do you like most about your job?

A: How music is something that has no frontiers or barriers, and being part of the process to make it happen. I know, it sounds "cheesy" but... Some people say that nowadays music doesn't evolve anymore. I don't agree! I think it's the best time for it to evolve! Now I work with people from all over the world, with different influences, different stories. And each project might need a different approach. And things get really interesting when you use the same approach for two completely different projects. That's where music evolves for me, and it's awesome to be part of that evolution.

Q: What questions do you ask prospective clients?

A: What sort of music is it? Can you give me some references? Is there a story behind it? What is the feeling you want to transmit through your song? Do you already have an idea of the sound you want?

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

A: Make sure you have a good feeling about the person you hire. Nothing good comes out of a production where the engineer and band don't get along. As I previously mentioned, communication is key to any project.

Q: What's your strongest skill?

A: I think apart from mixing and mastering, it would be communication. With internet present in our everyday life, we can now connect with people from all over the world and it is important to be able to communicate properly, specially when it's about music. Since a young age, I always though language should not be a barrier, so I brought myself to learn multiple languages and am now fluent in French, Portuguese, Spanish and English. But I am still learning other languages, such as Italian or German. This also gave an edge when working with international artists, since I could understand the diction and perception of vocalists. Communicating is for me what makes this job so great!