Analog Mixing & Mastering

Q: Tell us about your studio setup.

A: I've been working surrounded by an Attack Wall by ASC Acoustics for many years now, and feel comfortable doing so. Both mixing and mastering processes are hybrid. For mixing, generally speaking, I compress using outboard gear only, and my two main reverbs are hardware. I do find that space and dynamic range are better controlled with outboard gear. EQ is mostly ITB except for the master bis, if needed.

Q: Can you share one music production tip?

A: Anchor yourself with selective recordings before starting your day.

Q: What are you working on at the moment?

A: It changes day by day. I could be working on a pop album after breakfast and a rock album before dinner.

Q: Analog or digital and why?

A: I like both. Some analog gear can't do what a digital plugin can, and vice versa!

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

A: I promise radio-ready results, excellent communication, and a solid teamwork process.

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

A: That's something anyone and even AI can do better than a good pair of trained ears and years of experience.

Q: What questions do you ask prospective clients?

A: What inspires you? What goals do you have with your music? Which artists do you follow?

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

A: Listen carefully to his or her discography and check their credits.

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

A: A pair of ATC speakers, Sony MDR-CD900ST headphones, Avocet IIA Monitor Controller, Lavry SAVITR AD Converter, and my ASC Attack Wall - I'm just gonna say I consider the Attack Wall to be gear ;-)

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

A: I started playing organ and then jumped into different instruments such as oboe, bassoon, drums and classical percussion. Then I jumped into a recording studio and never looked back. I have over 25 years of experience.

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

A: I'm fortunate enough to say I already did. I always dreamt of working with The Philadelphia Orchestra, and luckily assisted during a recording. Years later, I edited some works. Why? Because it was my dad's favorite orchestra, and a Colombian-raised violinist was named conductor in residence. It was my dad's violin teacher's son.

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

A: Tom Elmhirst, Simon Rattle, Manny Marroquin, Steve Gadd, David Bowie, Miles Davis, Keith Jarrett.

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

A: Besides feeling comfortable mastering every single genre of music, I mix jazz and world music albums as well as Indie and Latin music bands. I also do lots of classical music recordings.

Q: How would you describe your style?

A: Respectful of the music and production goals.

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

A: Jazz, Pop, Reggaeton, Latin, Rock, Classical, Cumbia, Folk, World.

Q: What's your strongest skill?

A: The way I listen to music before moving a single fader or making any type of decision.

Q: What do you bring to a song?

A: Musicality and a compelling-competitive sound.

Q: What's your typical work process?

A: I always ask the client if they have an specific music reference to make sure we're going on the same direction. I love to make sure in advance that I understand the artist's need and expectations.