An engineer, a composer
In music, everything is connected. Being a composer makes me a better engineer, and being an engineer makes me a better composer. I can’t split one from the other.
At Boom Studios in Porto, or remotely with a live audio link.
The long version
Over 13 years I've worked on many different projects: rock, punk, metal and jazz bands, full orchestra, and original music for film, games and advertising. I even designed a recording studio and did guitar demos for Boss-Roland.
I studied computer science at the University of Vigo, sound engineering at Microfusa in Barcelona, and composition at ArtEZ University of the Arts in the Netherlands. So I can take care of the technical side, and we can also talk about the music itself.
Since then I've engineered in several studios, including a session at Abbey Road. Today I'm an independent recording and mixing engineer based at Boom Studios, and I engineer orchestral sessions at Fames. I also teach music production at ArtEZ University of the Arts, Musicube Academy and Galaxy Studios Academy.
Composing changed how I mix. And mixing changed how I write. Both disciplines complement each other.
I've also played guitar in rock and metal bands for years, so I know what it feels like to hand your music to someone else.
The short version
- BASE
- Boom Studios, Porto
- TRAINING
- Composition at ArtEZ University of the Arts (NL), sound engineering at Microfusa Barcelona, computer science at the University of Vigo
- TEACHING
- ArtEZ University of the Arts, Musicube Academy, Galaxy Studios Academy
- CURRENTLY
- Recording and mixing engineer for Sina Drums. Engineer for orchestral sessions at Fames
- EXPERIENCE
- 13 years, more than 100 projects
- RANGE
- Rock, punk, metal, jazz, full orchestra. Music for film, games and advertising
- INSTRUMENT
- Guitar, in rock and metal bands
“I want to close the gap between the artist and the mixing engineer.”
I like a mix that moves
That's my sound: dynamic and expressive, and every song should feel like a journey. I like reverbs and effects, and I like expanding what's there. I like adding subtle layers that fill the gaps the mix might have. How far I take it is up to you.
Boom Studios, Porto
The rooms were acoustically designed by Philip Newell, and I spent weeks placing and calibrating the full-range speaker system, so what I'm judging is your song, not the room.
The room
- FOOTPRINT
- 210 m² across four rooms
- ACOUSTICS
- Designed by Philip Newell
- LIVE ROOM
- 120 m² with 6-metre ceilings
- MICROPHONES
- More than 100 for recording live players, Neumann, Schoeps and Soundelux among them
- MONITORING
- Dutch & Dutch 8c, placed and calibrated over several weeks
- DISTANCE
- Two hours from London, Amsterdam or Berlin
Who I’ve worked with
Studios
- Abbey Road
- Boom Studios
- Fames
- Casa Murada
- Maik Maier
Selected credits
- OrbeaComposer & mix engineer
- WaitWhatMixing engineer
- Federico NathanEngineer
- Warren HuartEngineer
- Aaron BastinelliEngineer
- Rusanda PanfiliEngineer
- Marc ParrotAssistant engineer
- Ramon MirabetAssistant engineer
- Sina DrumsRecorded, mixed & mastered
- Daniel RowlandEngineer