Analog Mastering Grammy Member

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

A: One of my most significant achievements involved the meticulous restoration of a historic 1980 live recording of Mercedes Sosa in Switzerland (Mercedes Sosa Suiza 1980 Remastering 2025). This project was not merely a technical task; it was an act of cultural preservation for one of the most iconic voices in Latin American history. The Project: Mercedes Sosa | Live in Switzerland (1980) Remastering 2025 The source material was a rare archival recording that suffered from the typical degradation of its era: tape hiss, inconsistent frequency response, and spatial imbalances that obscured the emotional weight of "La Negra's" performance. My Role: Lead Restoration & Mastering Engineer I served as the primary engineer responsible for the sonic "renaissance" of this material. My approach was rooted in reverence and precision, ensuring that the restoration enhanced the listening experience without stripping away the organic soul of the original performance. The Professional Process Forensic Audio Cleanup: I utilized advanced spectral editing to surgically remove non-musical artifacts and noise floor issues while preserving the delicate transients of the acoustic instrumentation. Tonal Balancing: Using high-end analog modeling, I restored the "body" to Mercedes’ voice, ensuring her mid-range resonance felt intimate and powerful, as if the listener were in the front row. Stereo Image Reconstruction: I carefully expanded the spatial field to recreate the atmosphere of the Swiss venue, providing a modern, immersive depth that the original mono or narrow-stereo tapes lacked. Why I am Proud of It As an expert in the field, I believe the best engineering is invisible. I am incredibly proud of this project because we successfully bridged a 45-year gap in technology. By applying modern mastering standards to this 1980 treasure, we ensured that new generations of listeners can experience Mercedes Sosa with the clarity and impact she deserves. It was a perfect marriage of technical expertise and emotional storytelling, reinforcing my commitment to excellence in audio heritage.

Q: Analog or digital and why?

A: Both. The Hybrid Approach. I use Analog (Manley, Crane Song) for tone, color, harmonic distortion, and 3D depth—things that plugins still struggle to emulate perfectly. I use Digital for surgical EQ, brickwall limiting, and error-free format conversion. Using only one or the other limits your palette; I use the best tool for the job.

Q: What do you like most about your job?

A: The "Reaction Moment." There is nothing better than sending a master back to a client and receiving a message saying, "Wow, I didn't know my song could sound this good!" Helping an artist cross the finish line and release their art to the world with confidence is incredibly rewarding.

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

A: "Can you make it sound like?" A: "I can get the balance and energy there, but remember: that hit song sounds that way because of the arrangement, production, and mixing, not just the mastering. I will get your track to its maximum potential, but we must respect the source material."

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

A: That mastering is just "making it loud." Loudness is easy; clarity at high volume is hard. The biggest misconception is that mastering can "fix" a bad mix. It can't. Mastering is a multiplier—if the mix is good, mastering makes it amazing. If the mix is bad, mastering just makes the problems louder. That's why I focus so much on the pre-mastering mix advice.

Q: What questions do you ask prospective clients?

A: 1 What are 2-3 reference tracks that have the 'vibe' you are chasing? 2 Is there anything specific in the mix you are worried about or unhappy with? 3 Where will this music be released? (Streaming, Vinyl, CD, Club?) 4 What is the emotional center of this song? What do you want the listener to feel?

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

A: Talk to the engineer first. Don't just hire based on a credit list; hire based on the connection. Send a message, share your demo, and see if they understand your vision. The best results come from a partnership, not just a transaction. Also, ask for a Mix Evaluation—a good engineer will want your mix to be perfect before they start working.

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

A: I have been a professional audio engineer for over 10 years. My journey started with a deep obsession for sound, leading me to found Casa Rara Mastering. I solidified my expertise through active membership in the AES (Audio Engineering Society). Today, as a Voting Member of the Recording Academy (Grammys) and Latin Grammys and board member of AATIA (Argentine association of technical and sound engineering), I continue to dedicate my life to the art of audio, working with clients globally from Buenos Aires, Argentina to the whole world.

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

A: I would love to work with artists like Jorge Drexler or Rosalía. They represent the perfect fusion of root sonic traditions with modern, cutting-edge production values. That balance between the organic/acoustic and the electronic is where my mastering style shines the brightest.

Q: Can you share one music production tip?

A: Don't over-process your master bus. Many producers kill their song's potential by slapping a limiter on the master channel too early. Leave the final loudness and "glue" to me. Send me a mix with headroom and dynamic range; the result will be punchier, wider, and cleaner than if you try to maximize the volume yourself.

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

A: I have a diverse portfolio, but I excel in genres that benefit from organic texture and punch: Rock, Indie Pop, Latin Alternative, electronica and Urban/Hip-Hop. My gear is particularly well-suited for adding weight to drums and bass in Urban tracks, or adding shimmer and space to Acoustic/Folk arrangements.

Q: What's your typical work process?

A: Deep Listening & Mix Analysis: Before touching a knob, I listen to your track and read your notes/references. If I spot mix issues (clashing frequencies, phase issues), I’ll send you a detailed report so you can fix them. This ensures the best final result. Analog Processing: I run your audio through my outboard chain (Manley, Crane Song) to impart character, depth, and volume. Digital Refinement: Surgical EQ, limiting, and sequencing for the final competitive level. Review: I send you the master. We do revisions until you are 100% happy. I don't believe in "good enough."

Q: Tell us about your studio setup.

A: My studio, Casa Rara, is built around a "no-compromise" hybrid chain designed for detail and tone. The Analog Heart: EQ: Crane Song Ibis (Discrete Class A) for musical shaping and the Dangerous Music BAX EQ for transparent sweetening. Compression: Manley Nu Mu (Vacuum Tube) for that rich "vari-mu" glue and the Elysia Xpressor/Nvelope for transient control and punch. The Digital Brain: Conversion: Mytek Stereo 96 DAC/ADC (custom mods) – pristine conversion ensures that what leaves the analog chain is captured perfectly. Monitoring: Dynaudio Acoustics BM15A, the soul of my studio, allowing me to make critical decisions with confidence. And all the mastering plugins you can imagine.

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

A: I specialize in Hybrid Analog Mastering (Stereo and Stems) for artists seeking that "major label" depth and punch. My daily workflow focuses on taking digital mixes and running them through top-tier analog outboard gear to add 3D dimension, warmth, and "glue," before refining them with surgical digital precision for competitive loudness. I also provide extensive Mix Consultation before starting, helping clients fix balance issues at the source so the final master sounds pristine on Spotify, Apple Digital Masters, and vinyl.

Q: How would you describe your style?

A: Transparent yet musical. I don't impose a "sound" on your music; I reveal the best version of it. My style is about enhancing the emotional arc of the song—making the choruses hit harder and the verses feel more intimate. It's a modern, high-fidelity sound that retains the warmth of classic recordings.

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

A: 100% Honesty. I will never tell you a master is done if I don't believe it. And I will keep working on it until you are thrilled. I promise to treat your music with the same care I would treat my own.

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

A: If I was on a desert island I would choose: 1- IBIS CRANE SONG DISCRETE CLASS A EQUALIZER A really transparent equalizer, we use it for both subtractive and additive EQ. Incredible COLOR function to give warmth to mixtures that require it. Again, David Hill surprises us. 2- BAX EQ Amazing musical EQ. Just Love it. 3- MYTEK CONVERTERS Crystal clear. Extremely low jitter. Deep bass, enhanced stereo field. I would not change it for anything. 4- Elysia Xpressor - Elysia Nvelope Extremely useful tools when it comes to mastering. I cannot live without them. 5- DYNAUDIO SPEAKERS After a long time of testing audio monitors these are my first choice. Amazing design and sound quality!

Q: What's your strongest skill?

A: Communication and empathy. Technically, my strongest skill is balancing Loudness vs. Dynamics—making your track compete on playlists without crushing the life out of it. But professionally, my superpower is understanding your vision. I treat every indie artist with the same level of detail and respect as a major label project.

Q: What do you bring to a song?

A: I bring perspective and texture. After you've heard your song 1,000 times, you lose objectivity. I provide a fresh, expert set of ears to ensure your message translates to the listener. Sonically, I bring the "expensive" sound of high-end analog circuitry—that intangible feeling of "air" and "weight" that plugins often struggle to replicate on their own.

Q: What are you working on at the moment?

A: I'm currently finalizing masters for an indie-rock EP from Argentina and a series of Urban singles for a US-based client. I'm also preparing sessions for the upcoming Latin Grammy entry cycle, ensuring all my clients' metadata and audio specs are compliant for submission.

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

A: Pablo Rabinovich.

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

A: I am deeply inspired by engineers who bridge the gap between technical perfection and emotional impact, such as Bob Ludwig and Emily Lazar. Their ability to serve the song above all else is my benchmark. I also closely follow the innovations of my colleagues within the AES (Audio Engineering Society) and the Recording Academy and Latin Grammys, where I serve as a voting member. Staying connected with the global audio community keeps my ears fresh and my techniques current.