Real cello. Real emotion

Q: Can you share one music production tip?

A: When you record strings, it's better to have a mic IN FRONT of the bridge of the instrument, not in the F holes as the sound engineers would think. The other mic you have to put it a little far from the player, as the strings sound tends to project itself as it should be heard and the violin, cellos and viola are not meant to be heard too near. The combination of the farthest mic and the nearest one (remember: NOT AT THE F HOLES, in front of THE BRIDGE INSTEAD!) sounds magnificent.

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

A: I play lots of pop, sometimes rock. The pop producers want the strings sound that sounds big without get in the way of the singer. I really like to work in that direction. Sometimes trap producers contact me to get better strings sounds. I record my cellos to make samples, one time. I can do anything for your music.

Q: What's your strongest skill?

A: I can arrange a song and record it in half a day. With all the polish that you need, with all the details, and the best and imaginative sound. Meanwhile, I can record the most difficult cello part in a couple of hours. If the part is easy, I record 2 or 3 tracks in minutes. Producers love me!

Q: What do you bring to a song?

A: I think that a song with my strings sound brighter. You can say "I want this kind of sound" and show me any song from any artist. I KNOW how to write the strings to achive THAT sound, believe me. I think that the songs really shine after I record my arrangements. No lie.

Q: What's your typical work process?

A: The client send me the tunes in mp3, I chat with them and we look for a production cryteria togheter. Many times, they are well seasoned producers, and they show me a demo or a skecth made with a keyboard or sampler. Next I wrote some stuff and send to the clients my demos to polish. When they are satisfied, I record them in my studio or any other the client choose for the project. I get the best prices in Buenos AIres, because of the volume of my productions. The studio managers call me all the time to make the best deal with me!

Q: Tell us about your studio setup.

A: I have a full home studio with Focusrite gear, good microphones like Audiotchnica and Shure, Yamaha provides me all the mixers, speakers and a full rack of effects, because the brand endorses me. Laney send me the last amps they have to test and play. I can play electric and acoustic guitar and bass too, so it's very fun to make demos for the best musicians that I can hire in any moment.

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

A: Jaques Morelenbaum is like my brother. He used to play with Caetano Veloso and Tom Jobim. I do exactly that in my country, with very well jnow names like Charly Garcia, Litto Nebbia, Fito Paez, Andres Calamaro, Pedro Aznar, etc. Also, my primary insipration is George Martin.

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

A: People contact me for my strings arrangements. They like the way I work, I write like George Martin used to do, using orchestral tones to achieve a full new sound. I like to experiment. I use the strings as I know them, after more than 30 years of professional playing in the National Symphony of Argentina. Some musicians, like Peter Gabriel did, contact me to hire my full orchestra to play in their tours.