I've been writing songs and music since before I knew what music was. As a producer or songwriter, I think one of the most challenging, yet important things is to let the artist shine and allow their ideas to be heard without getting in the way. I specialize in creative song building for pop, alternative pop and rock, indie, folk and hip hop.
I studied piano and composition at Fermatta Academy in Mexico City for four years.
As a self driven artist I have focused mainly on my personal projects that have varied from alternative pop and hip hop to folk.
Previously, I have been somewhat of a hermit focusing very singularly on my own projects and my friends'. Now that I have developed a set of useful and tangible skills I am interested in helping others achieve their goals with those skills as well.
My specialty is matching the vibe of a reference track - without turning your song into a copy. I also specialize in vocal arrangement, string and brass arrangement, and themed song writing.
I am very happy to take the challenge of a client asking me to be very creative with a piece just as much as I am happy to take the challenge of meticulously matching the specific requirements or reference material or a client.
I hope we can help each other grow and reach the next level together.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
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Interview with Lingu
Q: Which artist would you like to work with and why?
A: Anderson Paak, Kendrick Lamar, Lizzy Mcalpine, Adult Jazz, Raury... there are way too many. In all cases I really admire either their lyricism, their "cool" factor and style, their songwriting skills, or their creative song structures and styles.
Q: Can you share one music production tip?
A: Chords aren't everything and classical theory can't answer every question. The more you think of music as a blank slate with no right answers, the more your productions are going to surprise and "wow" people.
Q: What type of music do you usually work on?
A: Alternative pop and rock, hip hop and alternative hip hop, psychedelic rock, pop and hip hop. A lot of indie or indie-adjacent styles.
Q: What's your strongest skill?
A: Listening closely to clients, and taking sharp turns when necessary. People say you can't write two melodies for one song because the first one will always stayb in your head; I can confidently say that I can write you multiple melodies for one song and multiple beats for one melody. Adaptation is extremely important in a creative process that is often defined by limitations. I work hard to turn limitations into oportunities.
Q: What do you bring to a song?
A: SAUCE. No, but seriously.. a very meticulous approach to songwriting, metaphor, and theme. I like to use sound and space to express emotions and ideas just as much as lyrics and words. In terms of production, I don't sound like anyone else. My work might not be for everyone, but it's true to who I am and what I promise. I'm here to achieve your desired results while also creating something that's unique and aesthetically new.
Q: What's your typical work process?
A: I always start by carefully listening to the reference material or demo recording in order to understand the ideas behind it fully. I might also reach out to the client here for extra information or meaning behind certain things. Once I feel like I understand the vibe, I usually try to get started with a basic rhythm, which helps to zone in on genre. Rhythm can take a song from reggaeton, to pop, to folk music. The beat can define so much that it helps to start there. Next, I usually try to find the main harmonic lead. Whatever will be playing chords and providing us with harmonic context for the melody or lead. I like to mix a little bit while I record these parts, so I'll make sure the levels and effects are already ready to go. Once I have that, I'll do some detail work - background instruments, transitions, ambience and time effects - so that I can move on to writing or recording the lead instrument or lead vocals. A lot of fine tuning goes into finding the right approach here - up close, far away, whispering vs. yelling, levels of saturation and low cut. Once all the main parts are in place I try to do some aesthetic additions, such as ad libs, samples, drops, and extra ear candy here and there. Once everything is in place I'll label each track carefully, create some samples based on sounds, and then export with and without bus effects (depending on the purpose of the mixdown).
Q: Tell us about your studio setup.
A: I use an 81 key Yamaha digital piano for piano takes and an MPK-225 or Keylab 61 for synth instruments. I have a double monitor setup with KRKs and a lightly treated room. I have an acoustic and electric Fender for guitar takes, usually recorded with an Aston Spirit which I also use for vocals. I have 2 SM58s for certain stereo stuff and I record using an Apollo Twin interface. Most importantly I have a very expensive PC with a very nice motherboard which allows me to be quick and efficient while running large, 64+ track projects.
Q: What other musicians or music production professionals inspire you?
A: Kount Koal, Karra, MLM, Rick Rubin
Q: Describe the most common type of work you do for your clients.
A: Songwriting and song production. I'm hired to either write a full song, including lyrics and harmony, or to produce a full track for a demo or basic song idea.