Mixing, Mastering & Film Score

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

A: Scoring the short doc "Entre Muitos" – a cat adopted, abandoned, and returned. My role: composer. The challenge was smooth emotional transitions (happy → dark → hopeful) without abrupt cuts. I used one evolving theme: acoustic guitar and major key at first, then dissonance and sparse cello during abandonment, then a warmer return. The director said: "You made us cry without noticing the music had changed." That's my strength – music that breathes with the story.

Q: What are you working on at the moment?

A: Mixing an indie rock EP and scoring a short psychological thriller. Also developing my solo project (guitux.com) – but my priority is always client work.

Q: Analog or digital and why?

A: Digital for precision, recall, and restoration capabilities. But I emulate analog warmth through high-quality plugins and saturation techniques. The goal is the sound, not the gear.

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

A: Three things: 1) Your reference is my target – we'll match it closely. 2) Unlimited revisions until you approve (within reason, usually 1 or 2). 3) For restoration: I will remove noise without artifacts, or you don't pay.

Q: What do you like most about your job?

A: Solving the unsolvable. Whether it's a muddy mix that needs clarity or a 60-year-old tape with hiss – turning chaos into something beautiful.

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

A: 1. "Can you make my song sound like [famous reference]?" A: Yes – that's exactly why I ask for a reference track before starting. I use it to guide EQ, dynamics, and spatial balance. I won't copy, but I'll get you in the same ballpark (loudness, tone, width). For restoration jobs, the reference is the original source's intended clean sound – I don't guess. 2. "How long will it take?" A: Mixing: 3–5 business days after you approve the rough mix. Mastering: 2–3 days. Film scoring: depends on length (1–2 weeks for 5–10 minutes). Restoration: 1–5 days depending on noise type and file length. Rush available (extra fee, but ask me). 3. "My budget is low. Can we still work together?" A: I appreciate honesty. I offer two options: (1) Essential package – fewer revisions, no stems, basic mixing/mastering. (2) Payment split – 50% upfront, 50% on delivery. For restoration, I can do a diagnosis first ($20–30) so you know exactly what needs fixing before committing. Just message me – we'll find a fair way.

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

A: That "mastering" is just making it loud. Or that "restoration" is magic. Reality: it's meticulous, ear-trained decisions. I'm not a virtuoso guitarist – if you want a shred solo, hire a specialist. But for mixing, mastering, scoring, and cleanup – I deliver.

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

A: Laptop, interface, a good condenser mic, closed-back headphones, and a portable MIDI keyboard. And solar panels to charge everything 😉

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

A: Started music at 6. By my teens, I was recording my own bands. 10+ years later, I've moved from "producer who does everything" to specialized audio engineer and film composer. The last 5 years have been dedicated to mixing, mastering, and restoration as core services.

Q: How would you describe your style?

A: Clean, dynamic, and emotionally targeted. For mixing: I don't impose a genre – I serve yours. For scoring: I blend rock, indie, orchestral, and electronic to fit the picture.

Q: Can you share one music production tip?

A: Saturation and analog simulation are the best tools to achieve that "professional production level". I use it in every production.

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

A: Rock (and their variations), Jazz, Instrumental, R&B and Brazilian Music.

Q: What's your strongest skill?

A: Audio restoration and arranging for film. Taking a mess and making it musical – or taking silence and filling it with purpose.

Q: What do you bring to a song?

A: Depth, clarity, and a second pair of expert ears. Also, a commitment to your reference.

Q: What's your typical work process?

A: For mixing/mastering: 1) You send tracks + reference. 2) I do a rough mix within 48h. 3) You give feedback. 4) Final mix + mastering revision. 5) You approve and receive WAV + MP3. For restoration: 1) You send the degraded file + describe the noise. 2) I send a before/after sample. 3) Full restoration + quality check.

Q: Tell us about your studio setup.

A: Cubase-based, SSL interface, Roland keyboard, Neumann, Shure and Audio-Technica mics. But my main tools are spectral repair, dynamic EQ, compression, UAD Plug-Ins, and ears trained for noise.

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

A: Rick Rubin for simplicity, Hans Zimmer for scoring, and audio restoration legends like Graham Cochrane. No limits.

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

A: Three equal parts: 1) Mixing/mastering tracks for streaming, for any genre. 2) Scoring short films and indie games. 3) Restoring old or degraded audio – from family tapes to archival footage.

Q: What questions do you ask prospective clients?

A: What is your reference track for sound? Where will this audio be used (Spotify, film festival, YouTube, archive)? For restoration: Do you have the original degraded file? Any samples of the noise I should preserve (e.g., vinyl crackle as aesthetic)? What's your deadline and budget?

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

A: Don't hire me if you want the cheapest. Hire me if you want an engineer who listens, communicates, and won't stop until your audio tells the right story. I work with low-budget indie projects too – but I'm transparent: lower budget means less revision rounds. Let's talk.

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

A: Mike Shinoda. He is one inspiration of my work.