Mastering is an art in which technology is crucial but it is in the engineer's hands (ears) the possibility of sounding like the night or day.
There is no right or wrong way of doing a master so it depends of traning and having a developed sense of critical listening and aesthetics.

A human art

Finding an engineer out there can be challenging rather if you are an unexperienced artist or you have plenty of knowlegde about what mastering is. There is a vast amount of studios and professionals offering their services with different specializations, different tools and different rates. And of course, each with different perception, epxerience, passion and taste about music.
Also these days a lot of online and automated platforms driven by sound file anlaysis and Artificial Intelligence are available for you to master your songs but this completely cancels the perception of music as intentional art and strips it of emotional vision.
It is time consuming and a considerable personal and professional effort to find the perfect match to your needs but it will be rewarding at the same time as you will get the optimum results.


I like to take technology out of the equation to be only focused in what really matters which is art.
For that reason I have built a facility where I can develop these projects with trust and comfort.
I am working with some of the finest mastering grade audio equipment out there, a full-range and very accurate monitoring system as well as a properly treated room for a perfect translation of the music into the real world.
Personaly, I feel comfortable beleiving that it does not matter whether you do your masters fully analog, fully digital or hybrid. The important thing to me is to choose the right tool for the right task when needed, which means to know very well what you are doing and which are your intentions. And for sure having a proper training in perception and equipment will be decisive in order to achieve the best results.

Artist vision approach

A part of being an engineer I am also an artist and this is one of the key attributes I've got for dealing with other people's work. I'm conscious about how much time, effort and dedication is needed to create any piece of art, so one of my rules is to never ever do what I would not do to my own work. Respect, understanding and sensibility are a must for me and values that are always present in every project I work on.
It is also one of my mantras to preserve fidelity when performing the mastering tasks as well as not overdoing the processes because that can ruin the work.
In fact, doing as much as needed but as less as possible is one of the most challenging things I have to do on my everyday work.

I consider myself a music enthusiast too and for that reason I enjoy all the projects which I am involved in.
For that reason I am selective with the works I accept and I would require a previous evaluation because from my understanding that is what makes more sense to me; If I am not fully commited it would be impossible to do my best.

It is positive to say that my training, experience and taste will influence in the result despite I always try to be as neutral as possible. And that is not a handicap, that is part of the sound.
I always propose a conversation to be aligned in terms of aesthetics and goals to be achived. The technical aspects to develop are also the boundaries of what I will perform, creating a comfortable zone between you and me.
If you are not familiar with my toolset I can briefly describe it as tailor made, sensible and respectful. I have worked from classical to electronic music through jazz and rock but always prusuing the same goal which is to always deliver the best sound possible to my clients.

Hands on experience

Don't expect me to fix everything in the mastering process.
In fact, mastering will reveal all the details and nuances for the good and the worse.
Sound can ben polished and enhanced, dynamics controlled and levels pushed towards getting a better mix and even some artifacts can be removed but I do not have a magic button which makes everything sound good.
My humble advice is that you must be aware of getting the best results in every stage of the project since the beginning, from composition to mixing.

Don't let loudness drive you nuts because it simply does not exists.
Yes, that's it, loudness is a matter of perception and only appears when comparing to another reference but not in isolation. If you wish I will make it sound as loud as possible while it keeps sounding good.

The equipment and skills I have adquired are not trivial and as a consequence are an influence in my workflow and my rates. But I do not charge for the gear I use but for the expertise and commitment I can offer. My role is not only fulfill the technical aspects but give also a new perspective and vision of how your music should sound.
I am open to work for both short and long projects but always upon availability. And the truth is that I only focus at one project at a time to avoid being suggested by any external agent.


You may now think we can work together, so which steps should we follow?
First of all get in contact with me. Then you will send me the files for me to evaluate them. After that, I will make you a proposal and start working in your project for delivering all the required formats you may need.

While working I will:

I will deliver the files using any available standard and professional formats like DDP, digital downloads, etc.