What sparked your interest in audio engineering?
I actually didn’t know much about audio engineering until I studied at Pyramind [now Music City Accelerator in San Francisco]. We had a class called Audio Fundamentals where we learned everything about how a studio works, patching microphones into preamps, using outboard gear, understanding signal flow, audio converters, and more. That’s where I first realized how much of a difference a good signal recording makes. Tracking my vocals in the school’s studio – especially through a preamp and in isolation – sounded so much better. We had an Avalon channel strip, which gave me my first hands-on experience with analog compression and EQ. At first, I just wanted to learn enough to make better sounding music myself, to understand how to use the studio gear to my advantage. But the more I learned, the more I realized that audio engineering is a whole world of its own. But it wasn’t until I started working at Sonic Ranch that I fully grasped what being an audio engineer really means. I came to understand that it’s not just about gear. It’s a craft; a creative and technical role in its own right. The deeper I dive into it, the more fascinating it becomes. Audio truly is a deep well.
Did you intern or work at studios in Mexico City?
I did some brief work at a friend’s studio, mostly recording live sessions and working on music for ads. I haven’t had the chance to do sessions in the major studios in Mexico City, but I’d love to. Last year, I had the opportunity to visit several of them and meet the people who work there, mostly through connections I made at Sonic Ranch. It’s interesting how interconnected the audio world is. Everyone seems to know someone you know. It’s inspiring to be part of this community where you’re constantly meeting people who are involved in all these exciting projects.
What was going on musically in Mexico City when you were learning the craft? Did you have mentors there?
When I was in college, I had a band with some friends, and we started making demos on Ableton Live. That’s when I really got into music and composing. I was fascinated by how powerful a DAW can be; there are so many underrated tools at your fingertips. I dove deep into all the built-in soft synths and effects, experimenting and learning as I went. I remember taking an online Ableton class taught by a musician who played keyboards for St. Vincent [Tape Op #134]. He was in charge of triggering all the MIDI sequences during her shows, and through that course I learned how to do things like dummy clips, tempo changes, and preset switches for our live gigs. Funny enough, years later I met Rachel Eckroth, St. Vincent’s current keyboardist, when we recorded her solo record [The Garden] at Sonic Ranch. It felt like things had come full circle. Having mentors is great, and I really value those relationships, but there’s also something special about figuring things out on your own with your friends. There’s no one telling you what’s right or wrong, so it stays positive and exploratory. And since you’re not doing it for money, it’s all driven by passion, which, honestly, is the best motivation there is.
You received a scholarship to Pyramind. Had you applied to multiple programs in U.S. or abroad?
I had never applied to anything on my own before. My previous band once won a contest that gave us the chance to record an EP at a nice studio, but the Pyramind scholarship was the first time I applied for something solo. Honestly, I didn’t expect much from it. I had been following Pyramind’s YouTube channel for a while. Matt Donner, one of the founders, had these incredible instructional videos on music theory, arrangement, and rhythm. I watched them all the time and learned a lot. One day, they posted a video announcing a scholarship contest for their Electronic Music Producer Program at the San Francisco campus. The winner got a full year tuition free. To apply, you had to submit one of your original productions along with a video explaining why you deserved the scholarship. I decided to go for it and sent in one of my songs. Somehow, out of all the applicants, I was selected. I packed my bags and started a whole new adventure in San Francisco. I hadn’t applied to any other programs in the U.S. or abroad. This one just felt right, and I’m really grateful it worked out.
How did you later end up at Sonic Ranch?
My dad was actually the one who introduced me to Sonic Ranch, which is kind of wild since he’s not involved in the music industry at all. One of our neighbors had a brother, Rafael Guevara, who used to work there regularly. He produced a lot of norteño bands and had a strong connection with the Ranch. Sadly, he passed away, but he was the one who originally led me in that direction. At the time, I was interning at a studio that primarily focused on acoustic music. We worked on some beautiful records, solo harpists, pianists, and cello duos – very delicate, intimate sessions. It taught me a lot about precision and attention to detail, especially when recording quiet instruments. But I was ready for a new challenge. I wanted to work in a larger studio, on bigger projects, tracking drums, doing full rock albums, and diving into a more dynamic and fast-paced environment. That’s what drew me to Sonic Ranch, and it ended up being exactly the kind of experience I was looking for.
Sonic Ranch is so remote. Do you live near or at the ranch or travel in from El Paso?
I live a few miles away from the Ranch – you kind of have to if you work here. Sessions can run really long, often going past midnight, and commuting an hour back to El Paso every day just wouldn’t be sustainable. At first, I really missed the city. I grew up in Mexico City, which to me always has felt like this gentle giant, chaotic but comforting, and always offering something. Over time, though, I’ve learned to appreciate the countryside. It’s amazing to have clean air, quiet nights under vast skies, no loud traffic jams – just the occasional blast from a double Marshall stack.
How do you craft an individual sound for each client?
I always start by trying to understand where the artist is coming from and where they want to go. About a week before the session, I ask them to send over demos of the material we’ll be recording, along with references or songs they love. That gives me a chance to really listen to their music and imagine what it could become. It’s a bit of a guessing game at first, but those references help me better understand the kind of sound they’re aiming for. I try to align with both the artist’s and the producer’s vision. They usually have specific gear requests or sonic ideas in mind, and it’s exciting to start uncovering those imagined sounds once the session begins. Every musician brings their own playing style to the table, which also influences the sound. For example, if a drummer plays very loud or a guitarist is unintentionally adding noise, I’ll point it out. If they’re okay with it, we move forward and work with it. It’s all about communication and mutual understanding. One project where we got wild sounds was with Christian Lillinger, Elias Stemeseder, and Tim Lefebvre. They usually perform together at jazz festivals – contemporary music, experimental stuff. Crafting their sound was a blast. Christian’s drum setup included distortion and a whammy pedal, which sounded pretty rad. Elias’s setup changed with each piece, but one of my favorites was when he ran a harpsichord through a modular synth – truly unique textures. In another track, we pitched down the left hand of the piano by two octaves and processed the right hand with Spiff, a transient designer plugin. The result sounded so crazy and cool. Every session is different, and I love that challenge of shaping a unique sonic identity for each artist.
