example of how we work



Atlantic orchestration classical music with powerful guitars and a trumpet playing with the most pioneering style of Miles Davis. A slow tempo song is less than 50 BPM but that generates enough strength to reach the summit of the same. Mysteries of recording voice I Love You finally recorded in micro ribbon, for a more classic character, more retro, a dry sound. This carries no extra energy micro 48 v or transformer, is a micro tape. The buses for the battery are a couple Stereo Ribbon (ribbon microphones), 1 Rode Classic micro valve 97, a Shure 57 for the box, a AKG D112 to the hype and another 2 AKG for timpani and base. The voice finally recorded in micro ribbon to give it a more retro classic but without sacrificing the current character. The drums were recorded with 8 mics and have always arranged in the same position, just sometimes use buses more or less depending on the topic in question. We used two boxes, one with his staff on Pearl and staves off another Yamaha to achieve broad and differentiated sound without using additional EQ. The battery plates are 3 of 20 and 18 inches, Paiste and Sabian, and a 16-inch. Charles is 14. The drums were recorded within the soundproof tank as voice. Other times he recorded in the control room to catch the moist environment in the same room. The sound changes incredibly. I like to look the recording area depending on the type of song you want to style, but mostly in response to depth. The low of the song is precise and simple keystrokes only support without drawing just hype. He understood that it was not necessary under more frills and that my historical instrument is precisely the Bass. The burden of the song carries voice, guitar and trumpet the most stylish breaking the song Miles Davis in the last bars .The intention is to finish reaching a level of loudness and consequently emotion. The lyrical language of Shakespeare is, why? I guess it's the natural evolution of my life. Every time I spend more time in London and from my point of view and for this music in question provides more musicality. I would not say the same if I wrote zarzuela or song, of course. The lyric is for my wife. When recording in the early stages I took some samples built guitar and the sounds, and then I was playing guitar at the opening of the song. That section is repeated later. It is a way of presenting the work in a different light. What tools should I use? I use a lot of different compressors, reverbs and delays. I really like EQ API, tape delays, and also the natural reverb of seizure and Spring. I use a lot of high-pass and low-pass both equalizers and reverbs and delays to be uneven and a little unpredictable. For me, these effects must contribute to making the environment to be achieved; They are a way to equalize. In every project we have quietly reached some 60 tracks I spend a lot of time analyzing the music. I never close to one or another type of tool. In the study I have a valuable opto compressor Avalon AD 2044 and on this issue I have not used it. The console is a D & R 32-channel SSL preamps, compressors used for this occasion have been Fairchild 670 and 770 type using a very subtle compression, so you get all the light possible. I like the naturalness. Everyone does it slightly differently. I like to play with the automation of the intensity according to the passage of the subject matter. The question is, once you have completed the registration, what will you do with it? "Mastering is rare for me. I finish a record, and I like the sound. If it were not so it would not terminate and would continue working on it. If I give it to a mastering engineer, he or she automatically changes the sound , thinking they are doing the right thing. I know from experience that does not sound the same, and I say I want it to sound exactly like I did. " Of course, these days a lot of albums are made by several different producers, and mastering engineer is needed to sound more cohesive. But in this case it took time for exactly sound like he had done. " When one song is not necessary this process. Finally in the attention to sonic detail admit, I'm not concerned with perfect sound and meticulous detail. There could be sequenced batteries, boxes, drums, with absolute perfection (in other albums I've done) but I have not looked for it, but the perfection of imperfection. I want real humanity, where the final sound particularly acute not abuse. I Guess I will have to do with the years because the older you get sharper response lose and become unnatural. Before it was very meticulous not now. I'm not the type of microscope looking for a canned sound production not breathing, not dynamic. Everything I do is based on performance in working hours. A good decision will outweigh always captured perfectly. I do not like to use sound editors, tuners auto tune voice type and never do. I want to feel good at heart, that's the barometer with which I work. Much records coming out today, I have no feelings for them. There may be great sounds, there are, but I do not find them any emotion. Abuse machine in pursuit of perfection has robbed mankind.



each work, each artist is different and requires its own way








A composition and recording four months. Canada has been a very great for this work by all the friends I have there. I have made all these issues in London and Coruña and my air travel between these two ciudades.

A great source of inspiration have been Canadian & US friends, namely Dan Lanois ,Rocco de Luca, Paul Vasilak, Laura Cole…


The first time I discovered Rocco fascinated me, the strength of his guitar, skill and mimicry between his guitar and voice. A track of this new work is called Rocco Lap.

I got the passion for motorcycles later, greatly influenced to see bikes of Rocco and Paul Vasilak. A different sound, recorded entirely outside the main studio (room A) , with laptops through trips that Ion made by plane. OXIDE is the sound emanating from the feeling that I evoke some people who are part of my world network;  people without this new communication model would be virtually

impossible having met and less maintain a semi permanent contact. 

Friends with whom you share concerns and love for the music, the image, the transmission of emotions, feelings; an inside pushing out.


All songs were written and recorded in London, in Coruña and in the airplanes. With what? I'll tell when I remove the oxide.




The actor of the front page is Paul Vasilak, and the photographer is the brother of Daniel Lanois; Bob Lanois Canadian sound engineer and  music producer. The second Photo is the Kat Wilkinson too with Paul.