The importance of research: How to choose an electric piano?

How to choose an electric piano?

INTRO 1: First of all, the brands that I don’t recommend and recommend are related to my experience and preferences. In my opinion, there is no one who can tell you which piano or keyboard is appropriate for your needs except yourself. The objective of this text is to help you (through what I have learned over the years) to understand the main questions to find your ideal electric piano.

INTRO 2: This document is specially written for many of my clients who have asked me about this topic. Many of these people do not know much about music or production, so, many words are “simplified” even knowing that this can misinform in the first instance, however, the confidence that I have with them allow me to clarify different concepts that they do not understand through practice. So, it is possible that people who are technical experts may feel disturbed by some technical words or superficially definitions.

Electric pianos usually have different functions, I will mention the ones that I think are relevant:

  1. Electric Piano to study or as a stage piano

a2 *) Electric Piano as a MIDI controller

b) Keyboard with medium weight or light keys that has its own sounds (Synth -analog or digital-, Sampler)

b2 *) Keyboard with medium weight keys as MIDI controller

c) Workstation

As the decision of the ideal electric piano is qualitative, there is no a linear scheme to help you make the decision. However, to help you, I will explain a brief introduction (very useful to understand the next information) and also, I will talk about how I organize the essential questions to know which is the ideal piano considering the previously functions that I mentioned. If you prefer a video instead of reading, you can find here a VLOG where I talk about this topic (in spanish, but you can turn on the subs):

The paradigm of the electronic instrument (explained as simple as possible) :

An instrument is usually conceived as 1 object that can produce musical sounds (and music, in the hands of an expert). Each instrument has its own tone (distinctive sound of the instrument eg: A piano, which is basically a furniture with strings and mechanisms, generates the sound known as the sound of the piano, and so on with other instruments). The paradigm here is that the object instrument contains the potential sound (tone) and the mechanism to make it sound but the technology has broken this paradigm because nowadays, you can have the potential sound/tone in an object, that is, the mechanism that will send the necessary information in order that it sounds (what traditionally, in a piano refers to press a key) in another one (What’s more, another object to make the potencial sound appear in the reality!

I will separate both elements as “Controller” (the mechanism that calls the sound) and “Brain” (where the sound is generated).

In the case of the piano, the “controller” is represented by the keys and the mechanism which reaches the hammer and hits the string. On the other hand, the brain is represented by the harp where the string is located, which contains the potential sound. The sound is amplified by the resonance of the furniture itself and generated when the string is activated.

The “keyboards” that are normally sell in the market have the 3 things inside them, like the piano:

Controller – Brain – Amplification

The controller is not just keys. In pianos, it also involves hammers, hammer sensors, buttons, knobs, faders, pedals, etc. Today, there are controllers like clarinets or saxophones, even prostheses that allow dancers to generate MIDI information (which is among other things, the language in which musical instruments communicate today). Nowadays, there are keyboards (with both heavy and light weight keys) that only send MIDI signals and have no sound, these are the famous MIDI Controllers.

The brain can be an analog synthesizer (which generates sound from voltage), it can be a sampler (which “plays” pre-recorded sounds assigned to different keys and intensities), or digital synthesizer (which generates the sound from zero and one).

*I’ve always had the doubt of whether the synths of today actually have samples of synthesized sounds. If anyone can comment on it, it would be great.

In terms of hardware I can find brains inside keyboards (called synths, samplers, or workstations), in racks, and even inside a computer like VSTi (basically virtual instruments) both as in Standalone and inside another production program called DAW (Digital Audio Workstation).

The amplification usually consists of a pair of monitors (speakers, bocinas, parlantes, depending on what your country is), an amplifier or a box (how is called in Chile).

It is important to mention that most Synths usually have midi output, that is to say that having a brain does not take away the possibility of sending the MIDI signal to another side so that other sounds may sound. This signal can be sent by a MIDI cable (5 pins), by USB and nowadays by bluetooth and wifi.

What is relevant to me when choosing the driver?

Above all, being related to the sound that I press, blow or move directly, I believe that the hardware used is very important. If you are someone who studies or studied seriously technical piano, you should consider the construction of keys, hammers and their sensors. If you are going to play live and move a lot you should consider the weight too and how you will relate the controller to the sounds.

In my case the keys (88 full weighted) were essential and, investigating, I discovered (please correct me if I’m wrong) that almost all brands charge their hardware “controller” to FATAR. My experience with FATAR has been very bad, and although, obviously, I have not tried each of their keyboards I know that many of its constructions are excellent. However, all the FATAR keys have failed me, their mechanisms have been broken, chassis have been folded, what’s more, in a range of 6 months to 2 years I had to send, different keyboards to technicians to repair them. Most brands use FATAR pieces.

Kawai and Roland, on the other hand, create their own keys, and in my experience they achieve an excellent price / quality balance for someone who studied piano technique. In his professional range, I have had the pleasure of trying keys at the level of the grandpiano Stenway and Bösendorfer, as well as C7 of Yamaha. Therefore, those are the brands that I recommend for a serious study on 88 heavy keys.

A good story, relevant to the topic, is that the last few times I went to the technician who repaired my keyboards I asked him which were the brands that he repair the most and he mentioned and showed almost all brands except Kawai and Roland, who were the ones who arrived the least. I have seen Roland electric pianos with 20 years which have not had technical problems.

On the other hand, to control a DAW and produce do not necessarily need 88-key controllers. In my case, I have used several keyboards of 61 light keys with faders and knobs (to play live). Unfortunately, the same thing has happened to me, so Roland (again) is my choice when choosing a reliable driver.

Do I need sounds on my keyboard?

If you’re going to play piano, ideally you should have a piano, unless you have a good computer to run a VSTi. The essential question is: Do you need more sounds than the piano? Do you really use them? Where and for how long will you use them ?. Depending on these questions you can choose if you want a keyboard with synth, sampler, analog, digital, etc. or if you really need just a controller and you have the sounds somewhere.

It is also important to mention that the Workstation not only contains the controller and sounds but also a recording, editing and reproduction system within it, many of them include small speakers to listen references. Although in my professional experience, it is always better to listen through monitors (audio).

I am completely in love with the VSTi sounds, and I use them when I play live. There may be an ideal sound for you that you must look for on your own. I think it’s important to consider that the dynamic range is high, in other words: you can play very very slowly until very loud and feel the difference between all the levels (intensities).

Any other recommendation when buying an electric piano?

Try it, each key, each pedal, several sounds (if it has it). If they do not let you try it, do not buy it.

If you’re not going to record, forget about the workstation, if you’re going to use VSTi, you do not need sounds (although it’s always useful it should not be your focus in this case).

On the other hand, if you are interested in the tone, I have seen that some people buy a keyboard just for the sounds they have and then, they use another controller to use them.

The versatility that allows us today the separation between controller and brain is just beginning to show in these last decades. Discovering what is for you the most comfortable way is in your hands. Question, investigate and progress, it is practically inevitable to make a mistake, so at least in the first attempts give the best of you.

I hope this information could be useful.



The importance of research in hardware for music production – Introduction

Several years ago, I bought and sold a wide range of equipment of different brands. Moreover, I have learnt a lot through my experiences. Besides, many things I lived were not in forums or blogs / vlogs.

Therefore, I have decided to write a review about some of the equipment that I have used and used at some point of my life and also, important conclusions that I normally share with my clients. Maybe someone that I do not know will be benefited from my experience.

Today, as an introduction, I would like to comment that although the millennials and centennials are used to investigate, you do not always know what you are looking for (or you know, but not specifically) and I think that the problem is that we do not ask the right questions..

In addition to the budget, it is essential for the research to know what specific use and in what context you will use the hardware you are looking for. With that in mind, it is much easier to decide, because in many hardware choices the preferences are more important. Do you want to produce at home? Do you want to produce and play live? Do you want to play live? Do you want to record in different locations? Do you have time to repair hardware and software problems?

Although, I have several instruments and other technologies that I already mentioned, I will focus on my computer, drivers, hard cases and interface. The equipment which I have in my studio (May, 2019) are the following:

MacBook Pro Mid 2012 16gbRam 2TB7200RPM (Caddy) + 1TBSSD

Focusrite Pro26 Firewire

Roland A88 Midi Controller

Roland A800PRO Midi Controller

Gator Cases

To take the decision to obtain these hardware devices I went through several adventures, so I will write the story about how I got each of them (and the different hardwares I had) in the next posts.


La importancia del research en hardware para producción musical – Introducción

Hace ya varios años he comprado y vendido varios equipos de distintas marcas, en cada una de mis experiencias he aprendido mucho y varias cosas que viví no estaban en foros ni blogs/vlogs.

Por lo tanto he decidido comentar algunos de los equipos que he usado y usé en algún momento y conclusiones importantes que comparto normalmente con mis clientes, quizás alguien que no conozco se vea beneficiado por mi experiencia.

Hoy a modo de introducción me gustaría comentar que si bien los millenial y centenial estamos acostumbrados a investigar, no siempre se sabe lo que se busca (o se sabe, pero no específicamente) y creo que tiene relación que no nos hacemos las preguntas correctas..

Además del presupuesto, es esencial para la investigación saber que uso específico y en qué contexto usarás el hardware que buscas, con eso en mente es mucho más fácil decidir pq al fin y al cabo en muchas elecciones de hardware es el gusto el que prima. ¿Quieres producir en casa? ¿Quiere producir y tocar en vivo? ¿Quieres solo tocar en vivo? ¿Quiere grabar en distintas locaciones? ¿Tienes tiempo para reparar problemas de hardware y software?

Si bien, tengo varios instrumentos y otras tecnologías que las mencionadas me enfocaré en el computador, los controladores, hardcases e interfaz. Éstos elementos en mi estudio actualmente (Mayo, 2019) son:

MacBook Pro Mid 2012 16gbRam 2TB7200RPM(Caddy)+1TBSSD

Focusrite Pro26 Firewire

Roland A88 Midi Controller

Roland A800PRO Midi Controller

Gator Cases

Para llegar a la decisión de obtener ese hardware y no otro pasé por varias aventuras, por lo que escribiré la historia de cómo llegué a cada uno de ellos (pasando por distintos hardware) en los próximos posts.


Video al respecto en mi canal:

Playlist Vlog:

Foley (Eng)

A videogame company contacted to do Foley, although I have always been aligned with the following phrase “music for hire” in videogames and short films, I accepted the challenge. For this, I decided to work with one of my students, who works with the Foley team of a respected film company in Latin America.

After accepting the budget, they sent us their requirements and I began to organize the work. It is very important for me to keep everything in order considering Gantt chart, plans that consider unexpected cases, management schedules, execution, edition and revision (to do something again if the client needs it). I will write the following part of the story numerically, as a log.

April 1st: The budget is approved, they send me a sound proposal, I convert it into an excel mentioning every doubt regarding the spatiality, material and other details that are important to know about what kind of sound they really want. Finally, they send me a video with a sample of the program, a series of images, and also the same excel with notes on each question. Approximately 2 working hours

April 2: I meet twice (one in person and another by Zoom) with my partner to create a Gantt chart. I decided to organize the time first because having many freelance jobs, at the same time, require a clear schedule which is a priority to maintain the daily happiness regarding things you do, as well as, maintaining the momentum with the people with whom you work in other areas. Once the dates are set, we determine materials, microphones, interfaces, even recording studios, an engineer and a list of logistics tasks with specific dates are managed. We also set dates to record corrections after reviews. Approximately 2 working hours

April 7: I learned that there are two types of Foley, Foley Recorder and also Foley Artist. It is official, we are creating Foley, we use plastic boxes, cardboard, tools, and what is more, we drill part of my house, it was worth everything. One of the most interesting things was the analogous synthesis that we used through the technique that I knew about instrumentation, and also Daniel from the Foley knowledge. 2 tones together renounce to be each one and become a new one; this is how we create the sound of the hammer, mixing the sound of a blow on my piano case, knife on a metal key, a real hammer hitting in different areas, superimposed, it sounded like the required hammer. The superposition of elements was a very useful tool to create the sounds, as well as, the pitch transposition to be able to reach high samples and lower the pitch a little (and thus, to give volume to the objects). 4 working hours

April 12: We managed to gather several composition students and friends to help us in the recording of the “Wala wala”, (the company required it) in other words, the people who talk in the background of a movie scene and nobody knows what they say. So, we had to make it real. However, they should not say “wala wala” but talk and after that, we process the sound in order that it seems they do not say anything in particular. We tested with pairs talking with their hand over their mouths and also other shots but with people without the hand over their mouths. Finally, we shot a long meeting of 4 characters who were improvising in real time using key words taken from the concept sent by the client. It was a wonderful, entertaining and very educational experience. I have 3 different shots with 3 variations each (Clean, EQ (muted), and all that I already mentioned with -30dB).  It is needed to review the other editions of the first part and then, it will be sent. 4 working hours

April 13: One of my students did not attend the class and I could not wait to check the material. I was preparing the editions and improving the sound. I uploaded the material to the cloud to send it on Monday. 1 working hour

April 15: I contacted the director of the company because we need certain answers to determine what strategies we will use for the next sounds. We also send the material. We will be waiting the feedback.

April 16: Possible sounds were investigated to record a specific alarm sound; a planning is generated for my partner could record it.

On the other hand, we recorded almost everything that it was missing; we made from 3 to 5 extra sounds (in some cases), to make sure that the client was satisfied. This is not required but when it is possible I like to do it (as far as possible) to exceed the expectations of the client. 4 working hours

April 19: My dear student found – captured and sent the sound material to my recording studio, I edited 5 versions of the sound and updated the folder (in the cloud) that is ready for the client. We will wait for feedback. 2 working hours

April 22: We have received some corrections regarding some misunderstandings (in spite of the fact that we were meticulous this is something expected, the human error is practically inevitable in my experience). We have one week in advance (as planned) there is time to check and accomplish with everything that the client requires. I start working on the corrections and some missing editions to update the report and the documents in the folder. 4 working hours

April 26: We were contacted, everything is OK. The client is happy; we have finished a couple of days before the deadline. The work took 21 hours between implementation and edition, not to mention that we had 3 unofficial meetings (team and client) which last one hour approximately and obviously, the investment in hardware and the necessary studies to achieve the sounds and the proper recording for them. There were officially 16 sounds and we delivered 46 sounds (generating many versions for each one with different objects and technologies) plus one extra sound called roomtone (to generate the sensation of space).

Note: Regarding our assignment, what this company wanted did not exactly “Foley” (what I knew about it was that Foley implies movement and sound) the sounds request has the same function within a unity system designated for a virtual reality.

Note 2: I hope this information could be useful for someone who has never faced these assignments, or who wants to know about these recordings.


Me contactaron desde una compañía de videojuegos para hacer Foley, si bien yo siempre me he mantenido alineado en el “music for hire” en videojuegos y cortos, acepté el desafío. Para esto decidí trabajar con uno de mis estudiantes, que trabaja en sonido en una muy respetada compañía de películas de Latinoamérica.

Luego de aceptado el presupuesto, nos enviaron sus requerimientos y yo comencé a organizar el trabajo, es muy importante para mi mantener todo en orden considerando cartas gantt, planificaciones que consideren lo inesperado, horarios de gestión, ejecución, edición y revisión (para re hacer algo si el cliente lo necesita). La siguiente parte de la historia la iré escribiendo numéricamente, a modo de bitácora.

01 de Abril: Se aprueba el presupuesto, me envían una propuesta de sonidos, yo la convierto en un excel mencionando cada duda en cuanto a la espacialidad, material y otros detalles que son importantes para saber que tipo de sonido realmente quieren. Finalmente me envían un video con una muestra del programa, una serie de imágenes, y el mismo excel con notas sobre cada pregunta. Aproximadamente 2 horas de trabajo

02 de Abril: Me reúno 2 veces (una en persona y otra por Zoom) con mi socio para crear una carta gantt; decidí organizar el tiempo primero porque al estar en muchos trabajos freelance a la vez, tener un horario claro es prioritario para mantener la felicidad en el que hacer así como mantener el momentum con las personas con quienes se trabaja en otras zonas. Una vez organizadas las fechas determinamos materiales, microfonía, interfaces, incluso estudios, se gestiona un ingeniero y una lista de tareas logísticas con fechas determinadas. También fijamos fechas para grabar correcciónes después de revisión. Aproximadamente 2 horas de trabajo

07 de Abril: Aprendí que existe el Foley Recorder y Foley Artist. Es oficial, estamos creando el foley, usamos cajas de plático, de cartón, herramientas, taladramos parte de mi casa, todo valió la pena. Una de las cosas más interesantes fue la síntesis análoga que usamos utilizando la técnica que yo conocía desde la instrumentación, y Daniel desde el foley, 2 timbres juntos renuncian a ser cada uno y se vuelven uno nuevo; fue así como logramos crear el sonido del martillo, mezclando el sonido de un golpe en mi case de piano, cuchillo sobre una llave metálica, martillo de verdad golpeando en distintos lugares, superpuesto, sonaba como el martillo requerido. La superposición de elementos fue una herramienta muy útil para crear los sonidos, así como la transposición del pitch para poder tomar samples agudos y bajar un poco la altura (y así dar volumen a los objetos). 4 Horas de trabajo.

12 de Abril: Logramos juntar a varios estudiantes de composición y amigos para ayudarnos en la grabación del “Wala wala”, la gente que habla de fondo en una escena de película y nadie sabe que dicen; esto mismo sucede en el encargo, por lo tanto debíamos hacerlo real. Sin embargo, no deben decir “wala wala” sino hablar y luego procesamos el sonido para que parezca que no dicen nada en concreto. Probamos con pares hablando con la mano en la boca, otras tomas de lo mismo pero sin la mano en la boca, y luego una reunion larga de 4 personajes que iban improvisando a tiempo real utilizando palabras claves sacadas del concepto enviado por el cliente. Fue una experiencia maravillosa, entretenida y muy educativa. Tengo 3 tomas distintas con 3 variaciones cada una (Limpio, EQ (muteado), y todo lo anterior más -30dB). Solo falta revisar las otras ediciones de la primera parte y se enviará. 4 horas de trabajo

13 de Abril: Uno de mis estudiantes faltó y no me aguanté revisar el material, estuve preparando las ediciones y limpiando el sonido. Subí el material a la nube para enviarlo el lunes. 1 hora de trabajo

15 de Abril: Contacté al director de la empresa puesto que necesitamos ciertas respuestas para determinar que estrategias usaremos para los proximos sonidos. Además enviamos el material. Estaremos pendientes del feedback.

16 de Abril: Se investigaron posibles sonidos para grabar un sonido específico de alarma, se genera una planificación para que mi partner en este trabajo.

Por otro lado Grabamos casi todo lo que faltaba, hicimos entre 3 a 5 sonidos extras en algunos casos, para asegurarnos que el cliente quedase conforme. Ésto no es requerido pero cuando se puede es algo que me gusta hacer (dentro de lo posible) para exceder las expectativas del cliente. 4 horas de trabajo

19 de Abril: Mi querido estudiante encontró capturó y envió el material sonoro a mi estudio, edité 5 versiones del sonido y actualicé la carpeta (en la nube) que está dispuesta para el cliente. Esperaremos feedback. 2 horas de trabajo.

22 de Abril: Nos han enviado algunas correcciones con respecto a algunos malentendidos (a pesar de haber sido meticulosos esto es algo esperado, el error humano es prácticamente inevitable en mi experiencia). Ya que estamos con una semana de anticipación (según lo planificado) hay tiempo de corregir y seguir generando todo lo que requiere el cliente. Me pongo a trabajar en las correcciones y algunas ediciones faltantes, para luego actualizar el informe y documentos de la carpeta. 4 Horas de trabajo

26 de Abril: Nos contactan, está todo OK. Cliente contento, hemos terminado un par de días antes del deadline. El trabajo tomó 21 horas entre la realización y edición. Sin contar 3 reuniones extraoficiales (de equipo y con cliente) de una hora y algo cada una, y por supuesto la inversión en hardware y estudios necesarios para lograr los sonidos y la grabación apropiada de éstos. Eran oficialmente 16 sonidos, y entregamos 46 sonidos (generando varias versiones de cada uno con distintos objetos y tecnologías) más uno extra llamado roomtone (para generar la sensación de espacio).

Nota: Si bien lo que nos solicitaron no es exactamente “Foley” (puesto que según mi conocimiento esto implica la sincronización de movimiento-sonido) los sonidos solicitados cumplen la misma función dentro de un motor Unity designado para una realidad virtual.

Nota 2: Espero este registro resulte de utilidad para alguien que nunca se ha enfrentado a estos encargos, o que quiera indagar en la práctica de éstas grabaciones.

April 2019: Ingredients to make an album part 2: An album in my experience.

For me, an album is a composition (it doesn’t matter if it’s made with 4 or 12 songs) which
involves an impressive amount of work. Today, I’m going to talk about my experience from the
creation to the production.

Concept – Composition – Album

My beginning, as composer, was extremely connected with a challenge (the first one being a
university student) which was to relate in one concept 300 songs that I had written. There were
many reflections years that helped me to develop my first album concepts, which were
completely different in comparison with my first songs. In addition, I think that an album needs
to be created with a concept that unifies it, due to it’s not just an idea that emerged without any
kind of creative process, moreover, many producers and other composers think similar as I do.
The relationship can go either way: If you have many songs, Which ones make sense regarding
the concept?, or on the other hand, having the concept What factors, perspectives, stories,
and in what way do I want to tell stories around a concept?. My first official record was born
thanks to a text by Oscar Wilde, which became a Cantata. What’s more, I added 3 extra tracks
due to the sound that I discovered in the 6 months that it took me to compose it.
Nowadays, I’m still having a concept in each album that I’ve published. On the other hand, I
also have unpublished compilations, which I hope to produce and publish at some point, of
compositions from my adolescence (project that I’ve been postponed for years) or why not my
new ones.

Style Consistency

Another important topic is the consistency of the musical language (texture, harmony /
counterpoint, groove, melody, etc.) and lyric (themes and ways of narrating the theme both in
words and in their form). I don’t know if it’s so important to have repetitive thematics (In fact, I
have them, but I want to escape from them); however, I know that it is vital in the composition,
both formal and informal, to be consistent with the tools used. This topic, in my musical
practice is a mixture of instinct and knowledge. The first albums until “Semilla” (with Árbol
Mecánico) were 100% instinct, in spite of keeping me studying the composition of songs, for
me, it was a transcription of my imagination. Today however, I am able to have an idea and
then resort it and color it, trying not to distort its original emotion. This is something that took
me many years and today, help me a lot when I work as composer for other people, as well as
producer and guide (in pedagogy) for composers who are my students.

I must also say that today I keep making 100% instinctive songs translating the emotion and
sound that comes from direct inspiration to the instrument. I think it’s healthy to keep knowing
clearly, sensibly and tranquilly according to the distance between the instinctive and what
knowledge requires (I don’t believe in the composition from the knowledge and anything else,
for me, the composition must have been visceral, organic, emotional or spiritual, that is to say:
it must have essence or “aura”).

The Time

Composing a record of songs has taken me, at least, 6 months; this is not a standard, and in
my experience, it is related with making demos of the arrangements, ideas of production, etc.
In general, I take the time I need to compose my works because one of the advantages of
being independent is that you don’t have anyone pushing you, for example: my last piano
composition took me 4 months, working 6 hours per week. In addition, there are some video
games discs that I’ve finished in 2 or 4 months and also, music for short films that have taken
me 2 weeks or even 2 days. For my last order of videogames music, I composed 2 orchestral
pieces + electronic music in 1 day (it was an effort that I hope to not do it again in my life).
One important factor: Balance the internal external pressure with mental peace, humility and
clarity. (This is something to work deeply with a teacher through practice).

The importance of technique

The instrumental technique is vital, I’ve written it before and I think it deserves to go deeply in
the future. If you don’t have technique in your instrument you’ll always be limited.
The technique in the composition may be similar, but it requires humility to accept it. I’ve met
different types of composers, many of them study a lot, and at the same time there are many
who don’t do that. Most of them study consciously or unconsciously. Moreover, I’ve seen many
composers who think that “they don’t need to know”.
In my case, I think it’s completely necessary to have the technique in composition because it
saves time on writing, producing and directing. Not only yours, but it helps you to speak a
language with as much clarity as if you were the surgeon in an operating room. Do you want to
take advantage of your time? study composition and learn technique.
I don’t believe in composition without inspiration, so it doesn’t affect me in terms of the time it
takes me to make an album, but it’s completely different when I’m working for others.
Another advantage of knowing technique is that music becomes a plastic language where you
can see yourself-find yourself, but it can also help others to see themselves without losing
yourself) or developing music that represents ideas for others with all their requirements
(directors of videogames, shorts movies or movies).

The order of events

Compose songs (all of the album or more than that to be able to select)
Select songs (if it’s necessary, around the concept)
Arrangements / Production: This is often connected with composition, although it is not always
the case. In addition, it’s usually composed with voice + harmonic instrument (guitar, piano,
It is always good to produce professionally.
Recording/ Production are required when it needs to record with interpreters. Depending on
the instruments, it can be recorded in home studio or even more, in a big studio. Besides,
according to the concept, you may need to record in one shot all the instruments or separately.
Remember that the recording quality is vital for your production
Mix / Master: Vital and generally unknown work. Whoever does it must know how to do it.

According to albums, in spite of the fact that I have 7 albums, I’ve also worked in production,
co-composition and re-arranging songs. From the point of view of the production, it’s essential
to inquire with the “artist” his needs such as, aesthetic tastes and personality, in order to align
the production with his own concept. Although there are many producers, you must find the
one that aligns with your needs and aesthetic taste, because, if you have the same opinion
regarding the concept of “album”, it’s a work that must represent what exists in the essence of
your compositions.

When I started in music approaching to the professional world, I didn’t find this information
anywhere, and those who had it never share that kind of knowledge with me, so I hope, with
much love, that this information will be useful for you.

Text and Photography: Danilo Dawson

Experience his composition at