SAE Magazine 12-2

I imagine many important producers also stop by here. Aside from the “boss”, José Ramón Florez, what producers would you like to mention? I have to give a special mention to José Ramón and Javier Limón because they were the ones who helped me grow as an engineer, both of them. José Ramón brought me here and I do all of his produc- tions. Javier Limón also believed in me and I have worked on a lot of albums with him. Also Peter Walsh, who is amazing as a person, he explains everything and you learn a lot with him. He is Peter Gabriel’s engineer and worked in Real One Records. He is someone I really look up to. He knows what is like to be in your shoes, because even if you have many years experience, he has been working at the highest level for over 30 years and compared to him, you are just starting out. He gave me one of his 5.1 sessions so that I had a template to start with, with surround delays… not everyone would do that. It was an amazing gift! As I said before, the biggest stars are the most accessible. The last time we were here you were immersed in a project for Disney Spain. Does the film industry appeal to you as well? The truth is that I have barely worked with films and making films does not particularly appeal to me, but I do like what I am doing with Disney. We make the Spanish language soundtracks, adapted from the English version. They give us the music and the original voices and we have to transmit exactly the same nuances, tones of voice, every- thing, in Spanish. The voices and backing vocals are recorded here but we really have to stay faith- ful to the original version. I have done virtually every Disney film: Rapunzel, Winnie The Pooh, The Princess and the Frog… We have just finished Brave, which will be released in Spain soon. I have also mastered some film soundtracks, such as the last of Rodrigo Cortés’s films, Buried and Red Lights. How do you switch off after a day’s work? In the beginning I found it harder to relax but it’s just like anything else, you just learn how (laughs). Having a drink with my friends, cooking, some TV, just sitting about the house… What do you think about recording audio through an analogue console or a digital console; which do you prefer? Analogue! (laughs) And your reasons? They are just completely different. The summing is totally different, the depth and the way the ste- reo feels are not the same either. In the terms of frequencies, each channel is separate and harmon- ics are created, you can saturate… As far as I am concerned, it’s not a case of analogue being better than digital consoles. If I have the choice, I always work with analogue. ➤ The ICON D-Control ES & the awesome Legendary Neve 8014 based in the Studio 3. “If I have the choice, I always work with analogue” 42 People & Business // Caco Refojo Index

SAE Magazine 12-2

Pages