SAE Magazine 12-2

Latin Grammy Award won by Caco Refojo A n unassuming Galician, he first became interested in music production when he was a teenager. After just over a decade as a professional, Caco can be proud of having recorded, mixed and mastered projects at the high- est level, working alongside with nationally and internationally recognised artists. Here is what he had to say about his early days, music, technol- ogy, sound engineering training… and about what it feels like to win a Grammy! In 2010, Caco Refojo received the Grammy Award for Best Traditional Tropical Latin Album for his work in the editing and mastering of Buika and Chucho Valdés’s album “El Ultimo Trago”. What were your first steps in the world of sound engineering? I started alongside my brother, Pipo Refojo, who is currently a guitarist, pianist and teacher. I was very interested in music and the world of sound engineering and he was in several folk bands, so every time they had a gig I acted as their sound engineer. In the beginning we all worked for free in bars and small pubs but after a while we started getting our first few paid gigs. Actually, since I was little I have liked audio equip- ment and wanted to know how it worked. I became more and more interested in audio and one day I realised that this was what I wanted to do. What are your musical influences? Loads. I like music by John Mayer, Michael Bublé, Norah Jones… That sort of acoustic style where you can hear different Rhodes, Hammonds and pianos, are the productions I like the best. What about your reference albums? I have many of those too… “Duets II” by Tony Bennett, “Reverence” by Richard Bona, “One More Once” by Michael Camilo, “Twenty Some- thing” by Jamie Cullum, “ComeAwayWith Me” by Norah Jones, “Continuum” by John Mayer, “Call Me Irresponsible” by Michael Buble, “Pulse” by Pink Floyd… shall I continue? (laughs) You are currently working as a technical director and chief engineer for these amazing studios, but what other studios have you worked in before? There was a small studio in Galicia called Estudio Area Local and that was where I started working after I finished my studies. That’s where I start- ed recording and it felt like jumping in the pool barely knowing how to swim. It was a learning experience during which I made all possible mis- takes (laughs) and I had the chance to really learn the trade and how to solve all the problems that come up in a studio. I also learned how to deal with people within the profession and it was here I met José Ramón (JR Florez, producer and owner of PKO studios) When you arrive at a big studio you learn how to “get sound” out of the equipment and make it per- form, but it is in the beginning when you develop as a professional. Who are the most important artists that you have worked with? First of all I have to name Concha Buika because it was with her that I won this (laughs and points at his Grammy Award). Also Miguel Bosé, who works here often and, I don’t know, many great artists have been here; I don’t want to leave any of them out. ➤ 40 People & Business // Caco Refojo Index

SAE Magazine 12-2

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