MIXED BY ESCOBAR

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Examples

Selected Works

Merche – De otra manera

Frequently Asked Questions

How It Works

About Me

Through my many years of experience as music producer, composer and mixing engineer, I’ve been lucky enough to work with great artists (John Legend, Zara Larsson, Carlos Rivera, David Bisbal), nominated and award-winning projects (Oscar, BAFTA, Cannes, London Awards) and many genres (Pop, Alternative, Film, Jazz), what makes me a pretty versatile mixer engineer.

I’ve been learning directly from superstar mixers Manny Marroquin and Tchad Blake, but I do also love other mixers work, such as Serban Ghenea, Chris and Tom Lord Age, or Michael Brauer, to name a few. At the end, my style is based on cherry picking elements from my mixing heroes 🙂

Mixing Style

I could define my mixing style as “emotional” and “characterful”, always looking for getting the most from the songwriting and, of course, serving the song.

 

Through my many years of experience as music producer, composer and mixing engineer, I’ve been lucky enough to work with great artists (John Legend, Zara Larsson, Carlos Rivera, David Bisbal), nominated and award-winning projects (Oscar, BAFTA, Cannes, London Awards) and many genres (Pop, Alternative, Film, Jazz), what makes me a pretty versatile mixer engineer.

I’ve been learning directly from superstar mixers Manny Marroquin and Tchad Blake, but I do also love other mixers work, such as Serban Ghenea, Chris and Tom Lord Age, or Michael Brauer, to name a few. At the end, my style is based on cherry picking elements from my mixing heroes 🙂

 

Furthermore, I am true believer of understanding the artist, continuous communication and references as a good starting point.

How to Prepare Your Session

This is a very important part of the process, so please follow these instructions to get the best for your song:

  1. Include a reference mix. That means your mix, or the mix that everyone loves if you are a band. It always contains very valuable information about what you are looking for, so I will use it as a starting point.
  2. Export each track starting from the same bar.  I know that you have expended innumerable hours crafting the perfect sound, so please leave active any effect, panning and/or automation used. If you are not sure about a track, you may include a “clean” version.
  3. If you have a particular plugin chain in the master bus, please provide the plugins names and the used settings, to be able to replicate it in my DAW. If the chain is based on analog equipment, please be sure that all the stems (but the clean ones) are processed using the same master bus chain.
  4. It’s very important that you include ALL the tracks necessary to recreate your reference mix. If your DAW has a “normalization” option when exporting (such as Logic Pro Audio does), please DO NOT use it.
  5. Vocals are always a delicate matter. Please always export two different version of the vocals: processed (with effects such as tuning, EQ, compression and distortion BUT no reverb, neither delay) and clean version without any effect at all. Please export reverb and delay in separated tracks.
  6. Provide files in the same format that you have use in your project. I have the best tools to convert them to my preferred format (32 bit float 48 KHz Wave format files). You can send a project with all the tracks if you want in one of the supported DAWs (Apple Logic Pro Audio, Steinberg Cubase and Nuendo, Cockos Reaper, Avid Pro Tools), but I’m not planning to use it unless there is any problem with the source tracks.
  7. Name all the tracks accurately, it will help a lot.
  8. You may include this extra information:
    • BPM and/or a tempo map if there is any tempo change.
    • Song key.
    • Any reference song, playlist or link.
  9. Use the link provided to upload your tracks.

I do like very much this article from the Sonarworks blog about this issue, this  from Audient and this from SoundBetter. Reading all them is recommended.

And, of course, if you have any question, just contact me 🙂

Gear List

To be honest, I don’t think that you should work with me based on gear list, but, being myself an audio gear nerd, I think this is the kind of stuff that can be interesting 🙂
Keep in mind that I will use all this gear at my own discretion to the get the most for the tracks.

Room:

6,6 m x 3.5 m, with acoustic treatment.

 

Monitoring:

Every set of speakers has been calibrated with Sonarworks Reference
PMC IB1+Bryston 4B
Amphion One18+Amp100
2x SVS SB12-NSD Subwoofer
4x Amphion One12
Sony Radio+Clock+Alarm
A dozen of them, featuring Sennheiser HD-600, Hifiman Edition X, AKG 240DF, calibrated with Sonarworks Reference.

 

Converters

DAD AX32
Apogee Rosetta 800
Behringer X32 (2 units)

 

Summing

Neve 8816 Summing Mixer (2 units)

 

Effects

Manley Slam!
SPL Qure
Summit Audio DCL-200
TC Electronic 6000
Korg Stage Echo
Hiwatt Custom Echo
Waldorf DPole
Dozen of stompboxes

 

DAW

Nuendo 10.3, but I own almost any DAW available for Mac.

 

Plug-ins

Thousands of plugin from featuring TC Electronic PowerCore 6000, Waves (most of them), Soundtoys, Lexicon, Slate Digital, Native Instruments, Softube, Melda (great tools!), Wavesfactory (life savers), etc, and the all-mighty Antipop TeslaST 🙂

 

Synth nerd stuff

It’s not really mixing stuff, but I’ve been collecting a fairly large number of analog and digital synths from the mid 90s, featuring instruments from Alesis (Andromeda), Korg (MS20, M500, X5D, Electribe R, Electribe S), Yamaha (Reface CS, TX7, CS5), Roland (MKS-50, JV-2080), Clavia (MicroModular, Nord Lead 2), Waldorf (Pulse Plus, microWave), Novation (BassStation, SuperNova II), to name a few.

Revisions

Revisions are the key part of the mixing procedure, where the final adjustments are done. I’m a true believer of dealing with every project according to its needs, but the typical revision procedure goes like this:

  1. You will receive a link to Dropbox where your mix is stored. Then you can take your time to listen to the mix and compile your notes for the revision. With Dropbox you can add comments to the song at the very precise second that you want. You can read more about that here.
  2. I will schedule a slot in my agenda to complete the revisions and then we will arrange an online meeting where I will stream the mix directly from my DAW. You will be able to hear the final mix and you may ask for any further change or adjustment. That online revision slot uses to be between 30 minutes to a hour long.
  3. After your approval, you will receive the mix, a playback version and all the mix stems.

Mastering

Mastering is the final stage after a mix. Sometimes it’s done by an external mastering engineer or it can be done by the mixer.

My approach to this matter is that every mix that I do is “radio ready”, meaning that it’s already mastered and ready to be uploaded to any platform (Spotify, Itunes, Youtube, etc). Furthermore, if you prefer a specialized external ear to that process, I work with several respectable great mastering engineers that I can connect with you .

Deliverables (what I send back to you)

After the mix review and approval process, you will receive this files:

– Your song mix, mastered, at 32 bits 48 KHz

– Your song mix, mastered, at 16 bits 44 KHz

– Your song mix, unmastered, at 32 bits 48 KHz

– Mix Stems used. They use to be up 25 stems, at 32 bits 48 KHz

Mixing For Film

Book A Mix

This is where the magic happens: get access to my agenda and schedule your mix slot. Keep in mind that this slot needs to be confirmed.

Contact

Do you have additional questions of requirements? Just contact me, I will be happy to help!

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