Producer · Engineer · Musician
Every song’s a chance to try something new. I produce, mix, and master — wherever you are, in person or remote.
Projects of every size are welcome — from a first single to a whole record.
About
I started as a trumpet player, and that’s where my focus on melody comes from. From there came accordion and piano, then trombone and percussion, and over the years it all grew into recording and producing. Later I became obsessed with sounds and cultures from around the world, and started collecting instruments while traveling solo. These are the ones I reach for when I want a feeling or color a sample can’t replicate. Other times it’s the opposite — modern production is exactly what a song needs, and I chase that just as hard.
Abbey Road Institute Amsterdam is where the technical side got formalized — I studied Audio Engineering there and graduated with distinction, then spent a year interning with mastering engineer Marco Antonio Spaventi. Different kinds of projects came with it too, from singer-songwriter bands to cover bands, txarangas, and other live settings.
At the same time, my own music comes out under the name Hunting Good — it gives me an artist’s perspective on the creative process, the artistic, emotional, and practical side of putting a song out into the world.
Selected Work
A selection from the catalogue.
Hunting Good
Hunting Good
Hunting Good
LNDE
Hunting Good, Ivette Santamaria
LNDE
Hunting Good
LNDE
Eylan
Jordi Tambillo, Amsterdam Latin Project
Samuel Andryk
Laia Matamala
Have a listen
A few tracks I’ve worked on, all produced and mixed by me, picked to sound different from one another — it’s easier to hear than to explain.
How I work
I’d rather be a collaborator than a supplier — the song should still feel like yours when it’s done.
Before anything gets built, we talk — what you like, what you don’t, and why. Sometimes that turns into a long conversation about influences and references. Sometimes it means starting from scratch, or throwing away what we just built and beginning again. I’d rather understand your vision than assume it.
Some of the best calls I’ve made on a song started as an idea someone was about to shy away from — I just leaned into it instead. Whatever crosses your mind is worth saying out loud.
Some songs want a hundred layers weaving in and out of each other. Some want three things in a room together and nothing else. I love both, and the job is knowing which one a song is asking for.
I try to treat the people I work with like people, not clients. Sometimes it turns into more — a coffee, a call that wanders off-topic.
If this sounds like your kind of collaboration, I'd love to hear from you.
Let's talkStudio & Gear
An instrument palette that reaches well beyond the usual.
Charango
Accordion
Khaen
Quena
Pan flute
Korg M1
Sequential Take 5
Ukulele
H’mong flute
Thoi Sao Truc
Dong tieu
Bongos
Hand percussionThe less usual instruments — from analog synths to Andean and Southeast-Asian flutes — are there for the moments a track needs a colour you won’t hear everywhere else.
Working together
Production, mixing and mastering — on their own, or woven into a single project. Here’s what each one involves, and how the pricing works.
Production
Some artists come with a full song, some with just a chord and a feeling, some with nothing yet — I meet the project where it is. Usually we build horizontally first, a rough pass of the whole thing, before going deep on any part. Sometimes it’s the opposite — section by section, not moving on until it feels right.
That’s why some projects (like Kala ma Katza) ended up with song structures that don’t follow any normal shape. I also work with a network of musicians we can bring in when a song calls for something I can’t play myself.
Before I touch a fader, I want the story behind the track — what it’s supposed to feel like, not just sound like. From there I mix for impact and contrast, with vocal tuning that stays natural. I’ve also mixed tracks with hundreds of stacked layers, which is its own skill — it’s most of what I do with my own project, Hunting Good.
I master to what the song needs — using references now and then to make sure I’m not drifting too far from where it should sit. I pay close attention to micro and macrodynamics, and the high and low extension of the mix. Where it’s going to be played matters too: a club master isn’t a streaming master.
Prices are before tax, and adapt for full EPs and LPs — as part of a production, mixing and mastering fold into one tailored price.
I can also help with the practical side of releasing — copyright basics, release prep, and Meta Ads.
Kind words
A few words from artists I’ve shared a room — or a project — with.
Working with David is one of my favorite parts of the filmmaking process. The music he creates comes from a wealth of technical knowledge, story-driven sensibilities, and honest collaboration. It’s always incredible to see how his work enhances the films we create together.
Get in touch
If you have a song or a project in mind and feel we could be a good fit, I'd love to hear what you're working on.
Or reach out directly
Based in Navàs, Catalunya — I work with artists in person and remotely.