I have been writing and producing music in my own studio in Ejea de los Caballeros (Zaragoza, Spain) since 2015, and the last couple of years have changed it quite a lot. The big one is the control room: it is now a recording, mixing and immersive post-production studio running Dolby Atmos 7.1.4, already wired to grow into 9.1.6. So here are some new pictures and an updated list of what is in the room.
A recording studio in Aragón built around picture
The studio was built for what I do almost every day: writing music for television, film, radio and advertising. That shapes the whole setup. Everything happens here — writing, recording, mixing and delivery — without moving the project anywhere else and without depending on someone else´s calendar, which in TV is usually the difference between making the deadline and missing it.
There are four connected spaces: the control room, a large live room with backline set up, a vocal booth and a lounge area for listening with fresh ears. It all runs over a Dante network, so I can record in any room and have it inside the DAW straight away.
Dolby Atmos 7.1.4: immersive mixing and post-production
The Dolby Atmos 7.1.4 install is the main change of the last few years. Twelve speakers — seven on the floor, subwoofer and four overheads — calibrated for immersive mixing of both music and audiovisual content, with cabling and power sized to move up to 9.1.6 when I need it.
It is not a technical whim. More and more jobs are immersive from the start. In 2025 I did the sound design and the mix of the Origen show at Sendaviva on a custom 12.1 3D system, plus the original music and sound design for the Ejea de los Caballeros videomapping. Those formats cannot be guessed in stereo: you need a calibrated room and proper monitoring.
New: Yamaha DM3 with Dante for location recording
The latest addition is a Yamaha DM3. It is a very compact digital console with a Dante card, and I use it two ways: out of the studio for location recording — concerts, venues, live sessions — and inside the building as a front end from any of the rooms, integrated into the DAW with the rest of the system.
Studio gallery
Updated gear list
- Immersive monitoring: Dolby Atmos 7.1.4 (wired for 9.1.6).
- Control surface: Yamaha Nuage, 32 faders + Master.
- DAWs: Nuendo, Pro Tools, Logic, Ableton Live and Digital Performer. Apple Silicon workstation with 18 cores and 128 GB RAM.
- Monitors: Dynaudio M3, Dynaudio Core 58, Dynaudio 18S, Genelec 8341 (2), Genelec 8030 (6).
- Microphones: Neumann U87, TLM103 (2) and KMS105; Royer R121 (2); AKG 414 XLS II (2); Telefunken Drum (5) and M60 FET (2); Warm Audio WA-84 (2); Shure SM57 (5) and SM58 (4).
- Preamps and outboard: Millennia HV-3D (8), AMS Neve 1073DPX (2), SSL VHD (8), SSL XR621 (2), XR625 (2), XR618 (2), SSL bus compressor, Yamaha Ri8 (8), DBX 376 and API Channel Strip.
- Portable console: Yamaha DM3 with Dante card.
- Backline: Fender American Stratocaster, Gibson Les Paul Standard, Fender Ultra Jazz Bass, Taylor 314ce, Alhambra 12P; Mesa Boogie, Fender Hot Rod Deluxe and Vox AC30 amps; Fender Rumble Stage 800 bass amp; Roland TD-12 electronic drums; Roland RD-2000, Yamaha Clavinova 775, Native Instruments 88 and Korg A88 keyboards.
- Software: Waves Mercury, SSL, Studioverse, iZotope Ozone 11 Advanced and 3D tools, Native Instruments Komplete 15 Collector´s Edition, plus orchestral libraries from EastWest, Spitfire, Vienna, 8Dio and Spectrasonics.
What can be done here
- Composition and production of film scores, TV themes and library music.
- Recording of musicians, vocals and voice-over, in the studio or on location with the DM3.
- Stereo mixing and immersive Dolby Atmos mixing.
- Audio post-production and sound design for audiovisual, videomapping and immersive installations.
If you have a project on your desk and want to know whether it fits in here, drop me a line and we will talk it through. And if you want to see what I have been up to lately, it is all in music works.