A f t e r s i l e n c e
t h e b e s t t h i n g
y o u c a n h a v e i s
A f t e r s i l e n c e
t h e b e s t t h i n g
y o u c a n h a v e i s
​M u S I C
​M u S I C
E a r l y y e a r s
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Since very little my contact with music came from my grandfather, who would send me
cassette tapes via mail with his own radio shows recorded in them.
I spent hours listening to musicians such as Benny Goodman, Miles Davis, and his favorite
Louis Armstrong, improvising in between his comments about the history of Jazz, which
fascinated him.
I ended up making music my all time company and accepted all its good adventures.
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Today , I like the silence… I like waiting…to what music comes next.
C O M P O S e r
After many years playing and traveling, I realized that since I was a little boy, I like stories accompanied by music.
At least, it seems that that’s how I created myself and make this my professional life. Today I write original soundtrack for Trailers, Films and Documentaries and I can say that, the feeling is the same as it was when I was a kid and listened to my grandfather’s voice telling me stories accompanied by those fantastic musicians.
I know they were looking for the perfect notes.
I believe we are all looking for the same thing.
C r e d I t s
C r e d I t s
All credits below were supervised by Jeff MacDonald, Marcela MacDonald, and Jack Tamayo from Louder Productions.
In Invasion, sound design becomes an unseen force. It helps blend mystery, tension, fear and humanity.
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I'm glad to have a sound design featured in the campaign for Season 3, a series that offers a wide range for sonic storytelling.
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INVASION
The threat has evolved.
Apple TV​​​
Fire Country, a CBS Originals drama set in a small town confronting devastating wildfires, features engaging storylines, strong character development, and a distinctive atmosphere.
The TV spot includes “Submerse”, a track that adds tension and depth to the show’s blend of action and emotion.
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FIRE COUNTRY
CBS Originals
The series unfolds through a multi-layered portrait of the West, from literal trailblazers to law enforcers and the battles fought for land and freedom.
The track features acoustic and slide guitars, along with a cigar box guitar for an authentic Old West tone. Vocals by Marcela MacDonald add a haunting depth that complements the show’s raw and cinematic landscape.
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Kevin Costner's The West
History Channel
When the Mission: Impossible campaign starts, you almost get to think it’s impossible indeed.
Always breaking boundaries and reimagining Lalo Schifrin’s iconic theme.
I remember that one of the Tv Spot requests was: “Try to make the music feel like it’s coming out of the water.”
It’s always an honor to contribute to a project that carries so much legacy and impact.
​ MISSION: IMPOSSIBLE
The Final Reckoning
For this trailer, we created a trailerized version of Luke Combs’ “Ain’t No Love in Oklahoma.”
From the opening moment, the music had to feel like the tornado itself, approaching fast, pulling everything in its path.
It was an intense and thrilling project, where sound design became part of the storm.
It was a great adventure to work on this one.
​ Twisters
If you feel it, chase it!
This was one of the most challenging projects to execute.
The request was to create the entire piece using only sound design. Punches, car and motorcycle noises, gunshots, and screams. The goal was to tune and shape these sounds so that, together, they formed Lalo Schifrin’s iconic theme.
The car gear-shifting sound heard in the Super Bowl TV spot was recorded in my wife’s car, she was shifting gears while I captured the sound from multiple angles to achieve the right design.
Incredible experience!
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MISSION: IMPOSSIBLE
Dead Reckoning - Part 1
T r a I l e r M u s I c
M o v i e s
C o n t a c T
