I have a more rock n roll approach to sound. I have my own band and we tour and are signed to a big label in Brazil. I started mixing for them around 12 years ago so when I got into the classical world I thought it was missing something. The recordings were very tame, with no emotion, and I just wanted to put the balls into the sound. When I first started telling musicians about this they were a bit scared of what the critics were going to say. In the beginning the critics were a bit shocked but they got to like my more modern sound eventually.
The Mono Company has been a long time coming. It is my continuation of this modern way of recording CDs. Also, when you go into big events or small productions you kind of have to be able to do everything. Sometimes 'everything' is seen as bad because people think if you are, say, just a mastering studio you must be good at it, but I don't agree with that. If you are able to change your mindset into a different mode, it opens up new possibilities when you come back to it later on, and you feel refreshed, so I really don't want to be put in a box. So we do mastering, mixing, recording and we also do development and consulting. I guess it's a philosophy where we try and get a big sound and try not to make it boring.
We coproduced the broadcasting and shooting of the whole SONAR Festival and were lucky enough to shoot the main stage and all the artists. The bands had individual engineers who did a great job and my job was to manage all of the stages at once. It was hard and we didn't sleep for three days, but we recorded everything that was sent to us including the special effects and the crowd. We got some crazy multitracks, but it worked out very well.