From Mexico City to the heart of Texas’ Sonic Ranch, Felipe Castañeda has quietly shaped the sound of Grammy-winning and nominated albums with his keen ear and deep musical insight. As senior house engineer at one of the world’s most legendary studios, he blends technical mastery with a passion for creative collaboration, making every session a unique sonic adventure.
Growing up in Mexico City, what was your first introduction to recording or producing music?
My first real introduction to music production came when I met my buddies in college. We started making songs together and initially recorded using Mixcraft. I’m not even sure if that software is still around. Eventually, we got introduced to Ableton, and that was a total game changer for both our band’s sound and my own journey as a producer.
I really dove into it. I think digital audio workstations are often underrated. People don’t always realize that you essentially have a full studio inside your computer: effects, soft synths, a mixer and endless possibilities for experimenting and creating new sounds.
I took on the role of producing all of our band’s backing tracks, including background synths, subtle percussion, ambient textures—things that may seem small but really shape the overall feel. It was definitely time consuming and challenging at first, but it taught me a lot. I even went on to become an Ableton Certified Trainer.
These days, I use Pro Tools for recording, especially because we work with Avid hardware, SYNC HD, HD I/Os, and Pro Tools HD. In my opinion, it’s the best setup for tracking large groups and handling complex recording sessions. But when it comes to writing, arranging or solo production, I still prefer Ableton. It’s faster, more flexible and is really built for the way modern music is made.
Can you tell us about the moment you found out you’d earned the scholarship to Pyramind, the recording academy in San Francisco—and how that changed your life?
I remember we did a Zoom call, and I was speaking with Matt Donner, one of the founders of the school. He told me it was between me and another candidate. He started asking questions like, “What would you do if we gave you the scholarship?” and “Where would you live?” After a few of those, he suddenly said, “There’s no other person, we want to give you the scholarship.” We both laughed, and I was honestly in shock. It hit me all at once—I was going to move to a different country, leave my home. It felt surreal.
The scholarship gave me a huge boost in confidence. Before that, I wasn’t sure if I was actually good at music or just passionate about it. That kind of outside validation was a powerful sign that I was on the right path. Studying at Pyramind truly changed my life. Their program is incredibly comprehensive. I learned about things like sound design and audio engineering. I spent an entire year working in Pro Tools, which I actually hated at first—it felt super complicated and overwhelming. Over time, though, I grew to love it. I also met some amazing people, both at school and in the city. San Francisco is such a hub for international students. I connected with people from all over the world. That experience really opened my eyes. Everyone has their own culture, their own way of thinking and working, and I realized that no one’s way is “right” or “wrong.” We’re all just shaped by where we come from, and those differences are what make us unique.
Overall, Pyramind was a complete package of new experiences. For the first time, I was able to fully focus on what I believe I do best: music.
Were there any moments early in your U.S. journey when you considered giving up? What kept you going?
There were definitely a few moments early on when I thought about giving up. When you start working at a studio, especially a place like Sonic Ranch, you’re not really in the studio much at first. You’re running errands, grabbing gear, snacks, drinks, whatever the session needs. Since it’s a residential studio, there’s also a kitchen and guest rooms, so part of the job was helping with dinner or making sure everyone staying at the ranch was comfortable.
At times, it felt like I was working in hospitality rather than music, and that was hard. I started to feel a bit discouraged, like I was drifting away from why I came here in the first place. But eventually, I realized it was all part of the training. Understanding the environment, the food, the lodging, the vibe—it all affects the quality of a session. Those details matter, and learning to recognize that was important.
There were also creative low points. Moments when I spent hours composing or producing something, only to end up with a track I hated. I’d start to doubt myself, wonder if I was good enough. Meanwhile, I’d see friends from back home becoming lawyers or finding success in more conventional careers, and I’d feel a wave of insecurity.
But then, every once in a while, you crack it. The song comes together. You find the right sound, the right arrangement, and suddenly there’s a finished track in front of you, something you made from start to finish. You play it back a hundred times and still love it. That feeling, that sense of accomplishment, is what kept me going. It’s what reminds me why I chose this path.
You’ve been at Sonic Ranch for the last few years and are now one of the senior house engineers. What’s changed most for you since stepping into that role?
Since stepping into the role of senior house engineer at Sonic Ranch, a lot has changed. One of the biggest differences is that I now have more input on the music itself. Artists tend to trust my opinions more, which makes the whole process feel more collaborative and creatively fulfilling. You feel truly involved in the project, not just technically, but artistically as well. I’ve also learned how to better present my ideas in a clear, thoughtful way, which is a skill in itself.
One of the most gratifying parts of the job is engineering an album and then, months later, holding the finished vinyl in your hands. Listening back and remembering all the moments spent crafting sounds with a band, it’s really special. I also love experimenting with microphones and finding a new favorite for a specific instrument or voice. Over the years, I’ve recorded tons of different instruments using a wide range of mics, and now I’ve built up a solid mental catalog of how different sources sound across various microphones.
Another big change is that when you handle the recording, you often end up being on the shortlist to mix the project too. It makes sense, if the band liked your approach during tracking, they’re likely to trust you with the mix. So lately, I’ve been doing a lot more mixing, and it’s become a whole new journey for me. I had mixed before, but over the past two years, I’ve really dug into the craft, studying techniques, taking in tutorials from top mixers, and putting those lessons into practice.
Mixing is a different kind of art form compared to tracking. It’s more delicate, like chiseling the final details of a sculpture. So far, I’m loving it.
Sonic Ranch is known for its immersive environment. How does the setting affect the recordings made there?
I think artists are able to do some of their best work when they come to Sonic Ranch. I’ve had the opportunity to work in several studios by now, and while there are many great ones out there, I still love the way things sound here. Drum recordings in particular take a lot of work anywhere but at the Ranch. When you start pushing the faders up on the console here, the sound you’re looking for is already very close. That’s a rare and special thing.
The remote location plays a big role too. I believe the best ideas often come after your brain has had time to circle around them for hours or even days, without distractions. Here, you’re not stepping away from a session to head home for dinner with friends, hang out with family, or go out to a party. There’s nothing to do here except make music. And when everything in the studio is connected and ready to go, it becomes a super fun and creative space.
The environment itself is incredibly inspiring. There’s the vast desert, the history, the stories of old bandits, and just a few miles away, you’ve got the Mexico border. Inside, every studio is filled with art: paintings, lithographs, antiques, vintage decorations, you name it. Tony, the owner of the Ranch, always says, “Art inspires art,” and it’s true. Every corner of this place feels like its own little world, and that energy absolutely finds its way into the recordings.
Out of the many albums you’ve worked on at Sonic Ranch, which one surprised you the most in terms of where it started and where it ended up?
The last Flipturn record really surprised me in terms of how it evolved. Honestly, I hadn’t heard the demos before the session started, and their writing style is quite different from most bands I’ve worked with. Their songs don’t always follow a traditional verse / chorus structure—they seem to find these really cool musical moments as a band and then shape songs around them.
We began with the drums, which were a world of their own. The parts were so well-composed, arranged and performed. Shoutout to [Flipturn drummer] Devon VonBalson for showing up with everything dialed in and ready to go. But even though the drums were super groovy and interesting, they didn’t immediately reveal what the songs were going to become.
As the session progressed, more elements were added—beautiful layers of guitars, textures, synths and finally the vocals. Some of the lyrics were really intricate, and they paired so well with the floating, hypnotic harmonies that had taken shape. It wasn’t until the very end of the session that I heard the songs in their final form, and I was honestly getting goosebumps during playback. You could feel the energy of the band coming through, a young band creating new anthems. It was really special to be a part of that process and to witness how the record transformed from scattered pieces into something so cohesive and powerful.
You’re recording with Blackwater Holylight. What have they brought to the studio that surprised you creatively or sonically?
The way they seamlessly blended such a wide range of genres. Some songs had a post-rock feel mixed with shoegaze textures, while others leaned into fast punk riffs with unexpected black metal sections, and they executed all of it incredibly well.
As a cherry on top, their friend Camille—a classically trained viola player—added viola and violin parts throughout the record. She had a five-string “violalin.” Sometimes she mirrored the tremolo guitars with tremolo bowing, sometimes she built lush chord pads, and other times she created eerie, textural noises. With Sonny DiPerri, the album’s producer, we ran the violin through a 4×10 speaker cab and used all kinds of pedals to shape the sound. The results were amazing, it added so much depth and atmosphere to the songs.
Sonny is a true tone mastermind. He brought in an arsenal of pedals and used them to sculpt massive walls of guitars into something that felt both aggressive and unique sounding. For the ambient sections, he shaped these beautiful, Eno-esque soundscapes. I learned a lot just watching how he works, how he stacks effects, how deep he goes with tones. Sometimes we’d go through ten different pedal combinations just to find the one, and it always paid off.
Everyone poured so much into this record. I think it’s going to be a success, not just because of how it sounds, but because it came from such a passionate and creative group of people.
With Strawberry Guy’s upcoming sessions, what kind of sonic palette are you envisioning for his sound?
I always like to start by feeling out the vision that both the artist and producer have, and then build on that. So at this point, it’s still a bit open-ended. That said, I do feel we could lean into a slightly retro sound—I’d love to capture some Motown-style drums, maybe use ribbon mics on the vocals, and run the guitars through small vintage amps. Full of character.
One of my favorite drum sounds I’ve worked with was on a Portugal. The Man record. The drums had already been tracked when they arrived at the Ranch, but they sounded like something straight off an old vinyl—warm and vintage, only with a modern punch. The drummer was Homer Steinweiss, who played with Amy Winehouse and is part of The Dap-Kings. He has such a deep drumming vocabulary. His fills were creative and unexpected, and he changed the drum tuning from song to song. Having a session musician of that caliber really shapes a record in the coolest ways.
When you’re working on back-to-back projects across such different genres, how do you reset your ears—and your mindset—for each artist?
This is such an important part of the job, being able to reset your ears and mindset is essential if you want to give your best to every project. It’s not just a good habit, it’s a necessity. The promise of helping an artist get the best possible result is what motivates me to fully commit. And the more I immerse myself in their music, the more excited I get—the ideas start flowing naturally from there.
One thing that really helps is the buffer built into sessions at Sonic Ranch. Because we’re so remote, most artists arrive a day before we actually start recording. That time is perfect for resetting. We get to hang out, have dinner, talk about the vision for the project, listen to demos and play music they’re inspired by. Those few relaxed hours are so valuable, they help me shift gears, connect with the artist, and start feeling like part of the new team. By the time we hit record, I’m fully in their world.
How do you typically prepare for a new session with an artist you’ve never worked with before?
I usually start preparing about a week before a new project begins. During that time, I ask the artist or band to share demos of the songs we’ll be recording. Those early versions give me a feel for the direction they’re heading in. I also ask for musical references, artists they admire or that inspired the material, so I can better understand the sonic world they’re trying to create.
That week becomes a deep listening period for me. I spend time not only studying the demos and references they’ve shared, but also digging up other tracks I think might bring something fresh or unexpected to the table. I start planning gear and setups for each song, thinking through what microphones, preamps, instruments and room configurations will help bring their vision to life.
A few days before the session, I make sure all the instruments are in great shape and sounding their best. The day before, I’ll do a full setup: placing mics, dialing in the signal chain, and running a complete line check so everything’s ready when the artist walks in.
This process is something I follow with every artist. It’s both fun and incredibly educational, like a creative guessing game. You spend a week imagining how something might sound, and then the session starts, and you get to see if your instincts were right. That moment of discovery is one of the most exciting parts of the job.
Working with artists like Portugal. The Man and Buck Meek, how do you adapt your process to help serve such distinct creative visions?
Understanding the overall concept of an album is key. If there’s a clear sonic palette or a thematic thread, it helps guide the direction of the sound. That said, even within a cohesive record, some songs might call for a completely different approach, stylistically or emotionally, so staying flexible is important.
For example, if a track feels more intimate or stripped-down, I’ll often simplify the recording setup. Maybe just a mono overhead and a kick mic for the drums, that kind of minimalist setup gives a vintage, understated feel. The drums won’t overpower the track; instead, they’ll sit back and support the calm pace of the vocals. In those situations, I tend to avoid compression to preserve the natural dynamics and softness of the performance.
Of course, recording with fewer mics and no compression means everything has to be dialed in just right. Mic placement becomes critical, EQ choices matter more, and the instrument and performance need to sound great in the room. But when it all clicks, the result is incredibly organic and true to the song.
Working with artists like Portugal The Man or Buck Meek, who each have such distinct creative visions, means being ready to adapt and serve whatever the music needs, even if that changes from song to song.
You’ve worked on a Grammy-winning album with Madison Cunningham and Grammy-nominated projects from several artists. How does that recognition impact your sense of responsibility in the studio?
It definitely has some impact, but at the end of the day, I chose this career because I genuinely love it. My main goal is always to make sure the people I work with leave the studio happy and that their record sounds its best when it’s time to release it.
That kind of recognition, like a Grammy, does raise the bar a bit, but it also reinforces a sense of commitment I already have. I take it seriously because it’s not just about that one project; it’s about building trust with the artist. If they feel supported and the work resonates, there’s a good chance they’ll come back, and maybe tell others too. That’s how I keep growing, not just professionally, but also creatively.
What’s one piece of advice you wish someone had told you when you were just starting out in this field?
One piece of advice I wish I’d gotten early on? Learn an instrument really well. It sounds obvious, but having a solid musical foundation makes a huge difference in the studio. When you’re fluent on an instrument, you naturally develop a deeper understanding of harmony, melody, rhythm, scales, keys and chords. Your ear gets sharper, you recognize intervals, notes within a scale, and tuning issues.
That knowledge is incredibly helpful when you’re fixing vocals, spotting a wrong note in a take, or even suggesting harmonies. If you’re well-versed, you might even develop relative pitch, which is a powerful tool for any music person.
If you’re producing, knowing an instrumental is almost essential. There are moments when you want to add parts after a band has left, and if you can play, you don’t have to settle for what’s already there, or wait for someone else to come in. It gives you more creative control and flexibility.
Stay connected with Felipe Castañeda on social media: Instagram – Spotify.
