Today we have the privilege of chatting with one of the greats of sound in this country: José Dalama. A man who leaves his mark, through his talent and professionalism, on any acoustic installation that has to deliver perfect sound quality. And a mark through his warmth as a person, which those who know him tell us about. A master of sound who opens his doors to anyone who wants to record with impeccable quality, and who will be present in the Audio Pro pages of ISP, sharing his wisdom for the delight of us all. We'll learn a lot.
What or who was the trigger for creating your own recording studio?
Ever since I started out in music (when I was 16), I was always recording what I played, first with a Sanyo cassette recorder that had a joystick for the FFW and REW functions and that, of course, recorded in mono. Then I acquired new recorders as they evolved, all the way to the Tascam 244, which was a marvel of its time, going through eight-track, 12-track with the Akai 1212 and, well, right now a Pro Tools HD3.
Designing and planning a studio usually brings dozens of headaches. Was it all your idea, or did you have help solving some of them?
When I decided to build the studio, I had a space with two beams running through the central area, which gave me a lot of headaches until I found the ideal layout and achieved what we can see now. First I consulted several engineer friends who have been around plenty of studios, to get their opinion on the layout; I'd take them to the space and we'd make sketches and speculate about how the layout could be done. In the end I got in touch with Jaime Moreno, the Acoustic
Engineer at Zetang Acústica, with whom I had a good feeling and whom I drove crazy a thousand times over with all my doubts and changes, and who managed to interpret my needs exquisitely. It was also he who put me in touch with the people at Acústica Pol (Alberto and Marco), who carried out the work with extraordinary care, dedication and know-how. I'd like to take this opportunity to thank them for putting up with all my nonsense.
-Are you happy with the result?
Of course I am. And if one day I were crazy enough to build a new studio, they would definitely be the people I'd call on.
-I imagine that, being a technician, the components were carefully selected according to your preferences. Focusing on the technical side, how did you configure and combine the mix of different gear? Or, put another way, did you choose the different products for price, quality, warmth, how well certain pieces of gear work together, systems preferred by musicians, by engineers...?
I was clear that if I put so much effort into both isolation and acoustic treatment, everything else had to follow the same quality standards.
As for the technical equipment, I was very clear about which components had to be incorporated to achieve not good but excellent results. That's why I chose pieces that are undisputed standards, such as Neve, Solid State, Millennia and TC Electronic, to name a few. Of course, in this area, besides researching the equipment in reference studios in both the USA and England, I once again called on much more qualified colleagues, who agreed on the models that ended up being installed in the racks (although I'm still missing quite a few toys to add), but there are fewer and fewer missing…
-Is there any component you have a special weakness for? Tell us about it and why.
TC Electronic's M6000, which I find such a powerful tool with so many possibilities that, even today, I haven't managed to get everything out of it that it's capable of. It's definitely a devilish machine; there's a reason it's a worldwide standard. They can't all be wrong, right?
-Is there much difference between Dalama the live engineer and Dalama the studio engineer? Where do you feel most comfortable?
Well, you see, I actually started out as a musician; a number of years ago I decided to cross over to the other side, and the truth is it wasn't very hard for me, given the background I'd been accumulating, but I think I'm more of a live engineer than a studio one. As I told you before, I've always dabbled in mixing, since when I played I was always in charge of the sound and recorded everything I could; but live work always appealed to me more than the studio. Besides, I think that over the years my ears are turning into, well, just ears, and these days, with the level of quality in studios, I don't know if I could go back to mixing… The last time I played around with Pro Tools was on an album by Ximo Tebar called The Champs, and that was about four years ago. But I also have the itch to find out whether I'm still capable of working in the studio; something I'll settle one of these days…
-Creating an atmosphere in which performers feel relaxed, comfortable, loose... is an essential part of a recording room. The artist's state of mind also gets recorded on the tracks. What's the vibe like at DALAMIX? Apart from the gear, which is obviously essential, what other elements are important for a studio to work?
You see, all the isolation and acoustic treatment work is one thing, and the finishes are another. Well, in this area I was very clear that I wanted something fun and naive, almost childlike. For that I had the best adviser I've had before, during and after this beautiful madness, who has given me, and continues to give me, all her support and infinite energy day after day, without asking for anything in return. That person is the one who shares her life with me; her name is Pepa and she has exquisite taste. In fact, she's a painter, and the paintings hanging on the walls are her work. She knew how to channel and focus all my ideas about the different elements that come together, and about how I wanted the colors and the various combinations of materials, both synthetic and natural, to be, and the truth is she's done an impressive job. I have to say that if it weren't for her, I think it would have ended up too hippie and very tacky, because I really like colors, but when it comes to combining them… Just look at how I dress!
-Tell us about your clients. Are they fussy, demanding? Do they have audio preferences when recording, or do they leave it in your hands and just concentrate on their music?
Clients are all different, but they do have one thing in common, which is that they want to make the best album in the world. As for preferences when recording, most of them put themselves in the hands of Felipe Guevara, who is the studio's master, and let him choose the weapons for battle. But sometimes musicians or producers come in and ask for specific brands, both of preamps and mics, although not all of them do. In any case, it's wise to ask the studio engineer's opinion, because he knows the tools perfectly and, more importantly, he knows the room's acoustics, which gives him more authority than anyone when it comes to certain choices. Keep in mind that when other engineers come to record, they decide the tools they're going to use themselves; and the truth is they're very clear about it and it works perfectly.
-Is there any artist you enjoy working with most in recording sessions? And live?
The artist I've enjoyed working with most in the studio, and I hope all the others will forgive me, as I don't want to offend anyone (this is simply the opinion of an ignoramus), has been ShaP. And that's even though I only got involved now and then, with small comments about the concept, because Felipe mixed it impeccably.
As for live work, there are many, and the article would get very long, so I'll mention just three, because that's a good number. Presuntos Implicados, who were the first artists I enjoyed for their musical quality, and, to mention the most recent, Mr. Joaquín Sabina, for teaching me through his songs and everyday stories that life, told in his own hand, becomes much more interesting than reality itself. Finally, David Bisbal, who is a whirlwind of energy that wraps around you and doesn't let go until you collapse. Thanks to everyone who has trusted me on their endless journeys across the stages and thanks, above all, to each one of them for teaching me so much of what I've learned.
As in all our conversations with artists (let me consider your mastery an art), we like to close with an open space in which you can address all ISP readers in whatever way you prefer. As encouragement, motivation, guidance, discouragement (smile) about how tough the "trade" is, or whatever you like.
Let's not be afraid to share what we know, because that will make us wiser and we'll understand each other much better.
Thanks to José Dalama.
DALAMIX spec sheet
SERVICES
Recording, Editing, Mastering, Duplication, Restoration
EQUIPMENT
Console: Digidesign D-Command
Monitors: Dynaudio Air 25 + Air Base 24 (Stereo) Dynaudio Air 6 + Air Base 12 (Stereo and 5.1)Dynaudio BM6A (2)Genelec 8050 (2)Yamaha NS 10M (2)AGL M8 (2)
Recorders: Pro Tools HD3 with Power Mac G5 PCIeFostex RD 8
Power amps: Hafler Transnova 4000
Outboard:Art DUAL TUBE EQArt DUAL MPArt PRO VLAArt PRO MPAAvalon 737sp (2)Bss FCS 960Bss DPR 901 IIDbx 160Dbx 1066Dbx 1046Drawmer DS 201 (3)Drawmer DL 241 (3)Eventide H 3000SFocusrite Platinum Voice MasterNeve 1272 (4)Millennia HV-3D (2)Millennia STT 1Roland RE 301SansAmp RBIShure SR 107 series EQSolid State Logic XL G Series CompressorSolid State Logic XL Channel Solid State Logic E Signature Sony MU R201TC Electronic M 6000TC Electronic M 4000TC Electronic M 3000TC Electronic D TWO TC Electronic C300Universal Audio 6176Yamaha SPX 1000Yamaha SPX 900 (2)Yamaha D 1500
Live: Digidesign Venue console (Main + 1 Sidecar) (64 ins + 16 outs) Pro Tools HD2 Accel PCIe plug-in rack Power Mac G5 Dual Processor LG 19" display 64-track live recording, expandable up to 128 SQP 250 GB hard drives (2)
Musical instruments: Gibson Les Paul Custom (1970) Roland D 50Roland R 8Takamine FR 592 NRYamaha G100-112 (guitar amplifier)Yamaha DX7 Mapex Orion Classic
Playback/recording decks: Casio DA 2 (DAT) Denon CD 635 (CD)Sony MDS-JE520 (MiniDisc)Sony TC-K35 (Cassette)
Miscellaneous:Akg K 40 (4) Akg A 50, -10 dB (pad) Akg A 50, -20 dB (pad)Akg N46 E (external phantom power supply)Audio Technica ATH M40Audio Technica ATH-PRO 700 SV Behringer DI 100 (2) Behringer Powerplay (4) Behringer DSP 8000Bss AR 116 (2) Bss AR 133 (2)EZ Quest Cobra 80 GBEZ Quest Cobra 120 GBKorg DTR 2000 (digital tuner) LaCie D2 250 GBLG 42" display in the control room Sony MDR 7506 (8)SQP 160 GB (4)SQP 250 GB (6) Technics SL 1200Wem (1960s 6-channel mixer)Yamaha RCX 1 (SPX 900 remote controller)Yamaha QX3Yamaha TX 81 Z Yamaha 01V 96 V2Yamaha 1202
Microphones: Akg C 414 B XLS/STAkg SolidtubeAkg C 1000 SAkg 535 EBAkg 451E-CK2 silver
Akg 451-CK5 blackAkg 451-CK8 blackAkg D 112Akg D12Akg C 411 (4) Audio Technica AT 4050 (2) Audio Technica AT 4051 (2)Audio Technica AT 4053 (2) Audio Technica AT 2020 (6) Audio Technica AT 835b (4) ShotgunAudio Technica AT 892 Micro SetAudio Technica ATM 35 (8) Audio Technica ATM 87 R (2) Audio Technica ATM 41aAudio Technica AE 2500 Audio Technica ATM 250 Audio Technica ATM 450 (2) Audio Technica AE 3000(2) Audio Technica ATM 650 (2) Audio Technica AE 5400 (2) Audix D6Cad GLX 2200 (2) Neumann U 87AiNeumann U 47 FETi Neumann KM 184/ST Rode NT 3 (2) Rode NT 4Rode NT 5 (2) Samson HM40 Sennheiser MD 421 (2) Sennheiser MD 421 U 5 Sennheiser MD 521Shure 556 S Shure SM 57 (4)Shure SM 58 Shure Beta SM 58 Shure Beta 57A (2)
Pro Tools:Apple Mac G5 Dual Processor Pro Tools HD3 Accel PCIe192 I/O Audio Interface (2) Digidesign MIDI I/ODigidesign SYNC I/O
Pro Tools plugins: Access Virus IndigoAmp Farm 3 Antares AutoTuneAural Exciter & Big BottomAvox Choir Avox PunchBF-2ABF-3ABruno/ResoCosmonaut Voice D-FiDINRDolby Surround ToolsDrawmer Dynamics EMI TG 12413 Eventide MP5 Fairchild 660 Fairchild 670 Focusrite d2/d3 HybridImpact JOEMEEK SC2 Compressor JOEMEEK VC5 MeequalizerLine 6 Amp Farm HDLine 6 Echo FarmMaxim MDW Hi-Res-Parametric EQMDW Hi-Res-Parametric EQ v2 Moogerfooger 12-Stage Phaser Moogerfooger Analog Delay Moogerfooger Lowpass Filter Moogerfooger Ring Modulator Oxford Dynamics Oxford Inflator Oxford R3 EQ Oxford Transient Modulator Plate Reverb Prosonic Orange Vocoder Pultec EQH-2Pultec EQP-1A Pultec MEQ-5 Purple Audio MC77 Reverb One Re Vibe Sans Amp PSA-1Slightly Rude Compressor Smack Soft Sample Cell Solid Sonic No Noise Sound Code For Dolby Digital Sound Replacer Sound Toys MP5SST-282Surround Scope SynchronicTel-Ray Variable DelayThe Forte SuiteTL AggroTL AutoPanTL Drum RehabTL Every PhaseTL InTuneTL Master MeterTL MetroTL Space TDMURS MPACK5 Strip 1975VocAlign Pro Voce Chorus/VibratoVoce SpinWaves Diamond
Technical team
Felipe Guevara,
Juan Guevara
Dalama
