Engineer Enrique Larreal on Recording Ricky Martin's Grammy-winning Album with Audiomovers

Engineer Enrique Larreal on Recording Ricky Martin's Grammy-winning Album with Audiomovers

21st July 2021

We've been asking artists, producers and engineers to share their stories of how they use Audiomovers, and in our latest instalment we hear from Grammy-winning engineer, Enrique Larreal.

Founded in 2017 by Igor Maxymenko (Waves, Blue Microphones) and Yuriy Shevyrov (Universal Audio, Waves, Logitech), Audiomovers offers a set of tools including audio plugins and apps allowing for real-time, high-resolution collaboration with anyone in the world. Through our innovation arm Abbey Road Red, we're delighted to announce the acquisition of Audiomovers.

Enrique has worked with the likes of Ricky Martin, Joss Stone, Nelly Furtado and Paulina Rubio, winning the American Grammy Award for Best Latin Pop Album for Ricky Martin’s A Quien Quiera Escuchar, and winning the 2020 Latin Grammy for Best Vocal Pop Album with Pausa, remotely recorded and produced through Audiomovers.

Enrique Larreal shares his Audiomovers' story

In April of 2020, a month into the pandemic lockdown, we were in the process of finishing Ricky Martin’s new album “Pausa”. Since I live in New York and Ricky resides in Los Angeles, I would regularly fly out to California for recording sessions, however, going to LA was no longer an option when “stay-at-home” orders were issued. In an attempt to move forward with the album, Ricky reached out inquiring if there was a way to set up some type of remote recording sessions to comply with social distancing protocols and resume the recording of the album.

At the time, Ricky was in LA, Jean Rodriguez (vocal producer) was in Miami, and l was in New York, so the remote recording session required harnessing technology to accurately replicate a live recording session experience. I was thrilled by this challenge and immediately jumped at the opportunity to design and develop a system that could achieve this goal.

The first piece of software that I thought of was Audiomovers’ “Listen To” because it could provide high-quality, low latency audio in a very easy and straightforward manner and, by doing so, I could send audio back to myself and the producer for monitoring purposes. I had started using “Listen To” the previous year as a way to facilitate mix recalls with clients in a more efficient way. Pairing “Listen to” with a remote control computer software and audio visual communication system would allow Ricky, Jean and I to work on what we needed from our respective locations.

Two days later, I had devised and developed a system that would fulfill all of our requirements, needs, and expectations. I sent Ricky a laptop that I set up with the all software required, ready to be hooked up to his home recording system in L.A.

We were amazed by the outstanding results of our first recording session and our excitement grew as we became fully aware of the paradigm-shifting system we had created. It was groundbreaking. To this day, we continue to work remotely in the same way regardless of my actual location: my studio in New York city or a hotel room on the road. The possibilities seem to be endless.
Thanks to what “Listen to” allowed us to achieve not only were we able to meet the albums’ deadline but we also ended up winning the 2020 Latin Grammy for Best Vocal Pop Album “Pausa” as well as a 2020 Grammy nomination for Best Latin Pop/Album.

I presume that we are probably the first to win a Latin Grammy utilizing this method because of how early we started the remote sessions once the pandemic hit. Further research should be conducted to confirm this assumption.

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