An Interview with Recording Engineer Felipe Castaneda
We recently had the honor of sitting down with recording engineer and music artist Felipe Castenenda who has really taken strides in his career by building such an impressive resume working with tons of outstanding and well-known artists along with indie bands of all styles, and becoming a senior house engineer at Sonic Ranch studios in El Paso.
Felipe Casteneda has made a name for himself working on more than 100 records in the last few years—everything from Madison Cunningham’s Grammy-winning folk album to Grammy-nominated records by St. Vincent keyboardist Rachel Eckroth and Latin artists Adriel Favela and Marcos Witt, as well as recordings by notable indie, pop, rock and country artists such as Portugal the Man, Buck Meek, Dehd, Futurebirds, Ozomatli, Thalia, Koe Wetzel, Fastball, flipturn, SIAMES, Sarai Rivera, Cody Jinks, Thunder Jackson, Wilderado, Ruzzi, Colony House, Moderatto, Andrew Belle, Katelyn Tarver and Magaret Glaspy.
Looking deep into some of the more technical aspects of recording and having a passion for sound architecture and design, Felipe has been making waves as an audio engineer, which has already accumulated such an impressive reputation with the very well-known Sonic Ranch Studios.
Looking at the artists Felipe has been working with and what he's done to build his career is impressive, to say the least. We had to chat with him about how it got started, his beginnings, what kind of approaches he takes, and his inspirations for diving headfirst into this facet of music creation.
Join us as we dig deep into how he ended up working with Grammy-nominated artists, how he became an engineer in the first place, and get some insight into the stuff he's working on now that's yet to be released.
TSWS: Hello Felipe and thanks so much for taking some time with us! I'd love to start off with how you got to be a top engineer at Sonic Ranch Studios! Before we get into where you went to school and all that good stuff, I want to know how it all really started for you with music. When did you fall in love with music and know you wanted to make your life a part of it all?
Music has been a part of my life for as long as I can remember, but it really became something deeper, something I could see myself building a life around, when I started taking guitar lessons at 16. That’s when I began to understand the discipline and dedication it takes to truly grow as a musician. It wasn’t just about learning chords or songs, it was about committing to the craft. I gravitated toward classical pieces on acoustic guitar; there’s a certain magic in them. Many weren’t originally written for guitar, so adapting them taught me so much: new chord shapes, harmonization techniques, unique voicings. That challenge and beauty pulled me in and made it clear that music could be more than a hobby.
TSWS: You have worked with Madison Cunningham, Grammy-nominated albums from Rachel Eckroth, Adriel Favela and Marcos Witt, as well as recordings by Portugal the Man, Buck Meek, Dehd, Futurebirds, Ozomatli, and the list goes on and on! Did you ever picture yourself being a part of such legendary music releases?
Honestly, not at all. I never imagined I’d be part of projects like these. I really owe so much of it to Sonic Ranch, it’s been an incredible place to grow, learn and make mistakes. There’s something about the atmosphere out there—maybe it’s the quiet of the countryside or the way artists can truly disconnect and focus solely on the music that makes it special. There’s this amazing energy—people walking to breakfast, musicians jamming outside the studio, it all feels so natural and homey, like its own little universe. Inside the studio, it’s the same spirit, everyone is there with a shared purpose: to make a great album. When you pour your heart and soul into it, people feel that, and the whole process becomes more fluid, more inspired.
TSWS: Was there ever a point in time where you were nervous working with an artist at the start?
I was definitely a bit nervous working with Koe Wetzel, a country artist from Dallas, but even more so with Adrian Bushby, the legendary engineer from the U.K. who's worked with bands like Muse and Foo Fighters. Being in the room with someone of that caliber can be pretty intimidating. At first, I was overwhelmed by how different his approach was. We did this massive, complex setup—a drum kit mic’d with around 30 microphones, 8 guitar amps with 2 mics each, 3 different bass amps, it looked chaotic to me at the time. Needless to say Adrian made everything sound amazing while keeping the vibe light and easygoing. He was incredibly kind and down-to-earth. I learned so much working alongside him during those few weeks.
TSWS: What are some projects you are working on now?
I just wrapped up a project with Blackwater Holylight and their producer Sonny DiPerri. They made a fantastic record that’s set to be released soon, and I’m really proud of how it turned out. Coming up in June, I’ll be working with Strawberry Guy, which I’m really excited about. It’s always thrilling to dive into something new and see where the collaboration takes us.
TSWS: What do you find is your favorite aspect of being an engineer?
For me, the most rewarding part of being an engineer is understanding how sound behaves, it’s been an ongoing, fascinating discovery. I learn something new almost every day about one of the most overlooked yet powerful elements in our lives. There’s so much to unpack—sound can create a sense of place, carry emotion, be physically felt and visualized. It’s truly endless. Over time, I’ve built a strong mental catalog of these qualities, and I get excited about using that knowledge to serve the music I work on.
TSWS: You went to school in San Francisco correct? Where was that and what happened right after that was over? Did you jump right into projects somehow?
I did. After graduating, one of my mentors, Steve Heidecker, asked me to stay on as his assistant at the school. I helped other students grasp the fundamentals of audio engineering, which was a lot of fun and a great way for me to keep learning as well. At the same time, I was interning at OTR Studios in Belmont, Calif. I used to take the Caltrain down and then ride my bike up this steep hill to the studio. It was exhausting, but totally worth it. The area is beautiful, surrounded by forest, and the studio had a really special focus: recording for an audiophile audience. Everything was captured at the highest possible quality, straight from tape to an uncompressed digital audio file. It was my first time working with a real Neve console and a tape machine, which was incredibly exciting. Funny story, before me, the last intern there was a French kid named Vincent, who the team told me had gone back home to start his own project. Turns out, that was FKJ and wow, did he make something amazing of it!
TSWS: Working with all of these artists and bands, do you have a sort of rule book for your methods of recording?
I’ve never really been a “rule book” kind of person with anything, I think art demands the opposite. The less attached you are to a fixed way of working, the more room you leave for new and exciting ideas to emerge. That said, I do have a guiding principle: I always try to put myself in the artist’s shoes. I want to understand where they’re coming from, what they’re trying to say, and be a supportive hand in bringing that vision to life. Caring about the people you work with is crucial. It shows you’re invested. It leads to better results, stronger collaboration and, often, lasting friendships. And that human connection makes all the difference in the music.
TSWS: Are there any upcoming projects you are especially excited about? Are you allowed to share that info?
Sometimes you’re allowed to share, sometimes you’re not, it depends. But I can say I’m really excited about working with Strawberry Guy soon. On top of that, we’re starting a new partnership with Sangria Señorial, a soda brand from the Jarritos family based in Mexico but they have a global presence. They’re looking to bring bands out to the ranch for live sessions, which is a super fun idea. So far, we have Luna Luna from L.A. and Late Night Drive Home from El Paso lined up. It’s shaping up to be something really special!
TSWS: Do you ever do audio for live shows or have you done that in the past?
I haven’t really dived into that world yet, but I’m definitely curious about it. I imagine there’s a learning curve, especially with the pace and pressure of live environments but at the end of the day, it’s all about working with sound. That’s the common thread, and it’s something I’d love to explore more in the future.
TSWS: Obviously you are a musician yourself so what instruments did you start with?
I started with classical guitar, and it’s still one of my favorite instruments to play. There’s so much soul and warmth in it. It really taught me to appreciate the emotional depth that an instrument can carry.
TSWS: Is there any advice for other engineers or even indie bands recording their own stuff out there?
Honestly, just keep going, keep creating every day. One thing I’ve learned is that the song itself matters more than anything else. If the song is strong, it can be recorded on an iPhone and still connect with people. So my biggest piece of advice is to focus on the songwriting—the lyrics, the emotion, the vocal phrasing, the rhythm. Those are the elements that often get overlooked, but they’re the heart of it all. No million dollar console can fix a song that isn’t good. The only way to get better is to keep working at it, every single day.