Recording engineer 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.

Hi! Your journey from Mexico City to becoming the senior house engineer at  Sonic Ranch is inspiring. Can you share how your early experiences and education influenced your approach to recording and engineering?  

Recording has always been a process of constant evolution for me. In the beginning, the goal was simple—get sound to come out of the speakers! But as I gained more experience, I started developing a mental library, an internal way of cataloging different equipment and elements of sound—microphones, polar patterns, mic placements, amps, guitars, pickups, snare drums—even down to how the materials the instruments are made of affect the sound. Every single item in the studio can shape the timbre of a sound, and a big part of our job as engineers is to understand how those tools behave in different contexts, which ultimately helps us support the song.

Lately, I’ve been getting back to the basics of how I approached things in the beginning, starting from zero. I focus on simply hearing sound, and letting it  speak for itself. Only then do I start adding EQ, compression, reverb, or  experimenting with mic placement. There’s real value in listening to the source  unaltered—sometimes it doesn’t need anything at all.

It reminds me of working with Terry Manning who, sadly, passed away recently. He was a legendary engineer and musician, someone who shaped the sound of modern music with his recordings of Led Zeppelin, ZZ Top,  Iron Maiden, Al Green and many many more. Terry had a beautifully simple yet refined approach. He used very few microphones, but each was carefully chosen and placed. For him, it was all about capturing a great performance, making the music come alive. He wanted the drums to breathe, the bass to growl and the  vocal to carry the emotional weight of the song. This philosophy deeply influenced me and continues to guide me today.

Sonic Ranch is known for its unique environment and extensive vintage equipment collection. How does the studio’s atmosphere and gear influence the creative process for the artists you work with?

It has a huge impact. When artists come to Sonic Ranch, they’re able to fully immerse themselves in the creative process. The environment is really focused, there are very few distractions, and most of the energy and excitement happens inside the studio itself. This makes it possible for the artists to stay connected to their work around the clock, to really live inside the world they’re creating. Plus, all the basic necessities—meals, laundry, accommodations—are handled by the Ranch staff, which frees up even more mental space for creativity.

The gear is a major influence too. It’s not every day that someone hears their voice through a vintage U47 mic running into a Neve preamp—it’s a sound that feels both massive and timeless. There’s something magical that happens when you combine high-end vintage equipment with beautifully tuned rooms and  top-tier acoustic instruments. Everything just comes alive in a different way. I’ve found that the Ranch has a unique ability to elevate the sound of acoustic instruments especially—there’s a warmth and character here that’s hard to replicate.  

You’ve worked on a Grammy-winning album with Madison Cunningham and Grammy-nominated projects with artists like Rachel Eckroth and Adriel Favela.  What do you believe are the key elements that contribute to producing award winning records?

Sometimes, you just get lucky. Certain projects or artists land in your lap—there’s something to be said for being in the right place at the right time. But once that door opens, it’s all about hard work and doing everything you can to make the record sound as good as possible.

Working with an artist like Madison Cunningham is a truly special experience. She brings a kind of magic to everything she touches. Her lyrics are witty, clever and emotionally rich. Her guitar playing is inventive and expressive, and her voice carries so much nuance and feeling. Her music can be tender and delicate one moment, then powerful and groovy the next. Being in the room while that kind of artistry unfolds is something you don’t take for granted. Yo’ure just grateful the universe allowed you to be part of it. I think the key to making award-winning records is a combination of luck and dedication. It’s about being ready when the opportunity comes and then giving it everything you’ve got.

Currently, you’re working with Blackwater Holylight and Strawberry Guy at Sonic Ranch. How do you adapt your engineering techniques to suit the distinct styles of these critically acclaimed artists? 

I usually start planning about a week before a project begins. During that time, I  ask the band or artist to share demos of the songs we’ll be recording. Those early versions give me a sense of the sonic direction they’re aiming for. I also ask for musical references, artists they admire or who inspired the material, so I can  better understand the world they’re trying to create.  

That week becomes a deep listening session for me. I not only study the demos and references they’ve shared, I also dig up additional tracks and sounds I  think could bring something fresh to the table. I start mapping out the gear and setups I’ll need for each song—what mics, 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 set up the mics and run a full line check so everything’s ready to go. This is a process I follow with every artist. It’s fun and also incredibly educational. It feels like a creative guessing game. You spend a week imagining how something might sound, and then you finally get to hear whether your instincts were right. That moment of discovery is one of the most exciting parts of the job.  

Given Sonic Ranch’s proximity to the U.S.-Mexico border, have you found that  the cultural blend of the region influences the music produced there?

To be honest, not significantly, at least not in most cases. Sonic Ranch has a national—often international—reputation, so many of the artists who come here are from places like Nashville, Dallas, New York City, Los Angeles, and other cities like Oklahoma City, Phoenix and San Antonio. By the time they  arrive, they usually have a clear vision of what they want to record, with arrangements already well thought out.

That said, when artists come here to write or explore creatively, the region does start to seep into the work. You’ll hear references in lyrics to the surrounding landscape, the border, stories of outlaws, the desert terrain, the vast night skies and the incredible sunsets. The environment has a quiet, powerful presence, and  when artists are open to it, it can definitely inspire something unique. 

You’ve collaborated with a diverse range of artists, from Portugal. The Man to Koe Wetzel. How do you maintain versatility in your engineering approach across different genres?  

For me, it all comes down to what the song needs. You can mic a drum kit a dozen different ways and get great results, but it only works if it serves the song and aligns with the artist’s vision. Take Koe Wetzel’s Hell Paso album. Rather than leaning into a traditional country sound, the producer pushed for a much heavier rock vibe. On some tracks, the only elements that still hinted at country were the lyrics and Koe’s vocal delivery. It created this really unique and powerful blend of styles.  

With Portugal The Man, the focus was completely different. Their approach centered on making the song instantly catchy and full of ear-grabbing moments. The drums were more compact and tight—they emphasized the groove rather than sounding huge. Every element was designed to serve the song’s infectious energy and layered hooks.

Staying versatile really comes down to listening closely, understanding what  the music is asking for and being flexible enough to adapt your tools and techniques accordingly.

Sonic Ranch has hosted numerous notable artists. Can you share a memorable session or anecdote that stands out in your career there?  

Working on Buck Meek’s album was one of the most rewarding experiences of my career so far, both personally and professionally. We were tracking everything to tape, and on the first day we ran into a strange issue. The other instruments were coming through fine, but the bass sounded off—it was fluttery and unstable. I couldn’t immediately figure out what was going wrong, but  I knew I had to solve it. I ended up recalibrating the tape machine and spent all night trying different settings and combinations. Around 4 a.m., I finally got it dialed in. The machine was sounding great, and we were ready to move forward the next day. 

We spent the next two weeks recording, and it was a fantastic journey. The band  was incredible, and the songs had a unique character. Some leaned into a country vibe, but with a twist that made them feel fresh and exciting. It was unlike  anything I’d worked on before.  

Some sessions take a while to crack, but that’s part of the process. When  everything finally clicks, it’s incredibly satisfying. Those are the moments that stay with you.

With the evolution of recording technology, how do you balance the use of vintage analog equipment with modern digital tools in your sessions?  

I strike a balance by using vintage gear for capturing sound and modern digital tools for mixing. That combination tends to give me the best of both worlds. Vintage equipment brings a certain character and unpredictability that can really enhance the initial recording, but when it comes to mixing, digital tools offer a level of flexibility and recall that’s hard to beat. If an artist wants to revisit a mix weeks later, it’s much easier to do that digitally without sacrificing quality.

Stereo analog gear, in particular, has to be meticulously calibrated and tested before it can be used effectively in a mix. Since you’re dealing with the entire song, even small inconsistencies can throw things off. Of course, when you’re tracking a couple of mics, a little imperfection can actually add charm and  vibe—that’s part of what makes vintage gear so special.  

A producer friend of mine, Tyler Chester, taught me a lot about using analog techniques in a modern workflow. One of his favorite methods is having the whole band play together in the same room. That way, each instrument bleeds into the others’ mics, creating a sense of cohesion and energy that you just can’t  replicate with isolation. If you tried to remove that bleed, the song would sound completely different. and usually less exciting.

There’s something beautiful about embracing imperfection in recording. Not everything needs to be pristine. Noise and distortion can be your allies. When used tastefully, they add texture, emotion and life to a track.

Looking ahead, what are your aspirations for future projects, and how do you envision your role evolving in the ever-changing landscape of music production?  

I’m really excited to step more into the role of producer. I’ve been feeling a strong pull to not just capture sound but to get more involved in the creative process and help shape the songs themselves. Lately, I’ve been  working on my own music, collaborating with friends and producing tracks for local artists. It’s been a learning curve, but I can feel myself growing with each project.

Another area I’ve become deeply passionate about is mixing. It’s honestly become a bit of an obsession. It’s such a massive mountain to climb, but the challenge feels natural because I genuinely love the process. Listening to the work of mixers like Shawn Everett or Spike Stent is both humbling and inspiring. It pushes me to chase that level of depth and creativity in my own mixes.  

What draws me in is the detail, the way small, intentional changes can completely transform a track into something emotionally powerful and sonically  beautiful. Mixing really is its own art form, and I’m excited to keep exploring how far I can go with it as the industry continues to evolve.