From Argentina to Global Screens and Stages: Santiago Carregal’s Evolution as a Recording Engineer
It takes talent that is uniquely special to be called in as the recording engineer for Hollywood blockbuster films, major studio productions, and sold-out live concerts. Whether it is precision, passion, the instinct for capturing the perfect moment, or perhaps all of the above — Argentina’s Santiago Carregal has proven that he has it in spades. With an impressive track record on the international stage, Santiago has played a crucial role capturing the sounds and music of the best of the best in the industry.
Over the years Santiago has had the opportunity to repeatedly collaborate and record Academy Award winning composer Gustavo Santaolalla, as well as other leading artists and groups including multi-Grammy Award winning artist Meme del Real, Latin Grammy winner Bajofondo, BAFTA winner Neil Druckmann, Argentine Trap idol Trueno, and many more.
“My favorite part is that ‘aha’ moment when all the elements click — when the composer, musicians, and technology align perfectly, and you hear the music come alive in a way that transcends the individual parts,” admits Santiago. “Being able to facilitate that experience is incredibly rewarding.”
In addition to being a sought after recording engineer for award-winning albums, Santiago has carved out a prominent position for himself as a recording engineer for film and television production, especially through his work with Gustavo Santaolalla (Academy Awards for “Babel” and “Brokeback Mountain”) and his company, SK Associates in Los Angeles.
“I am proud to have Santiago on our team because he has a wide range of knowledge that encompasses different things that are very important to my work. Not only is he a great engineer and mixer, but he also has a vast knowledge of guitars, which is my main instrument,” explains Gustavo Santaolalla. “He is a great guitar tech, who is also capable of building guitars, and so it is his diversity, plus his extensive experience in working with other artists from Latin America which makes him a key part in my team.”
Since becoming Gustavo Santaolalla’s right hand man several years ago, Santiago has served as the recording engineer on numerous acclaimed productions, including seasons 1 and 2 of HBO’s Primetime Emmy Award winning series “The Last of Us,” the National Geographic documentary film “Wild Life” from Academy Award winning filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi, and Netflix’s recent hit film “Pedro Páramo.”
Through their collaboration, Santiago was also one of the key recording engineers responsible for perfecting the sound on Gustavo Santaolalla’s month-long Ronroco concert tour across Europe and the Middle East, as well as on other major live performances, including the 10th Anniversary Concert of The Game Awards at the Hollywood Bowl, the 2024 Game Music Festival in Europe, Eric Clapton’s Crossroads Guitar Festival and more.
Describing their collaboration, Gustavo Santaolalla says, “One of the things that sets Santiago apart from others is his knowledge of certain instruments that come from Latin America that not all engineers from Europe or the US, for example, will know, like the ronroco, an instrument that I use quite a bit. Another example is the classical guitar–usually engineers from the Anglo world will try to boost trebles and certain frequencies to make it sound similar to a steel string or acoustic guitar, guitars that they know through country music or American pop music, but that is a big mistake. So Santiago’s knowledge of and experience with stringed instruments and how to record them makes a big difference.”
One of the things that makes Santiago standout as a recording engineer is his versatility and extensive musical background. Having started as a guitarist before transitioning into engineering, Santiago not only understands the technical side of sound but also speaks the language of musicians — allowing him to anticipate creative needs, adapt to different genres, and capture performances with a rare sensitivity.
He explains, “I’m fascinated by the technical side of music production; there’s something magical about capturing a performance in a way that conveys the artist’s emotion directly to the listener. As a kid who loved both music and experimenting with technology, audio engineering felt like the ideal blend of artistry and science.”
Santiago’s musical journey started back home in Buenos Aires, Argentina when, at the ripe age of 6, he picked up his first guitar. Love at first strum, he became enamored by the power of music.
“Music always felt like a language that allowed me to express what I couldn’t put into words,” says Santiago. “Playing guitar or working on a track gave me a sense of fulfillment and excitement that no other pursuit provided.”
With dedication and love for his craft, Santiago perfected his skill as a guitarist, ultimately making a name for himself as a talented musician in Argentina. Eventually, he joined forces as the lead guitarist and co-producer for indie pop star Mia Zeta. Together they played at some of Argentina’s biggest festivals, including Quilmes Rock and Cosquín Rock, as well as recorded the EP “Hasta en los sueños.”
Determined to take his craft to the next level, Santiago made the leap from Buenos Aires to the United States to attend Berklee College of Music, which is known for its world class curriculum and prestigious alumni, including multi-Grammy Award winning artists John Mayer and Quincy Jones. During his final year at Berklee, Santiago, who graduated at the top of his class, reached out to composer Juan Luqui, a Berklee alumni and collaborator of Gustavo Santaolalla, with whom he had previously had a successful summer job experience. As fate would have it– they were looking for someone to join their team and Santiago was the perfect person for the job.
“As soon as I finished college, I moved to L.A. and met Gustavo. We got along right away, and he offered me a position as his right-hand engineer. I jumped at the opportunity,” recalls Santiago. “Working with Gustavo has been transformative; he’s a two-time Academy Award winner and a visionary composer and talented producer.”
One of Santiago’s most defining and acclaimed projects has been the post-apocalyptic drama “The Last of Us” starring Pedro Pascal (“The Mandalorian”) and Bella Ramsey (“Game of Thrones”). As one of the main recording engineers for the series’ Emmy-nominated score, he was responsible for capturing every haunting note of Santaolalla’s and Luqui’s compositions, ensuring the music carried the weight of the show’s emotionally charged narrative. From the delicate plucks of the ronroco to the deep, resonant swells of the score, Santiago played a key role in preserving the raw, intimate sound that has become synonymous with show.
Netflix’s 2024 film “Pedro Páramo” starring Manuel Garcia-Rulfo (“The Lincoln Lawyer”) is yet another one of Santiago’s recent career highlights. A haunting adaptation of Juan Rulfo’s seminal novel with a dreamlike atmosphere and interplay between the living and the dead, the film demanded a score that could seamlessly bridge reality and the supernatural. To achieve this, Santiago worked closely with Gustavo Santaolalla from the earliest stages, beginning with an intensive creative process in which they both read the novel to fully grasp its tone.
“Once he had a sense of the narrative and tone, Gustavo went into the studio and improvised for a few hours while I recorded him. Amazingly, much of the score for ‘Pedro Páramo’ came from the three or four hours of music he recorded on that very first day,” recalls Santiago.
As the recording engineer, Santiago carefully captured each performance, ensuring that every sound — from the mournful cries of the tin violin to the ghostly echoes of the pump organ — supported the story. The result was a score that not only complemented the film’s stunning visuals but also deepened its emotional resonance, solidifying Santiago’s reputation as a master of sonic storytelling.
While television and film have become central to Santiago’s career, his expertise extends beyond the screen. Last year, for instance, he served as the studio production engineer for the revival of the 1931 Spanish-language “Dracula” with the LA Opera, which was orchestrated by David Campbell and performed at the Broadway Theater in Los Angeles. Through a fusion of cinema, theater and live music, the reimagining of “Dracula” came to life with a new score created by Gustavo Santaolalla and supported by Santiago.
A testament to both his technical precision and artistic sensibility, Santiago worked closely with Gustavo Santaolalla throughout the entire process — from his initial preproduction compositions and recording his performances, to collaborating on score editing and preparing all materials for the orchestration. For the live shows, not only did Santiago oversee the music supervision of Gustavo Santaolalla’s team, ensuring the on-screen action, live music and any pre-recorded material stayed perfectly synchronized, but he also performed live FX changes on stage during the performances.
He recalls, “I was able to be on stage right next to Gustavo. It was exhilarating to watch the film come to life with a full orchestra right there in the pit. Hearing the audience react to classic horror scenes with a live musical element was a reminder of how powerful the fusion of music and film can be.”
With a bright career ahead of him, Santiago Carregal continues to push the boundaries of what is possible in sound engineering, seamlessly blending technical mastery with artistic intuition. Up next for him is the free-diving focused documentary film “Man from Atlantis,” which he is composing, as well as the upcoming album for Mia Zeta, which he is producing.
“My goal has always been to create music I enjoy and earn a living from it. As long as I’m having fun, learning new things, and feeling proud of my work, I consider that a success. Over time, I hope to collaborate with a variety of artists, continue refining my skills, and ultimately share music that resonates with listeners around the world.”
