Alejandro Rodriguez

Associate Professor
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  • Career Highlights


    • Bachelor's-equivalent degree in sound for films, radio, and TV at ISA (arts university in Havana, Cuba)
    • Master's-equivalent degree in telecommunication engineering at ISPJAE (technical university in Havana, Cuba)
    • Freelance studio and live sound engineer
    • Recording engineer for Andrew L. Webber's Jesus Christ Superstar, Mexican cast
    • Recording and mixing engineer for the album, FOH engineer, and sound designer for the musical Jarocho
    • Sound designer, post production and mixing, Hernan Cortez -Historia de una Conquista (Discovery Latin America)
    • Record, mix, master, or live sound for Compay Segundo, Eliades Ochoa and the Afro-Cuban All Stars (from Buena Vista Social Club), Silvio Rodriguez, Pablo Milanes, Carlos Varela, Grupo Niche, Armando Manzanero, Ricardo Arjona, Pancho Cespedes, Tania Libertad, Tiempo Libre, and more

In Their Own Words

"In mixing classes we talk about technology, but we talk and discuss a lot about the musicality of the mix and the concepts of our listening—not only which knob was pressed or which equipment was better, although we talk about equipment and we sometimes compare one and the other. But mostly we talk about general concepts. I encourage the musical part of it, and I expect students to be wide-range people. They can specialize in something, but they should be ready to do as many different genres or different jobs as possible."

"If I have to summarize the typical MP&E student, that might be somebody who is not only an engineer but a producer. In the old-fashioned way, producers were only musicians who had the skill and the musical knowledge to arrange and to direct a production, and then they didn't know much about the engineering side of it. Now the whole process is mixed. A producer sometimes is an engineer who also is a musician."

"The big advantage of being here is to have the ability to try different types of technology—not only the latest one but the original ones at the same time. Not only the most expensive microphone but a cheap one and lots of them in between. The fact that I started my career in a third-world country and lived in another third-world country for several years gave me the perspective of being forced to work only with limited resources most of the time, trying to be creative with whatever you have, not whatever you would like to have."