How Salda Got the Opportunity to Engineer the Song:
I know the guys that produced it, Andrés Torres and Mauricio Rengifo, and they really liked what I was doing. They had been coming to me for engineering for about two years, and one of the projects they brought to me was “Despacito.” Around the same time the song was released, they got a studio and asked me to join them.
Nobody expected the song to be this big. When I heard it the first time, I was like, “Wow, that’s a great song.” But Hot 100 for a song in Spanish? That hasn’t happened in twenty-one years.
The Recording Setup for “Despacito”:
It's fairly simple, actually. The setup for instrumental stuff specially guitars is a vintage Neumann KM84 microphone going into a Chandler TG2. From that we went into a Lynx Aurora 16 clocked by an Antelope Clock.
The trick here was more about the mic placement—really listening to where the sweet spot was. The sound you hear on the record is pretty much how it sounds when we are tracking. I think it’s really important to get the mic placement right.
How Ozone 7 Advanced Was Used on Despacito:
We used the EQ, the Multiband, and the Limiter. Those three are our go-to for our master chain and use them all the time. Then Insight at the end to check the loudness.
I’ve been using iZotope for a long time—the first time I discovered it was with Ozone 4. Since then it’s been our go-to. There are so many options, but iZotope’s always end up on every song we produce.