Daniel Cantero

Daniel Cantero

Audio-Visual Engineer
Digital Luthier | Sonologist | Sound Designer

+44 7899 309 618 | +34 620 00 97 67
S_danielcanteroskype | @ mail@danielcantero.info


During the last few years I have worked as an Engineer and Developer creating control tools for live performance (hardware and software) for the company Digital Luthier. This includes work on visual and sound design projects.

In addition, I have created the Master course 'Live Electronic and Acoustic music production' for the same company Digital Luthier where I worked as a teacher as well as managing the Master content as a Certified Trainer of Ableton.

As a sound designer, I have also made audio-visual productions working for top companies while producing and postproducing for musicians and bands.

As a technician and engineer, I have comprehensive knowledge of acoustics, electronics and computing, as well as a high level of technical training as an installer of visual and sound equipment and studio maintenance. I have also worked as specialist with solder, electronic boards and laboratory devices.

I am willing to travel and I am able to work online as a freelance sound engineer due to my personal ownership of an audio-visual pre and postproduction studio.


UNFOLD / FOLD | Professional Experience
  1. 2013Master teacher and manager: Live Electronic and Acoustic Music Production

    Digital Luthier, Escuela CICE


    Working as Official Ableton Certified Trainer at CICE, I have taught lessons on engineering, computing, musical composition, acoustics and electronics as well as imparting previously gathered knowledge about the current tools used in intuitive and creative music production methods. Previous training courses I have delivered, have been for beginners, advanced levels and professionals from the Audio-Visual sector.

    Recently, I created the Master Course 'Live Electronic and Acoustic music production' for the company Digital Luthier which combines all necessary information for the creation of quality music production from start to finish. With this knowledge, professionals in the music industry are able to use the latest generation of tools and techniques to deliver an excellent final product.

    Module 1. Introduction

    Aims and objectives of the course

    Students and teacher introduction

    Student motivation and needs analysis

    Live demonstration showing what you can achieve

    Module 2. Audio and Music Concepts

    Auditory system and sound perception

    Understanding how the sound works both physically and psychologically helping to create music of higher quality and greater impact sounds (essential materials for any sound operator).

    • Audible spectrum and frequency bands
    • Curves and loudness levels
    • Pitch and timbre
    • Loss of the fundamental frequency
    • Sound sense
    • Haas effect
    • Masking effect

    Physical principles of electroacoustic

    How and what equipment are used to generate the sound, how sound travels between media and the physical and electronic treatment of it. This section seeks an approach to the generation and treatment of the wave sound.

    • Oscillators and wave types
    • Parameters that defines and characterises the wave
    • Deterministic and random signals
    • Noise
    • Envelopes (AR / ADSR)
    • Transduction between physical and electronic media
    • Electronic applications in the field of acoustics
    • Function generators and oscilloscopes
    • Calibration testing

    Digital Luthier HomeStudio 2.0

    The production studio concept finds itself in constant change. The lower costs of equipment and acoustic materials gives the possibility to have a semi-professional studio at a low cost. This section demonstrates techniques for developing ideas and making the most of possibilities.

    • Fundamentals of engineering acoustics enclosures
    • Concepting the new Studio 2.0
    • The importance of the listening hotspot
    • Theoretical acoustic treatment
    • Possibilities of conditioning for our own HomeStudio
    • Location and connection equipment
    • Wiring, soldering and impedance matching
    • Connection between systems. Ground loop / Ground earth
    • Power supply network: Triangle/Star types. Load balancing
    • Analysis Workstation: Digital Luthier DigiStudio 2.0

    Advanced Computing

    Getting proper installation and maintenance of our system is crucial for rapid and creative improvisation and helps to optimize our workflow. This section shows the techniques and tricks to have your workstation tuned up perfectly.

    • Dedicated workstation its programming
    • Maintenance of work systems
    • Disk management
    • Correct installation of software
    • Backup and boot disk


    Electronic music is based on sound generated by synthesis. This section shows the inner workings and unlocks the full potential of the synthesiser tool. In addition all the tricks and techniques that give shape to the sound design are covered in this section.

    • Oscillators. Generation and sumatory of pure waves
    • Amplitude and frequency treatment
    • Modulation envelope
    • Synthesis types
    • Low frequency oscillators (LFOs)
    • Polyphonic / monophonic Systems
    • Portamento and Glide. Applications and effects
    • Filters
    • Modulators
    • Synthesis hardware
    • Introduction to other models of synthesis
    • Creating and managing presets
    • Creating and managing libraries
    • Synthesis in Ableton Live: Analog and Operator
    • Alternative models in Logic
    • Free and creative models

    Evolution of electronic music styles from the 80’s

    The correct understanding of the fundamentals of each electronic musical style facilitates the creation of different kinds of music helping to create musical knowledge of what you are doing. This section provides an overview of all kinds of music since the appearance of the first beats until now.

    • Evolution of electronic music instruments since the early 80s to the present day
    • Harmonic, rhythmic and melodic analysis of different electronic styles
    • Harmonic, rhythmic and melodic construction of different musical styles

    Music Theory

    Regardless of the kind of music you are composing, an understanding of this subject is the key to knowing what you want to do and how to reach it efficiently. This section will transmit the musical knowledge required for the production of electronic music.

    • Harmony, melody and rhythm
    • Scale and tonality
    • Key signature
    • Intervals
    • Accents and silences
    • Chords and inversions
    • Doubling and spacing
    • Arpeggios
    • Chord transitions. Notes of passing
    • Modulations
    • Syncopation / Groove / Humanisation
    • Chromaticism. Dissonances. Enharmonics
    • Plugins for non-musicians: Digital Luthier DigiChord

    Musical Instrument Digital Interface M.I.D.I / Open Sound Control O.S.C.

    Although its beginnings date back to the early 80s, this protocol is still ‘the king’ in any system for instrument control. This section will transmit the knowledge of wiring techniques and programming systems using this protocol.

    • MIDI control systems throughout history
    • Building and implementation of MIDI messages
    • Ports, channels, parameters and controls
    • Bank presets and program changes
    • System configuration. Adjustment and balancing latency
    • Setting and connection of hardware and software equipment
    • External MIDI control and viewing
    • CC assignment. Multiple assignment. Preset range of values
    • Wiring, configuration and use of communication protocol OSC

    Physical Control vs. Touch Control

    What is better for our setup? TouchScreens, knobs or other types of sensor? The answer is: it depends “for what”. This section will look into the use of controls and undertake the study of the major differences between them.

    • Generation and processing of sound in real time
    • Physical Computing: Sensors
    • Physical Computing: Actuators
    • Physical Computing: Microcontrollers

    Module 3. Recording, editing, mixing and mastering


    To get final quality music production we first need to obtain excellent audio recordings. Understanding the techniques that support the recording concepts like the wiring equipment, recording formats, audio levels, environmental arrangement and recording workflow is vital. The determining factor is making the right decisions at the moment of recording audio. The right decisions are based on the following points:

    • Audio recording systems throughout history
    • Ideal audio levels for optimum and correct right recordings
    • Measurement scales (VU, BBC, DIN, NORDIC, IEC, dbFS)
    • Instruments and vocal recording techniques
    • Recording audio generator equipment (synthesiser)
    • Choosing and connecting the microphone
    • Current audio recording systems
    • Transitory response on an audio system recorder

    Audio Sampling (Software)

    The collection and expansion of your own audio library encourages personal and discerning musical taste and music production. This chapter will communicate the correct techniques for quality digitalisation processes in order for efficient sound storage and arrangement.

    • Ableton 10 Sampler
    • Digital tools configuration and setup
    • Managing libraries, formats and protocols
    • Sample editing
    • Velocity, key and looping
    • Multisampling
    • Resampling
    • Alternative free and creative tools

    Audio Sampling (Hardware)

    The collection and expansion of your own audio library encourages personal and discerning musical taste and music production. This chapter will communicate the correct techniques for quality digitalisation processes in order for efficient sound storage and arrangement.

    • Analog to Digital conversion
    • Dynamic range
    • Resolution. Number of bits
    • Sampling frecuencies
    • Sound design. Creating personal libraries
    • Editing and preparing samples
    • Formats with and without compression
    • Controlling hardware equipment trough Ableton Live
    • Samples in nowadays
    • Using the sampler in a creative way

    Recording audio from Live 10 to Logic, Cubase and Protools. Bouncing to disk

    The correct connection and compatibility between hardware, software and the different applications is crucial to guarantee the best performance in our system. This section “connects” our audio engine to other different native software through several protocols. This software and these protocols include the following:

    • Connecting software between computers via Rewire
    • Connecting equipment between them via Ethersound / Ethernet
    • Importing and Exporting audio between workstations
    • Simultaneous recording between both hardware and software

    Dynamic, time and frequency processing with Ableton Live

    Manipulating the audio once recording is finished is one of the most creative aspects when you are performing live. This section reviews all tools that are included inside the Ableton Live Suite Pack.

    • Equalise (Cosmetic and surgery treatment)
    • Dynamic (Compression, Expansion and Limitation)
    • Real time feedback (Delay, Reverb, Flanger, etc.)
    • Technical and creative application
    • Native plugins in Ableton Live review
    • Free and creative alternatives

    Mix and Premix

    Once finished, the next step is to mix every audio track and obtain a complete audio, a 'one track piece'. This final step depends on either, its use as a musical piece or by contrast, for Live Performance.

    • Spectrometer FFT, Goniometer and Phasemeter
    • The importance of phase
    • Selective filtering
    • Sum of levels
    • Peak level vs. RMS level
    • Suitable Mono vs. Stereo choose
    • Multiple plugin chain
    • Practical application

    Automation “on time and off time”

    This powerful technique records our movements and actions when touching the controls and other physical parameters. We can use this technique in both cases, Studio and Live Performance.

    • Stereo balance
    • Levels
    • Individual clips
    • Arrangement line
    • Other parameters

    Stereo and Mono bounce. Mastering

    Now, the final piece is almost complete. This section analyses the correct protocol for professional completion of the final track.

    • Final export to one or several tracks
    • Parameters to bear in mind
    • Preparing audio depending the mastering platform

    Mastering, partial edition and equalisation

    • Partial editing of each section
    • Editing of possible corrections

    Mastering, colouring and boosting

    • Colouring
    • Optimum levels
    • Parameters

    Mastering, compression and expansion by parts

    • Seeking band cut frequencies
    • Limiting and final energising

    Mastering. Middle / Side (MS)

    • MS processing
    • MS Routing

    Mastering. Analog vs. Digital

    Compairing analog and digital sound, it is not a case of which one is better, but simply that they are different. This section will analyse the difference between both types of technologies enabling you to select the best one for you and your project objectives.

    • Analog vs. Digital wave
    • Vinyl disc mastering. Preparing the audio
    • Vinyl disc mastering. Recording process
    • Vinyl disc mastering. Physical consideration
    • Compact disc mastering. Preparing the audio
    • Compact disc mastering. Recording process
    • Compact disc mastering. Computing consideration
    • Hybrid mastering. Analog and Digital process

    Adapting formats depending on the media type

    Audio must be adapted in a different way depending on the media in which it will be played such as the car, studio, internet, radio, etc. Trying to reach the right balance between the different platforms is complex. Therefore, this section illustrates the different techniques to adapt the final result to the different media systems.

    Module 4. Live music


    Generally the best ideas are spontaneous. Having the correct workflow helps to develop all ideas in a creative way and enable this to happen using efficient methods and tools.

    • Optimising the available resources
    • Creating work templates
    • Method applied to the performance

    MIDI clip as preproduction tool

    A proper preparation of MIDI clips both studio and live setup adds spontaneity to our production in addition to taking control of the sound every time. The use of MIDI clips in our production favours improvisation without any limits.

    • Creating neccesary clips to produce
    • Individual automatisation of each MIDI clip
    • Merging clips in blocks
    • Creating MIDI clips
    • Global structure of the final piece
    • Drumracks and macros
    • MIDI effects

    Integrating video in Ableton Live 10

    The integration of video in our audio live set is becoming more of a reality. This section is intended to attach and synchronise video with our audio set.

    • Video formats using in Ableton Live 10
    • Making and preprogramming video sets in Ableton Live 10

    Modern and comtemporary DJing

    Dominating the tools, spontaneity on stage, empathy with the crowd, these are all facets of a good deejay and therefore this section seeks an approach to these disciplines.

    • Classic audio performing with turntables, compact discs, etc.
    • Traktor / Serato
    • Deejay hardware controllers
    • Appropriate choice of audio material
    • Planifying sessions
    • Ableton Live integration
    • Adapting tracks to Live formats
    • Hybrid systems setup: deejay set + Live set

    Ableton Live 10 Suite edition | Ableton Push

    This is the main audio engine of the master course and the most powerful software tool for live performance known to date. Despite this software being the central hardware and software tool around which the master course is based, this section aims to use all audio material created during learning.

    • Ableton Live. The origins
    • Description and software operation
    • Connecting peripherals
    • Drivers and software: Installation and configuration
    • Hardware Push: Installing and setting up
    • Controlling instruments: hardware and software
    • Slaving devices through MIDI protocol
    • Advance configuration

    Liine LEMUR running in iPad and Android

    The Lemur software aims to be our touch interface connection with the Ableton Live software. Since its conception, this tool has been the pioneer in both control hardware and software for Live performance. Now its new Pad version offers more versatility and it can be customised in order to fulfil live performance requirements.

    • Lemur. The origins
    • Description and device operation
    • Connecting peripherals
    • Software Lemur: Installation and configuration
    • Hardware Lemur: Installing and setting up
    • Controlling instruments: hardware and software
    • Synchronising with other external hardware
    • Synchronising with other external software
    • Slaving devices through MIDI protocol
    • Advance configuration

    Reactable Live!

    This new concept of musical creation has gradually infiltrated the dance floor. Despite being a combination of standard instruments, its complex configuration and live management needs comprehensive training for its use during the live set. This section seeks an approach to this new matter to wield the full potential of this device along with other tools.

    • Reactable. The origins
    • Description and device operation
    • Connecting peripherals
    • Software Reactable: Installation and configuration
    • Hardware Reactable: Installing and setting up
    • Emulation multitouch devices: Simulator | iPad | Android
    • Studio interaction and real time
    • Choreography and planning
    • Audiovisual media
    • Audio synthesis and audio generation
    • Drums and step sequencer
    • Sequencer, oscillator, instruments, Sampler/Loop LFO, Filter, delay, reverb, modulator, wave-shaper and compressor
    • Audio and MIDI inputs
    • Pucks: Sizes and shapes
    • Creating audio waves from oscillators
    • Playing predefined audio tracks and loops
    • Melodic and rhythm patterns
    • Manipulating and creating composition tools
    • Inserting effects and interacting with pucks
    • Main table controlling
    • Linking sessions “on fly”
    • Synchronising with other external hardware and software
    • Slaving devices through MIDI protocol
    • Advanced configuration
    • Adapting dynamic ranges to media
    • Main troubles on stage
    • Optimum levels to work in Studio and Stage
    • Tricks and advices

    Ableton Live 10. Max for Live.

    Increasingly, it takes more and more versatility, flexibility and all round knowledge for musicians and producers to design their own tools. Using Max / MSP makes this task easier . The aim of this section is to convey knowledge of basic engineering for the design and prototype implementation of software projects.

    • Introduction
    • Programming fundamentals dataflow
    • Examples review
    • Programming fundamentals and data
    • Creating audio and video tools
    • Using audio and video templates
    • Creating a live patch

    Module 5. Final project

    Creating a musical track in Live 10

    • Musical developing of an idea
    • Using native resources of Live 10
    • Using external resources of Live 10
    • Creativity and technical
    • Bounce to subtracks
    • Mixing
    • Mastering

    Creating a remix of musical tracks in Live 10

    • Musical structure
    • BPM. Sample streching
    • Exporting clips
    • Styles, patterns and clichés
    • Using native resources of Live 10
    • Using external resources of Live 10
    • Bounce to subtracks
    • Mixing
    • Mastering

    Configuring of Live 10 for Live

    • Slicing samples for Live
    • Configuring specific hardware
    • Connections. Interfaces
    • Optimisation of resources
    • Latency. Delay compensation
    • Viability of the project
    • Live demonstration of the approach
    • Including Live 10 video engine in our setup
  2. 2012 Co-founder, Engineer and C.E.O. in Digital Luthier

    Digital Luthier


    I am working for the company Digital Luthier as an engineer and developer of prototypes and other equipment and control systems customized for clients. In addition, I have worked managing agreements and contracts, developing the customer portfolio, and offering contact and support between the engineering team and the clients. I have also been involved in research, development and the technical management of projects.

  3. 2010 Audio-visual performances and presentations



    My skills include, production, choreography and the management of audio-visual performances. In addition to this, I have designed audio-visual sets from the engineering stage through implementation and the stage performance of the hardware and software prototype devices. Furthermore, I am adept at handling other equipment that requires advanced technical and musical experience. I have worked for clients such as:

    ... among others

    Several performances at audio-visual festivals such as:

    ... among others

    For further information about gigs and performances with Audiometrage please click on the follow link: www.audiometrage.com

  4. 2008 Hardware and Software prototype engineer

    Digital Luthier


    Since the year 2008, I have researched and developed several tools for the control of the hardware in order to control domotic systems as well as the restoration and updating of other control systems. The following pieces of equipment created are examples of the tools mentioned above.

    Programming and design of mobile applications for audio, video and domotic that allow the control of Digital Luthier hardware equipment and many other tools.

    I have developed native applications and several plugin tools to create the composition of and focus on the live performance.

    For further information about the products that the company Digital Luthier offer please click on the following link: www.digitalluthier.com

  5. 2005Recording Engineer. Audio-Visual productions

    Fetish Records


    Producing Audio-Visual material for groups, companies and private individuals adapted to new media, allowing professionals the mastery of recording, editing, post-production and the audio-visual material right up to final delivery.

    I deal with product optimization for multimedia environments, broadcasting and the Internet along with providing special limited edition records of 7, 10 and 12 inches for customers that require this type of format. We are a pioneer company offering this exclusive service.

    I have created tracks of several kinds of music and video genres in the acoustic and electronic music fields for artists and musicians. I have also supported them in reaching their goals.

    Uses of software and hardware tools in advanced levels include:

    ... among others

    Recordings and special masters in 7”, 10” and 12” records.

    Although demand for vinyl is relatively low, from a specialised group there is strong demand for this kind of format. Therefore, the company decided to begin to comercialise vinyl record masters.

    Since specific recorders for this outdated medium are no longer available, the company was forced to acquire out and sometimes obsolete equipment in order to restore this format. This gave me the oportunity to deal with the Swiss company Vinylium GMbH, on the restoration project of the obsolete recording equipment, which had to be totally updated mechanically as well as electronically with high quality components. The design for updates is based on programmable logic controllers and actuators by means of voltage control.

    For more than 2 years, I have been recording with it. This has helped me to acquire skills in the analog recording and processing field.

    The recording equipment shown in these pictures is a professional recording lathe that I have designed and restored using the latest technology in electronic circuitry with high quality components in order to obtain the best results.

  6. 2001 Qualified Telecommunication Technician



    As an installer approved by the Spanish Ministry of Industry, I worked as a Qualified Technician allocated for the encouragement of new Broadcast technologies, such as the introduction of the Digital Terrestrial Television (TDT) in the Community of Madrid. I also worked in the development of telecommunication projects and electrical reports according to the Requirements for Electrical Installations standard, working for clients such as:

    among many other companies in the audio-visual sector.

    My skills include, installation repair and maintenance of audio and video equipment in recording and production studios as well as television, radio stations and mobile studios.

    I have been involved in the introduction of pilot installations of cable television and Cable data systems in the Community of Madrid. Installation of parabolic antennas that allow data transmission by satellite mainly for companies and authorized dealers as well as the installation of sound systems.

    Other duties included installation, repair and maintenance of satellite and terrestrial TV systems. installation, repair and maintenance of private and community networks.


  1. 2010 Postgraduate Course in Interactive Musical Design Systems

    UPF - Music Technology Group
    Pompeu Fabra University (Barcelona)

    During this period, I worked on a computational interaction project that included hardware and software parts under the supervision of bothSergi Jordá and Xavier Serra and with the special collaboration of Mathieu Bosi (all them pioneers in new technologies concerned with prototypes and musical tools, such as the Reactable interactive table). The following topics were also dealt with:

    • Real-time generation and processing of sound
    • Physical computing: sensors, actuators and microcontrollers
    • Human-Computer Interaction (HCI) and new interfaces
    • Tangible and Tabletop Interface Workshops

    ... among others

  2. 2009 Postgraduate Course in Production, Musical Technology and Techniques

    Escuela Superior de Música de Cataluña (Graduate School of Music of Catalonia)

    Throughout 2009 during my postgraduate studies, I worked on tasks related to the recording, production and final delivery of audio-visual materials under the supervision of sound professionals such as Ferrán Conangla and Enric Giné. I qualified with a distinction due to both the quality of my work and my complete dedication to these projects.

    • Sound recording and post-production
    • Music composition and production for media
    • Artistic production of recordings
    • Audio engineering, design and implementation of technologies
    • Audio-visual environments: media / TV broadcasting / Internet
    • Signal extractions, preservation and remastering
    • Other audio-visual treatment software plug-in
    • Several different types of Hardware equipment for audio-visual processing
  3. 2006 Telecommunication Engineering. Specialised in Sound and Image

    Alfonso X El Sabio University - Madrid

    In 2006, I acquired a solid foundation of knowledge in the design and engineering fields, due to my undestanding of the basic concepts of 'the wave'.

  4. 2004 Advanced Course in Management. Business organisation and planning

    Instituto de Formación Empresarial (IFE) (Business Education Institute) -Madrid

    • Managerial functions
    • Commercial and legal aspects / Trade liabilities
    • Organization and planning
    • Economic and financial management
    • Production management
    • Commercial management
    • Human resources management
    • Study of international trade possibities
    • Labour liabilities
    • Motivation and leadership
    • Culture and organizational change
    • Business communication
    • Time management and conducting of meetings
  5. 2002 Official Approval by the Ministry of Industry

    Spanish Ministry of Industry
    Authorized Installer of Low Voltage Systems. Category: Specialist

    The title of Authorized Installer granted by the Spanish Ministry of Industry allows me to work on engineering projects that deal with low voltage systems. The category of Specialist also allows me to take part in specific and high risk projects such as operating theatres, public areas, laboratories, technology plants and any other places where standard electrical installations in Spain were needed.

  6. 1993 Electronics. Electrical maintenance

    Moratalaz High School - Madrid

    During this period, I acquired a strong base of knowledge in electronics, components, soldering, printing circuit boards, programmable logic controllers, and I was also introduced into the telecommunication world.

  7. Complementary knowledge

    Other Courses and Seminars include


    Desing and programming of web environments. HTML | JavaScript | CSS

    Graphic design. Illustrator | Photoshop | Indesign | After effects | Dreamweaver | Autocad

    Office administration. Typing | Word | Excel | Powerpoint

    English Escuela Oficial de Idiomas (EOI) (Official School of Languages)



UNFOLD / FOLD | Tools/Patents