Óscar Moreno Gómez
(Borned in 1990)
 

Sound engineer, independent producer and audio teacher, responsible for works that have been part of the best albums of the year lists on multiple occasions, my career has been reviewed in various international press media such as The Wire, Quietus, Rockdelux, Mondosonoro, El País...

 

I have recorded and mixed tracks for Ana Curra (Parálisis Permanente, Alaska y los Pegamoides), Manongo Mujica (Perujazz, Alan Courtis), Terje Evensen (John Paul Jones, Leo Abrahams), Scott McCloud (GVSB, Agrio), Mark Lanegan (Queens of the Stone Age, Screaming Trees), and countless other artists across a wide range of styles and genres, from pop, rock, punk, and hardcore to avant-garde, electronic, and experimental music, as well as jazz, Latin music, flamenco, world music, and folk. My productions have been released by labels such as Universal Music, Everlasting Records, God Unknown, Broken Clover, Buh Records, Sonido Muchacho, and Raso.

 

I have worked firsthand with some world-class producers, with credits on albums by Jack Shirley (Deafheaven, Oathbreaker, Amenra…), Paul Corkett (The Cure, Placebo, Nick Cave, Björk, DNA…), Barry Sage (The Rolling Stones, New Order, The Exploited, Crass…), Javier Almendral (Corcobado, Fangoria, Manta Ray…), Javier Ortiz Fulton (McEnroe, The New Raemon, Alcalá Norte…), and Carlos Hernández (Pereza, Carolina Durante, Los Planetas or Triángulo de Amor Bizarro).

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I've worked as a live sound engineer (FOH) for New Day (Amparo Llanos's project from Dover), Olivier Arson (Territoire), Jaime Urrutia, Tito Ramirez, Le Parody, and others. My work is known from international festivals such as Roadburn Festival, Download, Veranos de la Villa, Suma Flamenca, WOS, Dan_tz, and Zarata Fest. I was the Technical Director at El Juglar in Madrid for years and have also handled sound for some of the city's most iconic venues, such as the Círculo de Bellas Artes, Conde Duque, Matadero Madrid, Cine Capitol, Sala Nazca, El Sol, Wurlitzer Ballroom, Siroco, Moby Dick, Gruta 77, and Rockpalace. In addition to my work as a Stage Monitoring Engineer, I have gained experience in technical production, working as a Hand, Runner, and Stage Assistant for stadium shows by artists like AC/DC, The Rolling Stones, Robbie Williams, Miley Cyrus, One Direction, Turnstile, Enter Shikari, and Watain.

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In the film industry, I have worked as a recording, mixing, and sound design engineer for award-winning and renowned directors such as Irene Gutiérrez, whose film "Diarios del exilio" received nominations at the Rotterdam Film Festival and won the 70th Berlinale Award and the Gijón Film Festival Award for "Entre perro y lobo" as Best Spanish Feature Film of 2020. I also worked with director Victor Checa on "Esquemas de los tiempos futuros," which won the Movistar Award at the Lima Film Festival in Peru in 2021, and mixed Julian Génisson's film "Inmotep," which won the Panorama Award at the Las Palmas de Gran Canaria Film Festival and the Nuevas Olas Award at the Seville Film Festival in 2023. On the more experimental side of audiovisual media, I was part of the sound design process for Elias Merino and Tadei Drolj's piece "Synspecies," which received awards at various competitions and was presented internationally in several countries through Node.js. Festival, Sónar, Mutek, OSA, Nova SAD, Mapping Festival and Nemo Biennale.

 

As a musician, I've been part of influential bands on the national scene such as La Débil and Nudozurdo (among a long list of other names, playing various instrumental roles), and I've been the live bassist for contemporary composer Rhys Chattham, an original member of La Monte Young and a close collaborator of avant-garde artists like Glenn Branca, Tony Conrad, and Steve Reich.

I've performed on prestigious lineups at festivals such as Primavera Sound, BBK, Sonorama, SanSan Festival, Sonikas, and Esmorga.

 

I'm also a professor and coordinator of Music Recording in the Music Creation and Production Diploma program at the TAI University School in Madrid.

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