Tauro is the sound studio I’ve been working with for more than 10 years, and where the sound design has the importance it deserves: the artistic, technical and professional level of the studio places it among the best studios of the world, adding special value to our productions.

In animation everything is generated (unlike live-action films) so, clearly, nothing sounds.

The sound -just like picture- of every element within the frame and the surrounding backgrounds need to be built carefully, detail by detail. The things that refer to reality have to be replicated and dramatically strengthened. However, what is the sound of an octopus-monkey, a flying pinata, a worm-like hand or a walking flexible ceramic toilet? You make it up.

In a film, marrying the art of sound design with music is no easy task… Especially if you want it done right!

That’s why, when I was told that my music for “Ana y Bruno” was going to be mixed at Tauro, I honestly felt a huge relief.

Diego has got the experience, the knowledge and the right team, as well as something essential: he handles sound with great taste and creativity and always knows how to make it service a story.

What can I say, it was my privilege to work with Tauro and I am looking forward to our next endeavour!

(About Wild Tales) I could see the movie working, I could hear the movie working, I could hear how it became full of life, organic, and how it creates a code with the audience… When you are facing the fear that your job might not work out, that is a safety balm.

Wonderful experience mixing Corazón de León in Tauro. It is the perfect place to feel the film like in the theater. Intimate, away from the city kaos and always with first class professionals. And smiling! Something strange in the world of sound!

Mixing the music of Foosball in Tauro with Diego Gat was the crowning jewel for the soundtrack. We brought the recordings we made with the London Symphony Orchestra in Air Studios at London, in huge Protools sessions. Just like my music sounded in George Martin’s studio, it surprised all of us in Tauro’s 7.1.

Diego Gat’s skills in working the orchestra’s recordings are a unique contribution to the film’s music.

The management of hundreds of sound files, defined percussion, bright separation of winds, body preservation and sonic mass, and Diego’s ear to balance music with other sound effects (including a precious Calle 13 original recording), are what make of Tauro my favorite studio for the mix of my future projects.

Every time I come to Tauro Digital is like arriving to Argentina again. It was one of the first places I visited when I moved here, because I had to finish a mix that moved with me.

So, apart from the studio’s excellent quality and their gifted team, I keep that emotional relationship with the place that welcomed me once.

The quality of a rerecording stage can be checked when you hear it the same in a theater. And that has happened with the made at Tauro.

I was surprised by mixing at Tauro. The respect for the sound design we brought was excellent and not only that, every change suggested was wise. Diego Gat has an excellent feel for the mix and saved some scenes that were in danger. Great feel and judgement.

The result, excellent. And I ate great meat.

Working next to Diego Gat in every feature 5.1 mix is a pleasure and a guaranteed success. Professional like few others, very fast, precise and with both technical and theoretical knowledge. Tauro has a mixing stage that really sounds. The best local films go through the hands, and never-failing experience of Diego and his state-of-the-art gadgets.

I keep beautiful memories from my days in Tauro mixing “El último verano de la Boyita”.

It was a hot summer and there we were, with Diego Gat and Lena Esquenazi, in a cool and dark studio, fully committed to listening with detail, with attention, with imagination…

My son Bruno was just two months old, I was breastfeeding and he spent the day with me, from his carrycot, watching the big screen, hearing dialog lines repeatedly, a background or a music cue before it was perfect for Lena and Diego’s high standards, until he was perfectly asleep. Lena said: “if one day you have to travel, you play him the film and that’s it. It will be as familiar to him as the voice of his mother”

In Tauro not only I found an excellent technical skill (Diego is obsessive and he is always very up-to-date) and huge creative freedom (he understands that a director needs to try things out, that he might not get to the mix with everything closed) but also excellent human qualities.

Two of my feature films, a short and a spot were mixed at Tauro with Diego Gat on command.

“Rain” was the first, in 2008, and it was so complex and subtle what we had been working with the sound designer, that getting to a mix that would meet such high expectations was a challenge. Personally, I was afraid that this wouldn’t happen, maybe because of old fears from previous works in other places.

The weeks there, the subtlety and precision of Diego’s work, and the constant feeling that we were working together, all with one same goal, were so strong that there was nothing to do but trust and trip together. The adventure lasted for that project, then others came. And surely, there will be others!

When I mix at Tauro, I get that extra quality that I look for in my sound design.