The producer discusses some of the most exciting moments on Bad Bunny’s sophomore album
Nah. When he sent it over, since it was three verses, he wanted it to keep changing as the song was progressing. He had the idea to make it full rock at the end. That’s when I started to throw stuff around, see what could work. I’m a huge rock fan, but I almost never get an opportunity to express myself in those lanes. With him is the only time I’ve been able to go fully into it and see how that sounds. I’m grateful for him to give me the chance to go into the world.
That one is kind of in the same world as “Callaita.” I started that melody with Jhay Cortez. We were in the studio trying to create ideas and that’s one of the melodies I made that day. The sound comes from a little pad I have in one plug-in. But I started tweaking, adding reverb, adding filters. The dreamy part of it is so floaty.
Bunny and I did a couple of these songs two days in a row. “Yo Perreo Sola,” he needed a main melody for the hook. He didn’t want it to feel super produced; he wanted it to feel rough, underground, not perfect it too much. It’s mostly bass and drums. But he wanted a melody for the hook, and that’s where I came in. I showed him some options, and he loved the first. The melody fit it but didn’t take it out of the context he wanted it in. And the rest of the song stays simple.
But I loved the track, so I showed it to Bunny. He’s like, “give this to me.” He went home and recorded, but I didn’t hear anything. I’m like, “Are you gonna use it or not?” La Paciencia, his engineer, says “I think he’s using it, but I’ll let you know.” Then they told me, “this track turned into something crazy.” I’m still waiting to see what’s going to happen. After a while, they sent some files.
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