ith the release of Camilo’s new album ‘Cuatro,’ he takes us on a tour of his own studio where he’s created hits like “Misión Imposible,” “Una Canción de Amor Para la Pulga,” and many more. He goes in-depth about each aspect of the studio, his day to day schedule, his creative process with his team and more!
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MusicTranscript
00:00 Hi, I'm Camilo and you're watching Billboard News.
00:03 Leila, welcome to the Creative Workshop.
00:13 Thank you.
00:16 Is it hot outside?
00:18 It's very hot outside, but here you are.
00:21 Here you are, delicious.
00:22 Perfect.
00:23 Welcome to the Creative Workshop.
00:24 The whole album was made here in the Creative Workshop.
00:27 It was the first creative piece of the Workshop.
00:31 I dreamed of it, that it would be from the first idea conceived
00:35 until the last closing of the Master and the videos,
00:39 made by us, by hand, artisanally, in the Creative Workshop.
00:45 Wow!
00:46 Take a look first of all.
00:48 Okay.
00:49 I'm going to give you a little tour.
00:52 I have a special talent to make cut.
00:55 Do you want a little cut?
00:57 I want Camilo's cut.
00:58 Okay, wait.
00:59 Very beautiful.
01:00 The truth is, one of the things I enjoy the most in the Creative Workshop
01:05 is having the coffee I like.
01:08 How important it is.
01:10 Very important.
01:11 There it is.
01:14 Now, we comb it a little bit so there are no air holes.
01:19 Then we give it a couple of taps so it goes down.
01:23 It also has the right pressure that we like for the coffee.
01:27 I've never seen a coffee with so much pressure.
01:31 And there it should go up in the espresso range.
01:34 It went up perfectly.
01:35 Do you drink it with sugar?
01:38 Do you add sugar, Leila?
01:39 No.
01:40 What kind of person are you?
01:41 Good, Leila, thank you.
01:42 Sorry, man, sorry.
01:44 No, no, I'm not a hater of those who add sugar to coffee,
01:48 but I think they're missing something,
01:50 which is coffee without sugar.
01:52 Interesting.
01:53 There are also things that are made to wait,
01:55 and in the end they're terrible.
01:57 This won't be the case, Leila, I promise.
02:00 What you don't know how to do is figurines, Leila.
02:03 Do you forgive me?
02:04 I forgive you.
02:05 Figurines are pure blah, blah, blah.
02:07 Look.
02:08 Cheers.
02:09 Cheers.
02:10 I hope you like it.
02:11 Give me the opportunity.
02:12 Oh, man.
02:18 Exquisite.
02:19 The truth is, yes.
02:20 Exquisite.
02:21 Let's go.
02:22 We sit here all day to have our meetings.
02:24 We have a super organized calendar,
02:27 almost inviolable and military.
02:30 We're going to work on social media.
02:32 Well, social media,
02:34 we talk about 11 and a half to 12 and a half.
02:37 It's the only time we do it.
02:38 And then I'm there and they touch me and say,
02:40 "Kami, I was thinking, what if we do a TikTok?"
02:42 No, social media moment,
02:44 moment of creativity,
02:45 moment of dispersion,
02:46 moment to breathe,
02:47 moment of...
02:48 We have a calendar.
02:49 The table is like the operational center
02:51 of the creative workshop.
02:53 Behind this curtain,
02:55 you can see back here,
02:57 it's all lined with canvas.
02:59 And behind there is a structure,
03:00 like a wooden frame with fiberglass,
03:03 which makes this space ready
03:05 to record audio all the time.
03:08 There in the corner,
03:09 the date, December 5, 2023.
03:13 We received the keys.
03:14 Oh, they received the keys.
03:16 And that day we gave life to the dream we had,
03:19 of having a space where we could come every day
03:21 as a tribe to create.
03:23 This is the carpet where I do jiu-jitsu.
03:25 Oh, okay.
03:26 We open it and we throw ourselves here to roll.
03:29 Are you very good at jiu-jitsu?
03:30 No, I'm a green belt,
03:32 which is after the first one.
03:34 I'm terrible, but I'm very disciplined
03:36 and I like it a lot.
03:37 Okay.
03:38 I like it a lot.
03:39 This painting is called "Last Air."
03:43 It's the picture of a person under water,
03:46 in the deep, letting go of his last breath,
03:49 saying goodbye, almost, to life.
03:52 He has that encounter in the deep,
03:54 not knowing how to swim.
03:56 The hand that rescues him arrives,
03:57 which didn't come into the picture.
03:59 Oh, but it does rescue him.
04:00 Yes, it's rescued.
04:02 This is called, I think it's called "Trapezist,"
04:05 no, "Climber."
04:06 Okay.
04:07 And it's me on a loose rope,
04:10 without harness and without protection.
04:12 I had a harness, but I took it off.
04:14 You don't have your mouth or your face.
04:15 Since I don't have my eyes or my face
04:16 in my painter's repertoire,
04:19 I did it like this.
04:20 The machine to write in the creative workshop.
04:22 It's like a workshop diary.
04:24 So, people come here.
04:25 I can do it anonymously or with the name.
04:28 Leila was in the creative workshop.
04:37 I remember that when I finished my previous album,
04:40 I finished the tour of the previous album,
04:42 I finished the whole process of my previous album.
04:44 At one point I said,
04:45 "Well, what's next for me?"
04:47 And the idea of saying,
04:48 "Well, now I'm going to sit down,
04:50 to have other ideas, to make another album,
04:52 to release it, to promote it, to go on tour."
04:55 If you say it like that, it sounds like,
04:56 "Wow, what a boring life."
04:58 If you think about it that way.
04:59 I thought, "Wait,
05:01 I'm about to face the sacred trade
05:03 of the creativity of what I'm going to do now.
05:06 How would this be?
05:08 How would it be to make this album
05:10 if it were very fun
05:12 and if it were exactly like I dream of it?"
05:15 It wouldn't be going to pay for a studio,
05:17 but having my own place.
05:19 A place where I can, you know,
05:21 go with my friends every day to do yoga and do jiu-jitsu
05:24 before starting to create.
05:26 Come in pajamas or come in whatever.
05:28 Come whenever I want.
05:29 Open myself,
05:30 let it be the keys to my place.
05:32 Being able to stay until I feel like it.
05:34 Three blocks away from my parents' house.
05:36 My dad takes a nap in the hammock.
05:38 Nobody says anything to him because this place is mine.
05:40 He takes a nap in the hammock, snores if he wants to.
05:43 And I, in here, I go to create until the time I want.
05:46 My daughter comes, stays asleep on the rug,
05:48 and I tell everyone, "Guys,
05:50 can you be a little quiet? My daughter is sleeping."
05:53 And everyone shuts up and my daughter sleeps,
05:55 and I stay here working.
05:57 Making an album like this
05:59 is not the same as not doing it like this.
06:01 ♪ Perdona si te estoy amando mucho ♪
06:05 ♪ Perdona si te estoy queriendo tanto ♪
06:08 If you came to Santier,
06:10 you wouldn't have been able to walk in the workshop
06:12 because it was full of the teams that were going on the tour.
06:14 I built this shelter with Evaluna and my parents.
06:17 When I was little, I was obsessed with the fortresses.
06:22 My dad would sit us under the table and in bed
06:25 with cardboard boxes.
06:26 Do you remember, daddy?
06:27 You would go into that place with a dark roof
06:30 and you would say, "Wow, it's like a house."
06:33 So I built this for Indigo.
06:35 If you look around, you'll see it.
06:37 It has a few toys, a piano that Pepo gave her,
06:40 a piano that Pepo gave her,
06:42 a rug with all the names of my songs,
06:47 a bunch of toys.
06:49 She would go in here, and when she wasn't there,
06:51 I would go in.
06:52 I would go in there, put a light bulb,
06:54 a guitar, my computer,
06:56 my microphones, my things,
06:58 and throw ideas.
06:59 And I wrote a love song for Pulga here,
07:02 which is one of the most important songs on the album.
07:06 I wrote it in Indigo's and Amaranto's shelter.
07:08 Indigo comes here all the time,
07:10 and when Amaranto goes exploring,
07:12 he'll come here too.
07:13 We found this on the street too.
07:16 It was in the piano shell.
07:18 The piano shell, yes.
07:19 We put this in there later because it was like a shell.
07:22 Yes.
07:23 This is a very curious replica of Romerito, my car.
07:29 Your car, Romerito.
07:31 Yes.
07:32 We used this for a video of a song called "Misión Imposible."
07:35 Here in this corner,
07:42 whenever we do the nights of the creative workshop,
07:45 we set up a kind of stage for Mentiritas,
07:47 because there's no elevation or anything.
07:49 I go up there,
07:50 or whoever comes, comes and plays their songs.
07:52 And how many nights are there in the workshop?
07:54 Whenever we feel like it.
07:56 There are days when we do three in a row,
07:58 and there are days when we're away for a couple of weeks.
08:00 But there are people, there are people who say,
08:02 "What are we doing tonight?"
08:03 "We're going to the workshop, bro, because here we need to transform a little."
08:07 "Take it out, because there's the canvas and the hole to hang other things later."
08:10 But right now it was like the aesthetics of this album,
08:14 what we came up with and how we wanted to feel with those curtains.
08:19 So behind that is the acoustic treatment,
08:22 and they have helped us a lot with the sound,
08:24 but they allow you to feel more open in the place.
08:28 So in six months there will be another one.
08:30 In six months there may be another thing.
08:32 We invite you.
08:33 The physical spaces intervene and transform everything that is happening in the creative profession.
08:39 That you take out a guitar and see what's going to happen,
08:42 it's not the same as taking it out here,
08:44 or taking it out on the beach,
08:46 or taking it out on a mountain,
08:47 that you have cold, everything intervenes.
08:49 It's not the same as creating in a place where you know they're charging you an hour to be there.
08:54 It's not the same as recording a guitar with a borrowed guitar,
08:58 that you don't know, that you don't know the temperature.
09:01 It's not the same.
09:02 I don't know if it's because I have the frustration that as a child,
09:06 never, like the idea of renting and renting things for one to use,
09:12 it kind of generated a need for me to see what happens if that light that is there is mine,
09:20 it's my resource.
09:21 It was like a fixation of mine, not to own, but to have autonomy in the things I have.
09:27 To be able to scratch them as I want to scratch them,
09:29 to be able to move them as I want to move them.
09:31 So it's different, it's very different.
09:33 Excuse me, Mr. Pepo, cordial greeting.
09:35 Cordial greeting.
09:36 Well, the little horse is called Confite,
09:40 Indigo named him Confite,
09:42 and Confite was a little horse that I had when I was little.
09:45 Really?
09:46 My dad laughs, yes.
09:48 It works and she gets on and rides there.
09:51 Well, this is the hanging space of the Creative Workshop.
09:55 Cordial greeting.
09:56 Sofas rescued by my parents, right, Papi?
09:59 The nap.
10:00 This one.
10:01 See this beautiful sofa?
10:02 The bathtub of the Creative Workshop says,
10:05 "Please do not bathe in this bathtub, unless it is absolutely necessary."
10:09 Let's see, this is the treasure they found in the middle of the street.
10:14 Yes, yes, yes.
10:15 Wow, it's spectacular.
10:17 It's very special.
10:18 Why can't I find one of my own?
10:20 The really exciting thing is that when we saw it,
10:22 we arrived and immediately five cars arrived and we all looked at each other.
10:26 Well, what can I do?
10:28 And what did you do?
10:30 They all stood still there.
10:32 Lidia, who is more aggressive,
10:34 stood at the foot of the sofa and hugged them like who says,
10:39 "Look, this is ours."
10:41 And if someone comes to take the sofa away, my mom goes to her fists, you say.
10:44 Yes.
10:45 For a sofa?
10:46 It's hard.
10:47 Look, the production team of Camilo and Eva Luna,
10:50 because we are returning to YouTube.
10:52 The Luna team is returning to YouTube.
10:55 And this is my production team.
10:57 The DJ and the Creative Workshop.
10:59 This is the helm of the Creative Workshop.
11:05 There are all my guitars and all my instruments.
11:07 They all have names, Sarataco, Gordo, San Pedro, Inti, all of them.
11:11 So, there are all my instruments and all my exploration.
11:14 These are the speakers.
11:15 It says, "It's unlikely that someone can stand here,
11:18 but in case of power, please don't do it.
11:21 If someone stands there, he would be damaged."
11:24 These are the speakers.
11:25 Look, these were my first speakers
11:28 with which I made all my songs when I arrived in Miami, at the beginning.
11:31 I still have them here.
11:33 The baby speakers.
11:34 It says, "This is my studio.
11:36 Don't judge it because I've achieved everything I am."
11:40 It says, "These speakers are worth what sounds on them."
11:44 They accompanied me with all my songs,
11:47 everything I started doing, and my entire career as a composer,
11:50 I did it with these two speakers.
11:52 This is a...
11:54 A launch.
11:55 A bouzouki.
11:56 I named it Santorini.
11:58 But only...
12:00 Well, this one is called Atanasia.
12:02 And so, they all have names.
12:04 I think this one is called Inti.
12:05 Yes, Inti, for Inti Limani.
12:07 And this sofa is like the best place in the studio,
12:10 because you can listen to what they're doing there
12:12 without having the speakers in front of you,
12:14 watching what's being recorded.
12:15 No one is looking at you, you're here in a little hole.
12:17 I'm going to take a nap here,
12:19 I'm going to meditate while we're working on something.
12:21 I think you have the chair, I can't...
12:25 It's like a risk, right?
12:26 Oh, look, it says, "Love is our revolution."
12:28 What is it?
12:31 Camilo and Eva Luna.
12:32 In case you don't know, Camilo and Eva Luna are back on YouTube.
12:35 Did you know that?
12:36 No, but we already know.
12:38 Well, Camilo, before he released songs,
12:40 he uploaded videos with his wife,
12:42 who at that time was his girlfriend, to YouTube.
12:44 And that's how Camilo's story began.
12:46 And he didn't go back to YouTube, and now he's back with Eva Luna.
12:48 I started this album in four,
12:58 at the beginning, accidentally,
13:00 and then, supremely intentionally.
13:03 I would tell you that I think this album has more hours of study
13:05 than all my previous albums.
13:07 Because I'm in my studio, because I don't have a time limit,
13:09 and because it requires a lot of exploration.
13:12 And everything was recorded live.
13:14 17 musicians recording each song, more or less.
13:17 And because it requires a lot of things that I hadn't done before.
13:21 It was such a fun process.
13:24 I'm still with my coffee cup.
13:26 I don't want you to think that I didn't like it.
13:29 No, I know, I know.
13:30 I take my time.
13:31 You take your time.
13:32 Well, Leila, I hope you liked the studio.
13:35 I loved the studio.
13:37 I hope that when you want to come and set it up in Confita, you're very welcome.
13:40 If my daughter isn't using it, you can use it too.
13:42 I'll ask Confita to lend it to me.
13:44 She'll definitely lend it to you.
13:46 Thank you very much for coming.
13:48 And that you're in Maranto when she comes.
13:50 Well, yes, as soon as she's born, we'll set it up there.
13:53 Beautiful, Leila, give me a kiss.
13:55 Thank you for the tour.
13:57 Thank you.
13:59 Welcome to the Creative Studio whenever you want.
14:02 [Music]