This research, which is part of a larger project awarded with a Research Grant of the Latin Grammy Foundation, aims to highlight the impact of Spanish music production since the early 1960s. It is an interdisciplinary research project in which the main objective is to identify and analyse the links between the personalized use of the different technological tools employed in the "collective creative" spaces (Hennion, 1983) -represented by the recording studios- and the "sound" that has ended by identifying compositional practices, genres and musical scenes throughout three decades of the history of popular music in Spain (between 1960 and 1990). One of the case studies presented is the analysis of the sound of the first recordings made by the singer Julio Iglesias, as a consequence of the technical work developed by the audio engineer Juan Vinader and his application of the reverb when working at Audiofilm and Sonoland studios in Madrid (Spain), a sound that will be decisive for the singer’s international projection both in Latin America and in the United States. The aesthetic application of the reverb in the record productions connects with the concept of "staging" by William Moylan (1992) and Serge Lacasse (2000), which was later taken up by Zagorski-Thomas (2014). The interest of Vinader's work with the producer Ramón Arcusa, using AKG or EMT devices based on plates, lies in his ability to create what Hepworth-Sawyer and Golding (2011) call the "watermark" of the producer and how it connects with later productions of the singer, already in the Pro Tools era, when other engineers such as Charles Dye, Scott Kieklak or Humberto Gatica will emulate these same aesthetics as an indivisible part of the grain (Barthes, 2005) which characterizes Julio Iglesias’ voice in his record productions.
