Momoto Studio — eme isaza

A studio for composition, recording, production, mixing, mastering and sound design, from electronic records to multichannel installations.

Momoto Studio is where eme composes, records, produces, mixes and masters, and where sound design is made for records, installations and film. It grew out of eme’s own practice in experimental music and installation, and that background shapes how the studio hears a mix or a master: as a matter of texture and space as much as of level and balance. By October 2026 its portfolio listed 123 projects since 2018, for 36 artists, labels and institutions.

Mastering

Mastering is the largest part of the work, present in 121 of those projects. Most come from independent electronic music labels in Colombia and beyond: fourteen releases for Artificio and fifteen for Shuffle Valley, along with records for Milagrosa Music Media, Plasmodia, Subsuelo, Akasha, The Baker, Didacta and Backdoor Records. Éter, the label eme curated for years, has sent more than a dozen releases through the studio. The range runs from club EPs and compilations to slow, quiet records made for close listening.

Twelve square album covers in two rows, ranging from landscape photographs and collage to graphic abstractions and an illustrated cityscape. — A selection of releases mastered at Momoto, 2019 to 2025, for Artificio, Shuffle Valley, Milagrosa Music Media, Plasmodia, Éter, Subsuelo, Akasha, The Baker, Didacta, O C I Ø, NEA$ and Fuerzas Sónicas Unidas.

Production and mixing

Some records are made in the studio from the first sound to the master. Antigravedad, by Roedor, and Cronotopía, for Monofónicos, were produced, mixed and mastered there, as were eme’s own albums and the songs released as eme Zzz. For aleph::ch’ixi the studio mixes and masters most of the catalogue, including ¿Es bala o pólvora?, luna and chinkay.

Installations

Mixing for a room is a different craft from mixing for headphones, and the studio’s installation work is where that shows. For Los sonidos no caen al suelo, at the Museo de Arte Moderno de Medellín in 2019, the studio composed, produced and mixed a sound installation about the materiality of sound and how it persists in space. Tiempo para escucharnos, at LAB3 in 2022, needed a ten-channel mix for an immersive installation on ancestral listening and the sound of the territory. In 2025 the studio composed and designed the sound for Un cuerpo traductor, an interactive installation at Parque Explora. Sound design for a short film belongs to the same line of work.

A dark room with a single low armchair lit by a spotlight, the listening space of the installation. — Los sonidos no caen al suelo, Museo de Arte Moderno de Medellín, 2019.

A group of listeners seated around the edges of a dark room with speakers on metal trusses, a circle of light on the floor. — Tiempo para escucharnos, a ten-channel installation mix at LAB3, 2022.

A room lined with translucent hanging panels lit in yellow and green projections, reflected in a glossy floor. — Un cuerpo traductor, interactive installation at Parque Explora, 2025.