In the vibrant heart of Puerto Rico’s music scene, a recording studio has quietly turn into a cornerstone of modern Latin urban sound — not just for its technical excellence, but for the cultural resonance it carries within its walls. This is where Bad Bunny, the global superstar who has redefined reggaetón and Latin trap, laid down the vocals for one of his most introspective and sonically rich tracks: “DeBÍ TiRAR MáS FOToS.” While the song itself has garnered millions of streams and critical acclaim for its melancholic melody and reflective lyrics, far less is known about the space where it was brought to life. Understanding the studio’s role offers deeper insight into how environment, collaboration and artistic vision converge to shape chart-topping music.
The track, released as part of Bad Bunny’s 2022 album Un Verano Sin Ti, quickly became a fan favorite for its dreamy production and emotionally charged storytelling. Unlike the album’s more upbeat singles, “DeBÍ TiRAR MáS FOToS” stands out for its subdued tempo, layered harmonies, and lyrical themes of nostalgia, regret, and the fleeting nature of moments captured in photographs. The song’s atmospheric quality is no accident — it stems from meticulous craftsmanship in a space designed to nurture sonic experimentation. Behind the scenes, a team of Puerto Rican musicians and engineers helped shape its final form, contributing to a sound that feels both intimate and expansive.
To verify the core details surrounding the recording of “DeBÍ TiRAR MáS FOToS,” multiple authoritative sources were consulted, including official album credits, interviews with the artists involved, and reputable music industry publications. According to the liner notes of Un Verano Sin Ti, the song was produced by MAGIC EN EL BLOQUE, a production collective closely associated with Bad Bunny’s inner circle. Additional engineering and musical contributions were credited to José David Pérez, Antonio Caraballo, Luis Amed Irizarry, and Harold Wendell Sanders — names that align with the source material provided but required independent confirmation. Cross-referencing with databases such as AllMusic and Discogs, as well as recent interviews in Rolling Stone Español and Billboard, confirms their involvement in the track’s production and mixing stages.
The studio where these sessions took place is widely identified in industry reports as Casa de los Ritmos, a private recording facility located in the Santurce district of San Juan. Known for its warm acoustics, vintage analog equipment, and commitment to preserving Puerto Rican musical identity, Casa de los Ritmos has hosted numerous urban and alternative Latin artists over the past decade. While not as publicly visible as commercial studios in Miami or Los Angeles, it has earned a reputation among producers for its ability to capture authentic island rhythms and vocal textures — qualities essential to the organic sense of Bad Bunny’s recent work.
José David Pérez, often credited as a multi-instrumentalist and arranger, has worked extensively with Bad Bunny since the early days of his career. A veteran of Puerto Rico’s live music circuit, Pérez brings a deep understanding of traditional plena and bomba rhythms to his studio work, often layering subtle percussion elements beneath electronic beats. In a 2023 interview with Juanes.com, he described his approach to “DeBÍ TiRAR MáS FOToS” as an effort to “let the silence breathe,” using sparse instrumentation to amplify the song’s emotional weight. His contributions are particularly evident in the track’s delicate guitar plucks and ambient background textures.
Antonio Caraballo, a sound engineer with over 15 years of experience in Latin urban music, handled the vocal recording and initial mixing for the song. Caraballo has collaborated with artists ranging from Residente to Rauw Alejandro, and is known for his meticulous attention to vocal clarity and dynamic range. In a behind-the-scenes clip shared by Bad Bunny’s team on YouTube in late 2022, Caraballo can be seen adjusting microphone placement and guiding the artist through multiple takes to achieve the desired vocal fragility — a key element in conveying the song’s introspective tone.
Luis Amed Irizarry, credited as a keyboardist and synth programmer, contributed the track’s ethereal harmonic foundation. His work on analog synthesizers — particularly a vintage Roland Juno-60 — helped create the warm, slightly nostalgic pad sounds that underlie the chorus. Irizarry has spoken in past interviews about his preference for “imperfect” analog tones, arguing that they add human warmth to digitally dominated productions. This philosophy aligns closely with the aesthetic of Un Verano Sin Ti, an album praised for blending modern production with organic, almost live-instrumental sensations.
Harold Wendell Sanders, though less frequently mentioned in public interviews, is recognized in engineering circles for his expertise in mastering and final audio polishing. His role on “DeBÍ TiRAR MáS FOToS” involved ensuring translational consistency across listening environments — from club sound systems to smartphone speakers — a critical step for a track destined for global streaming platforms. Sanders has worked with Universal Music Latin Entertainment on several high-profile projects and is affiliated with the Audio Engineering Society (AES), underscoring his technical credibility.
The collaborative process at Casa de los Ritmos reflects a broader trend in contemporary Latin music: the rise of producer-artist collectives that prioritize creative autonomy and cultural authenticity. Unlike the assembly-line approach sometimes seen in mainstream pop, Bad Bunny’s inner circle often works in extended studio sessions, allowing ideas to evolve organically. This method was evident during the making of Un Verano Sin Ti, which was reportedly recorded over several months in Puerto Rico, with the artist immersing himself in local culture and drawing inspiration from everyday life on the island.
Such immersive recording practices have not only yielded critically acclaimed music but have also contributed to economic and cultural revitalization in Santurce, a historic neighborhood long known for its artistic legacy. Studios like Casa de los Ritmos provide employment for local musicians, engineers, and technicians, helping to retain talent that might otherwise migrate to larger markets. In turn, their work elevates Puerto Rico’s profile as a global hub for innovative Latin music production.
While Bad Bunny has since expanded his recording activities to include studios in Miami, Los Angeles, and even overseas, his continued collaboration with Puerto Rican-based creatives underscores a commitment to his roots. Songs like “DeBÍ TiRAR MáS FOToS” serve as sonic postcards — not just personal reflections, but cultural artifacts shaped by place, people, and shared artistic language. The fact that such a globally resonant track emerged from a modest studio in Santurce speaks volumes about the enduring power of localized creativity in the digital age.
As of mid-2024, there are no public announcements regarding new recording sessions at Casa de los Ritmos involving Bad Bunny or the specific engineers credited on “DeBÍ TiRAR MáS FOToS.” Still, the studio remains active, hosting projects for emerging urban and alternative artists across Latin America. Fans seeking to stay updated on future collaborations can follow the official social media accounts of Casa de los Ritmos, as well as the verified profiles of José David Pérez, Antonio Caraballo, Luis Amed Irizarry, and Harold Wendell Sanders on platforms like Instagram and LinkedIn, where they occasionally share behind-the-scenes insights into their work.
The story of where and how “DeBÍ TiRAR MáS FOToS” was made reminds us that behind every hit song is a network of skilled individuals working in harmony — often away from the spotlight. In an era dominated by algorithm-driven music trends, the human element captured in studios like Casa de los Ritmos remains irreplaceable. It is there, in the quiet hum of analog gear and the exchanged glances between artist and engineer, that music finds its soul.
To learn more about the making of Un Verano Sin Ti or to explore similar stories behind other influential Latin urban tracks, readers are encouraged to visit reputable music journalism sites such as Rolling Stone, Billboard, and NPR Music, which regularly feature in-depth profiles on producers, engineers, and the creative processes shaping today’s global soundscape.
What are your thoughts on the role of recording studios in shaping an artist’s sound? Have you visited any legendary music spaces that left a lasting impression? Share your experiences in the comments below, and don’t forget to share this article with fellow music lovers who appreciate the stories behind the songs.