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Currently, I am a PhD Candidate in Music Technology at NYU and am currently based in NYUAD as part of the Global Fellowship program. As a professional musician, my expertise lies in Audio Engineering, and I hold a master's degree in Music, Science, and Technology from the prestigious Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University. My extensive knowledge in production, music recording, and mixing is often supplemented by my deep understanding of physics and mathematics, which has enabled me to create exceptional projects in acoustics, digital signal processing, and software development. This knowledge forms the foundation of my precise and meticulous workflow without compromising on emotivity and artistic expression.



Professional Experience

Production And Composition

  • Composer, recording engineer and mixing engineer for “Lily Tran” in her project “My Life With Lily"

  • Composer, interpreter, recording engineer and mixing engineer for the soundtrack for the TV program “Las Víctimas de Pablo Escobar” a production of Atico Center.

  • Producer, performer, recording and mixing engineer for "Nita Romero" on multiple of her YouTube videos. 


  • Recording, Mixing Engineer for Voices of Silicon Valley for the project Stimmung (2017)

  • Mastering Audio Engineer for Piel Camaleón on the project Duck Sessions (2016)

  • Mixing Engineer for the songs “Nómadas” and “Papaya Law” for the album “El Aprendiz” by Ricardo Prado (produced in collaboration with Juan José Salazar)

  • Assistant Recording Engineer for the album “Qué te Vaya Mal” by Kany García in charge of Javier Garza (2012)

  • Assistant Recording Engineer for the soundtrack of the movie “7 Visions of the Amen” in charge of José Pupo (2013)

  • Assistant Recording Engineer for the production “Por Siempre Navidad” by MISI in charge of Alejandra Bernal (2013)

  • Recording and Mixing Engineer for the project “Mulata” by “Los Zirumas” (2012) Recording engineer for the project “Ódiame” by “Mandreina" (2013)

  • Mixing and Recording Engineer of the project “Tumbao" by Sarita Gutierrez (2013)

  • Mixing Engineer for the project “Dream of a Child” by Ana Cajamarca (2013 - 2014) Mixing and Recording Engineer for the project “Falsa Poesía” by Alejo Álvarez (2014) Recording and Mixing Engineer for the project “Jazz Quar tet” by Juan Felipe Umaña (2014) Recording Engineer for the song “Mi Muñeca” by Las Añez with Mar tha Gomez (2014)


  • Audio PostProduction Engineer for the film “San Andresito” in charge of Ricardo Escallón (2012)

  • Soundtrack Recording Engineer for the short film “Nieve" nominated to Sundance (2012)

  • Field Recording Engineer for the shor t film “Al Otro Lado De La Montaña” (2013) Re-Recording Engineer for the movie “7 visions of the Amen” (2014)

  • Recording Engineer for the music of the TV show “Calle Sonora” in collaboration with Juan José Salazar (2014)

  • Re-Recording Engineer for the film "7 Visiones del Amen". (2014)

  • Music Recording engineer for the tv show "Calle Sonora" for "Canal Capital" (2014)

  • Re-Recording Engineer for the web series "Usted Ya Sabe quien soy yo" (2015)

  • Re-Recording Engineer for the web series "El Quemao" (2015)

Acoustics and Integration

  • Acoustic Test Engineer - Meyer Sound (2018 - Current)

  • Design assistant during integration of Studio B in “Centro Ático” (2013)

  • Acoustic Consultant for the recording studio of Pablo Henao (2015)

  • Acoustic Engineer for the Recording Studio of Piel Camaleón (2015)

  • Acoustic Consultant for the remodeling of AV Producer “TV Group” facilities (2017)

  • Acoustic engineer for the construction of the recording studio of Catalina Méndez (2014)


  • Music Technology Engineer at Meyer Sound (2020)

  • Audio System Calibration Consultant for CCRMA (2018)

  • Research and Development Intern at Meyer Sound Laboratories (2017)

  • Developer of Spaco Plugins. Spatialization suite of AU and VST plugins in JUCE (2014).

  • Software Developer for the PhD Thesis “Interfáz Cerebro Ordenador para la representación sonora” (Brain-Computer Interface for sound representation) by Héctor Torres (Caldas U.) - 2016

  • Software Developer for the PhD Thesis “Con-Traste Sonoro” (Sound Contrast) by Roberto Cuervo (Xavierian University) - 2016


  • Teaching Assistant for Computational Approaches to Music and Audio at NYUAD (2023)

  • Teaching Assistant for Psychophysics and music Cognition at Stanford University (2018)

  • Teaching Assistant for Introduction to musical Acoustics at Stanford University (2018)

  • Instructor of Atico Center teaching several courses (Studios 300, D Studio, Foley Studio, Film Mixing Studio, B Studio) (2011 - 2014)

  • Tutor in Algebra and Calculus at DISC (Disability Instructional Service Center) at Mission College - Santa Clara - CA (2009)

  • Consultant on the Academic Curricular Reform of the Music Program at Xavierian University - 2016


  • Studio Manager at Atico Center at Pontifical Xavier University (2015 - 2016)

  • Committee member at AES-Xavierian section in charge of the Investigation and Development Branch (2014).



New York University

  • PhD in Music Technology

  • Global Fellowship currently at New York University in Abu Dhabi

2016 - 2018

Stanford University

  • Master of Arts in Music, Science and Technology at CCRMA (Center for Computer Research in Music and Acoustics) (2018)

  • SAI (Stanford's Arts Institute) Scholarship due to academic achievements

2010 - 2015

Pontifical Xavierian University

  • Bachelor of Music with sound engineering emphasis (2015)

  • Outstanding Bachelor Scholarship for best ICFES (2009)

  • Honorable Mention for "Alternative Methods of Compound Spatialization" undergrad thesis


Mission & West Valley College

  • Studies in Music Production (2009)

  • DEANS mention for highest average (GPA 4.0) (2009)


ARTEMIA Arts Academy

  • Classical piano for 4 years (1999-2003)

  • Jazz piano for 6 years (2004-2010)

  • Composition for 1 year (2009-2010)

  • Violin for 1 year (2008-2009)

  • Drums for 2 years (2008-2010)


Saint Mathew School

  • Primary and High School (1994 - 2009)

  • Clarinet studies for 6 years (2004-2009)

  • Graduated with Honors: Best ICFES State Standardized Test (2009)​​​


  • Sierra, J. (2023, May). Is oversampling always the solution? Alternative strategies to minimize aliasing in dynamic processors. In Audio Engineering Society Convention 154. Audio Engineering Society.

  • Sierra, J. (2022, May). All-Pass Hilbert Filters. In Audio Engineering Society Convention 151. Audio Engineering Society.

  • Sierra, J. D. (2020, June). SpeakerDrum. In Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 600-604).

  • Sierra, J. (2019, October). Digital parametric filters beyond Nyquist frequency. In Audio Engineering Society Convention 147. Audio Engineering Society.

  • Cavdir, D., Sierra, J., & Wang, G. (2019). Taptop, Armtop, Blowtop: Evolving the Physical Laptop Instrument. In NIME (pp. 53-58).

  • Sierra, J., Kamrava, J., Espinosa, P., Arneson, J. M., & Kohut, P. (2018, October). Statistical and analytical approach to system alignment. In Audio Engineering Society Convention 145. Audio Engineering Society.

  • "Métodos Alternativos de espacialización compuesta" in the book "Avances del Audio en Latinoamérica“ - by the Latinamerican AES section (2016)


  • "Audio Programming Kit" - AES Bolivia - Jul 2021

  • "How filters filter: what happens behind the knobs" - AES Bolivia - Apr 2020

  • "Audio Data Compression: Hate it or love it, but understand it first!" - AES LAC 2020 Virtual Rio - Sept 2020

  • "Understanding Compression: What happens behind the knobs" - AES Bolivia - Dec 2020

  • "What do we Listen when we Listen" - II International Gathering of Audio Specialist - Nov 2019

  • "Parametric Filters Beyond Nyquist Frequency" - AES 147 - Oct 2019

  • "Digital Audio Beyond Analog" - Xavierian University - Nov 2018

  • "Statistical Approach to system Alignment" - AES 145 - Oct 2018

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