In the first group he formed was already noticeable the quality his orchestra would have. In it, he used effects such as pianissimos staccatos or chained crescendos. He also gave more reasons for personal luster to the musicians in the orchestra, by incorporating eight compasses piano solos and allowing the violin countersinging (improperly called “harmonies”) a greater expressive autonomy, while he improved the bandoneon phrasing in the left hand. All these innovations were included in an orchestral concept of perfect adjustment, ornamental sobriety and refined taste. When he returned from a journey to the United States, and after being part of the “Cuarteto de Maestros” (“Masters Quartet”), Fresedo reorganised his orchestra and defined one of the most interesting tango styles, which after 50 years is still as admired and respected as it used to be. Some of the musicians that were part of Fresedo’s orchestra were Enrique Delfino (Delfy), Tito Roccatagliata, Alberto Rodriguez, Adolfo Muzzi, José Koller and Humberto Constanzo.