I'm a mixing engineer operating from my studio in London, UK and have worked with Emeli Sandé, David Ryan Harris, Daley, Lizzy McAlpine, and many more. I drive analogue gear using Pro Tools, mixing through a Midas mixing console, hardware compressors, reverbs, EQs, preamps and 1/2" analogue tape. I always strive for rich, carefully balanced sonics.
I'm offering to mix your music, to your taste, and can also offer a master with digital or analogue options. I frequently do 1/2" analogue tape masters for clients who request it. I have had the great fortune to work with some wonderful artists, including Emeli Sandé, Naughty Boy, David Ryan Harris (John Mayer), Daley, India Carney, Jeremy Passion, Victoria Canal, Gabe Bondoc, Melissa Polinar, Dillan Witherow, Josh Jacobson, Merrick Winter and many others.
I run a hybrid setup, where I use Pro Tools to drive my analogue mixing console, processing sounds through hardware compressors, preamps, my trusty 1/2" Otari tape machine, hardware reverbs, analogue delays and beyond. Everything from pristine clarity through to rich grungy character is available with me, and I'll always mix to a client's requests, and carefully consider the demands of their project, and any provided references.
In addition to mixing, I also master tracks for clients - using hardware buss compression, and running tracks through a custom-made British Pultec-style tube stereo equaliser. I can master for different formats - either streaming or vinyl - and also offer the option of an analogue tape master, where I run your mixes through my 1/2" tape machine for added analogue richness, and the desired level of additional compression and harmonic colouration.
Feel free to contact me with your requests.
Click the 'Contact' above to get in touch. Looking forward to hearing from you.
4 ReviewsEndorse Adam Lee
'Incredibly kind' people are rarely very authentic, and 'very authentic' people often care little for kindness, yet Adam is somehow both. Musically speaking, Adam has a keen ear for sonics, and a masterful handle on his mixing console. Deep understanding of the craft and attention to detail are evident in what he provides. I was reluctant to surrender my stems to him completely dry, but he cared above all else that I was happy with the end product, and was willing/able to make adjustments to my liking. If you're looking for some one to mix your music, definitely consider Adam Lee.
It has been an absolute pleasure working with Adam and he came highly recommended. The first mix already was a complete and wonderful transformation of sound, taking the track into a whole new space - like moving from a one bedroom apartment into a palace, the sonic landscape and the expansion of sound and texture palettes he delivered are exquisite. Communicating revisions was a breeze and in all honesty, the whole process was just very enjoyable. His attention to detail and the sense of sonic richness he can produce, plus his fantastic ear for what the music "needs" are incredible.
Adam has mixed and mastered all my work, including a full EP, collaborative projects and all the projects I have produced for other artists. His attention to detail is second to none, as is his ear for sonics. He is prompt in delivering mixes and addressing revisions and communication is a joy. He also has wonderful vision for the spacial placement of whatever material I've sent his way, while managing to retain the character of the rough mix and giving it clarity and weight. Value for money is excellent considering the analogue gear he uses for both mixing and mastering. 11/10.
I've had the pleasure of working with Adam when I hired him to mix and master a track of mine. I make RnB/Pop music and have been so used to just having my mixes done solely on a digital platform. Hearing Adam's mix and master through analog gear was like a breath of fresh air.
What I love most about working with Adam is his attention to detail. He sends out videos of every step of the way during the mixing process. (These videos could even be used for BTS footage!)
This is literally what the giant mix engineers do and use and I felt really fortunate to get it at an affordable rate.
Interview with Adam Lee
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: The Alone Together album, where I executive produced, wrote, played, produced and mixed to contribute towards a charity album that comprised the exquisite work of 38 indie artists.
Q: What's your 'promise' to your clients?
A: That - providing they communicate openly and availably with me - we will always achieve, and hopefully exceed, the outcome and vision they wish to realise.
Q: Analog or digital and why?
A: Analogue! Digital editing for convenience, but analogue - every time - for sonics. Nothing touches it. I always say that digital is fast, economical, convenient and brilliant. Whereas analogue is time-consuming, quirky, unreliable, and takes far more patience, commitment and skill. But the net product is almost always far superior - every single time.
Q: What are you working on at the moment?
A: I'm currently working closely with three artists to finish music for their EPs, and have scheduled a re-master of another artist's whole album for an anniversary vinyl release, with a special edition bonus track for mix and master, too.
Q: What do you like most about your job?
A: I love hearing music in its finished, most professional and final state. I love that - as a mixing engineer - I'm essentially the last step in the process to someone's music being in its finished state. I also love pleasing my clients, and having them feel like they're re-hearing the song for the very first time.
Q: What's the biggest misconception about what you do?
A: That I just adjust volumes of all the elements of a song, until they sound right. This is honestly about 10% of what I do as a mix engineer.
Q: What questions do you ask prospective clients?
A: I'm always interested in what they like, and what sonically inspired their music. So I'll always ask for at least one reference track of a famous song whose sonics they'd like me to try and channel, when we work together.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Record everything a well as you can, and submit the stems to me dry, and without processing, if possible! Any ambience or key sounds that make up the record would be much appreciated to be left printed separately, to give me maximum control over a mix.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My console, first and foremost. My NS-10s. One of my AML compressors, my 1073 and tape machine.
Q: How would you describe your style?
A: I'd say I aim for an open sound that's rich and deep - not just spectrally, but spatially. Nothing inspires me more than a mix that has a very audibly expansive, balanced vertical and horizontal soundstage.
Q: Which artist would you like to work with and why?
A: I have few limits. I love working on music that's creative - stuff in the vein of Radiohead, Bon Iver, Ethan Gruska or Coldplay. But I also have a soft spot and deep love for soul music - such as much of what The Daptones or Mark Ronson would often work with. I love everything from dripping wet sonics, through to tight and dry. It's all a joy to mix.
Q: Can you share one music production tip?
A: Record your vocals well! They carry the mix - get it right, from the start. Make sure you're in a dead room or space, gain-stage correctly, use a decent mic, preamp and pop shield. And then give me the dry vocal! So much can be done with a superbly delivered and recorded vocal, but little can be done to correct issues such as an imposing room, overbearing plosives or clipping!
Q: What type of music do you usually work on?
A: I have no restrictions. I've worked on pop, alternative, R'n'B, ambient - all sorts. I'm open to everything. At the time of writing, much of the music I've received has been in the vein of alternative singer-songwriter-type stuff, and I have very much enjoyed working on it.
Q: What's your strongest skill?
A: Refining and making a sound balanced, but also feel classy and 'expensive'. Learning - across the years - to really dial in the sonics of a mix on the smallest possible level, to bring it to the point where it not only sounds great across multiple systems, but delivers the correct emotional intention that the music was written to communicate.
Q: What do you bring to a song?
A: Hopefully, a degree of creativity that is beyond that of a simple mix. Fixing the sonics of what I'm presented with, but also taking it to a further level, and creatively adding elements to the mix - with the approval and guidance of the artist - that can elevate their vision of their music.
Q: What's your typical work process?
A: My typical work process involves firstly getting to know the song and the session. Labelling and organising stems - into groups where possible - and loading these groups onto the console, one at a time. I often start with important elements like the drum kit first, and begin running each individual track through hardware, as required, and dialling in a sound that I'm happy with. This then gets summed down to two mono faders, and I tackle the next group in the session, until I've moved through everything. Then it's a matter of setting broad levels and sonics for the whole song, sorting out ambience in the form of delays and reverbs, and then moving onto careful automation rides, to get levels of everything across the song's sections, in the most musical way. I often do the level check on a small pair of Auratone monitors, in mono.
Q: Tell us about your studio setup.
A: I run a hybrid setup, driven on the digital backend by a complete Pro Tools setup. I use Avid hardware control surfaces, and all this runs 32 simultaneous channels of conversion into my analogue mixing console. A selection of pairs of unique, but superb-sounding, analogue hardware compressors, EQs, preamps and ambient effects such as rackmount delays and reverbs are also in my arsenal, together with my beloved 1/2" tape machine, which I use for everything from high fidelity finishing of a track, to hard slamming and sonic colouration. Between all this gear, and summing everything within an analogue console, I find myself to really dial in sonics of tracks very carefully, with the result being highly organic and dynamic in a way that is often lost in mixes, today. Another tool I use to really make sure the sonics are balanced and translate well, is I monitor across several systems. I'll use my main monitors - a pair of Yamaha NS-10M Pros, with a subwoofer, and constantly A/B against a pair of Munro Egg 150 speakers, in combination with earphones, auratones and headphones, for checking that I'm not missing anything.
Q: What other musicians or music production professionals inspire you?
A: There are so many - and its genre dependent. I really love the mixing styles of Tom Elmhirst, Chris Lord-Alge, and producers the like of Mark Ronson and Shawn Everett, but definitely don't see myself as confined to any one style. Whatever I'm brought and asked to work on; chasing the client's desired end product is what I enjoy doing the most.
Q: Describe the most common type of work you do for your clients.
A: Typically, I'm asked to provide a mix and final master of produced tracks, that need to be taken to the final, professional-sounding stage. I've done simple sonic adjustments on some projects or - where required - collaborated in more depth with the artist on a co-production level, to really take their music to the next sonic level.