As an experienced sound engineer, mixer, producer and multi-instrumentalist, I can help at any point in the realisation of your music. I've worked across a wide range of genres; from acoustic to heavy rock and classical to pop. I can mix or master your project, so drop me a line if you'd like my help in bringing your music to fruition.
I'm a hardworking mixing and mastering engineer, as well as a musician, composer and educator. I'm committed to achieving the best results for all types of musical projects in a friendly, creative and communicative environment.
Records I've recorded and mixed have been played on BBC Radio 2 and 6 Music in the UK and have gained favourable reviews from the likes of The Guardian, Uncut and the Sunday Times:
Sunday Times review: "This album sounds magnificent." Last Harbour - 'Your Heart, It Carries The Sound'.
I have also brought my nearly 20 years of experience to teaching sound engineering to university students in the UK. Now residing in Adelaide, I've just put together a new mixing and writing studio using my experience of building and running several studios in the UK, and I'm looking to put it through its paces by mixing your next project!
Please get in touch if you think I can help in any way with your music.
Would love to hear from you. Click the contact button above to get in touch.
3 ReviewsEndorse Sam Lench
It was a real pleasure working with Sam. He really took the time to listen to my song and provided great suggestions and improvements.
Sam was asked to do a remastering job with a major time limit. He went to extra effort to get this done at an inconvenient time of the week. And did a great job. Highly recommended.
Sam produced two albums for me. He's really easy to work with and very innovative and interesting in his approach. He also *really* listens to your work and finds the right sounds for the songs. Super reliable, super professional. He's mindful of budget and a good project manager too - good communication in terms of timetables, expectations, budgets etc. He's also an amazing musician in his own right, with a fine pair of ears. I'd recommend him wholeheartedly for any project.
Interview with Sam Lench
Q: Describe the most common type of work you do for your clients.
A: In the UK I would most often record and mix projects solo, essentially being the engineer/producer overseeing and managing the whole record making process. I've also frequently been 'just' a recording engineer (recording drums for example) or a mixing/mastering engineer. I have an Honours Degree in Music and lots of experience as a performer, arranger and composer. I bring this knowledge and experience to my productions through creative collaboration and am often called upon to play instruments on the records I record. As I'm new to Australia I'm just starting to find my feet in the industry and make contacts here. So I'm mostly taking on mixing and mastering jobs at the moment
Q: Tell us about your studio setup.
A: I recently moved from Manchester (UK) to Adelaide and in the process I had to put most of my studio on a boat. I couldn't bring everything with me but I brought lots and lots of excellent pieces of gear including big old JBL speakers, a 16 channel analogue mixing desk and a 24 channel tape machine! I also have a great collection of outboard hardware (preamps, compressors, EQs, reverbs, tape delays), synths (SH09, DX7, OP1), guitar pedals and amps. Like most people in the industry I'm largely working 'in the box' these days and use Pro Tools, Logic and /or Ableton to complete my productions. I've assembled a host of top of the range plugins too; in particular I'm a big fan of Acustica Audio plugins which in my opinion are the cream of the crop in terms of 'analogue tone' in a computer. I also have many other industry standard plugins from the likes of FabFilter, Oeksound, Soundtheory, IK Multimedia, Plugin Alliance and Arturia. I've been busy building my small studio in Adelaide. The studio is designed to be a mixing, mastering and producing space primarily. I've built all my own acoustic treatment and utilised Sonarworks processing to create an extremely balanced monitoring environment. In fact, this new space I've built in Adelaide has the best acoustic accuracy and mix translation of any studio I've worked in over the years.
Q: What's your strongest skill?
A: My background is as an artist and I've always worked as a performer and composer alongside my sound engineering work. I bring a strong creative energy to any project I work on and I understand the thought processes of artists. I'm instinctually creative; concerned with the artistic integrity and meaning of a project both for the artist and the audience. However I'm also very technically minded having worked as the Head Technician in a large studio and having made, broken and fixed countless pieces of electronic equipment over the past 2 decades. I feel my strongest skill is my ability to successfully and nimbly bring these two disparate left-brain/right-brain elements together.
Q: What type of music do you usually work on?
A: The majority of music I've worked on has probably been either folk or rock, broadly speaking. However I've worked in virtually every genre though out my career. I particularly enjoy recording/mixing classical music in both traditional and modern forms. I've worked collaboratively with a number of singer songwriters to record, arrange and produce their records from the ground up. I also enjoy working with experimental and ambient musicians, most recently taking a deep dive into the world of modular synthesis.
Q: Which artist would you like to work with and why?
A: Tom Waits. His style of recording is almost subversive in the way he breaks a lot of the rules around how music should sound and be recorded. In particular Mule Variations and Real Gone are exceptional records from both a technical and artistic point of view.
Q: How would you describe your style?
A: I can be quite old fashioned in my approach to recording. I'm only in my mid 30s but I just caught the end of using analogue tape in studios. I don't like to do too much editing, tuning or otherwise 'perfecting' of sound. I personally don't think the audience usually wants that. There are some pop or electronic styles that demand that type of production but generally I think it's distracting and says far more about the engineers ego than the artists vision. I love the sound of tape and warm distortion; the sound of records from the early 70s like Big Star and Neil Young.
Q: What's the biggest misconception about what you do?
A: I think there is a big push these days to democratise the music making process and a lot of people feel like they could simply grab a copy of Logic and be able to record and mix their or their mates music to a professional standard. That could potentially happen but is rarely the case. The reality is that recording and mixing are skills that cannot be bought and they take many years to develop. I think it's wonderful that music is so accessible and easy to make and the tools we all have at our disposal these days are so intuitive and inspiring. However I still think there is a need for a professional to be making the final call on a mix and master before its put out into the world.
Q: What other musicians or music production professionals inspire you?
A: I'm currently really enjoying the music and productions of Panda Bear, Bibio, Angelo De Augustine, Francis And The Lights and Bon Iver to name just a few. My engineering and production heroes include Bill Leader, Steve Albini, Jerry Boys and Joe Boyd.