Everything from clean country to rawkus rock & roll with a whole load of soul thrown in! My aim with every mix is to bring that excitement that you get from seeing a live band whilst keeping the space for everyone to be heard loud and clear.
Contact me through the green button above and let's get to work.
Credits
Interview with James Le Huray
Q: What are you working on at the moment?
A: Right now I'm working with a couple of unsigned bands and a on project called 'Rock & Roll Time Machine'
Q: What questions do customers most commonly ask you? What's your answer?
A: How much do you charge? I thought you were a folk guy? How long did that beard take to grow? It depends on the project, not exclusively and this long.
Q: How would you describe your style?
A: Despite working in the digital era I still take a very traditional 'tape' approach. If I'm recording a band I like to make it as live as possible so it sounds like a band and not just layers.
Q: What's your typical work process?
A: If it's a mixing job then I'll listen to the stems a couple of times and find the parts of the song that really jump out at me and that's my starting point for a mix, then it's a case of making the mix as great as possible. If I'm producing a project then I like to go to see the band live first if possible so I can get a feel for what their sound is and see how they work. Normally there will be the a few discussions about which artists they like, how they want their material to sound and what the client is trying to achieve.
Q: What other musicians or music production professionals inspire you?
A: Andy Wallace, George Martin, Butch Vig, Ross Robinson, Peter Gabriel, T Bone Burnett, GGGarth... The list is endless really!
Q: What do you like most about your job?
A: The only bit I don't like is cleaning up afterwards
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Nah, not going!
Q: Analog or digital and why?
A: Both have their pros and cons. Whatever works best.
Q: What's your 'promise' to your clients?
A: I'll never settle for 'that'll do'
Q: What's the biggest misconception about what you do?
A: That I'm a purely folk guy. I play a lot of traditional folk stuff and got stuck with that label for a bit, but the truth is I love working on all styles of music, it's all great.
Q: What questions do you ask prospective clients?
A: What do YOU want out of the project?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Never be afraid to ask questions, I'm an easygoing guy and I'll happily discuss anything.
Q: What was your career path? How long have you been doing this?
A: I've started playing in the early 90s, then I quit my day job to be a touring musician back in 2004. After that I went to university to study performance and production which was when I discovered my love of mixing and production. Since then I've been trying to work with as many different artists as I can.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Robert J Hunter's Songs For the Weary album was the first time I actively 'produced' a project rather than just engineering and mixing it; it was a real eye opener, but a great one. The lead single from that album went straight in at number one on the iTunes blues chart which was a really special moment, and one that can never be taken away.
Q: Can you share one music production tip?
A: Listen to as much as possible, even if it's not your bag, everything has mileage.
Q: What type of music do you usually work on?
A: Anything, I don't like to stick to a particular genre
Q: What's your strongest skill?
A: I'm a good listener with an ear for detail.
Q: What do you bring to a song?
A: I might make the odd suggestion here and there but I never try to get involved with the actual writing or structure of the songs, it's not my place to. So I guess what I bring to the song is honesty, I work with what I have available and try to make that as good as it can be.
Q: Describe the most common type of work you do for your clients.
A: Mainly stem mixing, but I have worked as the producer on several recordings too.
- Mixing EngineerAverage price - $200 per song
- Mastering EngineerAverage price - $50 per song
- Full instrumental productionContact for pricing
- MandolinContact for pricing
- EditingContact for pricing
- RemixingContact for pricing