Hi - my name is Mark Broughton and I'm a mixing engineer and music lover. Credits include: Andy Taylor, Sting, James Bay.
Almost everything I've done has been because of music. I'm a piano player who developed a penchant for collecting synthesisers and keyboards at a frighteningly young age. I spent years learning how to make music on a computer and studied Music, Maths and Physics at school. Luckily, those were the subjects I needed to enrol on a Music and Sound Recording course at University, where I spent 4 years learning theory, systems and electronics. At 23, I started working in recording studios and have never looked back. I've spent 4 years learning from the very best in the business - my main client is Andy Taylor from Duran Duran - and we have been recording and mixing projects for the past 3 years. I've also had the good fortune to meet and work with James Bay, Sting, Take That, Nick Mason (Pink Floyd), Paul Thompson (Roxy Music), Simon Kirke (Free, Bad Company), Luke Morley (Thunder), Ricky Warwick (Black Star Riders, Thin Lizzy), Mattias Lindblom, John Waugh (The 1975), Jimmy Nail, Tyga, The Lighthouse Family, Marmozets, Ed Buller (Suede, Pulp), Dave Okumu (Jessie Ware, The Invisible), Therapy?, The Unthanks, Greenie Green (VANT, Little Comets), Tarek Musa (Spring King) and Lanterns on the Lake. Please get in touch if you want to talk about any aspect of music production - from writing and arranging through to recording and mixing - and we can work out the best needs for your project.
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Reviews (17)Endorse Mark Broughton
Mark was a pleasure to work with. He has a very organic approach, has an effortless understanding of where the song needs to go and needs to be treated and the results are wonderful. Looking forward to working with Mark again!
A great experience working with Mark. Listened to all my feedback and made some great proactive additions resulting in an end product that I'm more than happy with. Very efficient turnarounds as well, and always kept me informed of progress.
We've worked with Mark on a few projects and we've always been very happy with the results. He is very easy to work with and gets the best out of vocalists and musicians. Mark is very professional and has a great sense of humour. We'd highly recommend him!
Mark is great to work with and brings out the best in any session.
Would recommend :)
I have had the pleasure of working with Mark on several projects over the past few years.
He has an immaculate ear in the studio as a producer, engineer, musician and visionary.. Getting the best out of the people he is working with everytime.
A fine chap also, look forward to working together again in the future.
Mark is a fantastic pianist and producer, who produced my debut single! It was great to work with him and I would highly recommend his work.
A very high quality and recording engineer. I had the pleasure of working with Mark on a James Bay live album. His ability to very quickly edit and forensically fix large passages of Audio was vital to delivering the project on time.
I've been lucky enough to work with Mark on two studio projects and upon both occasions I've been delighted by his constant professionalism, attention to detail, consistently friendly and approachable demeanour, as well as his finely tuned ear. Highly recommended.
Mark has recorded my band many times, and on each occasion, has been an absolute joy to work with. He's very skilled at maintaining a creative and positive working environment, which means everyone is able to perform to their highest standard. I would recommend him very highly!
As a session guitarist, I work with many different music professionals but none quite encompass the diverse and versatile skill base that Mark possesses. He is an incredibly talented multi-instrumentalist, engineer & producer. His background in performance has given him an ability to interact compassionately with musicians from all walks of life.
We've had the pleasure of working with Mark a few times now, and each time he's been absolutely brilliant. He has a great understanding of what you want as an artist, and how to make these ideas come to life. Overall, really friendly, engaging, attentive, and he's great at his craft! Couldn't recommend more.
Over the past several years I have worked with Mark on a range of sessions and projects. He is someone I can always put my absolute trust in during recording and mixing sessions. He has a great ear, attention to detail and a real love for his work.
Mark has a great ear, professional attitude and some great gear, brilliant working with him
As a session drummer, I meet lots of egos. Not here. Down to earth with a great ear and all round nice chap. Mark quickly gained a great drum sound and was very innovative in the final mixes. He even sent me the drum samples for each track so I can trigger them live. Great bloke, easy to work with and produces top end mixes.
WARD are really happy with Mark's work on our debut EP. He has a fantastic ear, and he really 'got' our sound. He was patient, encouraging and painstaking in his attention to detail. He deliberately listened to music that had a similar sound to ours to ensure he was confident where to put everything in the mix. And his Rhodes part was pure bliss!
Mark is an excellent musician, engineer, producer and writer. His musical accumen, careful attention to detail and creativity make him a professional, versatile and reassuring presence in the studio. Highly recommended.
I've worked with Mark on a few projects over the years and always found his ear to be spot on and his attitude to be friendly and professional. Would highly recommend.
Interview with Mark Broughton
Q: What was your career path? How long have you been doing this?
A: I graduated from the Tonmeister course at University of Surrey, UK in 2012 and have been working freelance since then. Before graduating, I worked in a film post production audio facility in West London (Technicolor) and learned to mix sound from a film background. I was doing all sorts of stuff like foreign dialogue dubs for Warner and Lucasfilm, operating a 35mm projector and recording and synchronising foley. I received a credit as Foley Editor for the film Salmon Fishing in the Yemen in 2011. I haven't been working in music for a relatively long time (about 4 years), but have already worked with a large number high profile clients such as Andy Taylor, Take That, Sting, Tyga, Ed Buller and the Lighthouse Family to name a few. I guess that doesn't sound like I've had the most conventional route into the music industry but I've been surrounded by music and played piano and keyboards from a very young age. This ultimately sparked my passion for recorded sound. I've learned (and am still learning) a lot from the experiences and people I've mentioned above and transfer these skills directly into the work I do on a day to day basis.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I recorded and mixed a song called Prolong for Bridie Jackson and the Arbour, which was picked up by Guy Garvey of Elbow who said "...what an amazing recording that is. Whoever is responsible for that don't change a thing. It's absolutely gorgeous." That was a great moment!
Q: What are you working on at the moment?
A: I work very regularly as a recording and mix engineer for Andy Taylor (Duran Duran). Work with Andy forms the most part of what I do. We're working on (and have been working on for some time) a massive, top secret project that spans a huge amount of musicians, two studios working in different counties and hundreds of songs. Unfortunately I'm not allowed to share any more information on this but it's very exciting and all will be revealed in due course...
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I've collaborated with Robert Smith on a few occasions. I work a lot with Andy Taylor (Duran Duran) as his recording and mix engineer. Robert has cast his wonderful ears over our mixes and produced some absolutely stunning masters. I couldn't recommend him highly enough.
Q: Analog or digital and why?
A: Both! I'm a huge fan of using tape because it's a sound we're used to hearing on all of our old favourite records. I do, however, think that working in the the digital domain opens up a whole other world of creative possibilities. The level of detail available when editing, manipulating and quantising audio allows us to base an entire arrangement out of one magical, recorded moment. The price of digital storage also means we need not throw anything away and enables us to return to ideas we had previously thought weren't relevant. In my ideal session I would record digitally and transfer any stems to tape I think will benefit for mix down.