Mark is a Recording and Mix Engineer for Andy Taylor (Duran Duran). Other recent clients include James Bay, Sting, Lighthouse Family, Marmozets, Ed Buller (Suede, Pulp) and Dave Okumu (Jessie Ware, The Invisible).

My credits include

AllMusic verified credits for Mark Broughton:

  • Sting
  • Dorothy Norwood

Gear highlights

  • SSL Sigma Delta
  • Toft ATB 08 M
  • SSL AWS900+
  • Amek BC3
  • Manley Massive Passive
  • Cranesong IBIS
  • Cranesong STC-8
  • Cranesong HEDD
  • Neve 1073
  • Pendulum ES8
  • Urei 1178
  • Purple Audio MC77
  • Universal Audio LA-3A
  • Bricasti M7
  • Eventide H3000

Genres I specialize in

Terms of Service

Please get in touch and we'll work out the exact needs of your project. I always include two revisions free of charge (additional revisions $30 each) and will usually finish version one in two days.

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Interview with Mark Broughton

What was your career path? How long have you been doing this?
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 3 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.
Tell us about a project you worked on you are especially proud of and why. What was your role?
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!
What are you working on at the moment?
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...
Is there anyone on SoundBetter you know and would recommend to your clients?
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.
Analog or digital and why?
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.