London Born, LA Based, Grammy Award Winning Studio Engineer and Music Producer with experience working with some of the world’s top artists like Adele, Ed Sheeran and Florence and the Machine. Extensive practical recording experience in some of the best studios in the world such as Abbey Road and United Recording Studios (formerly Ocean Way)
Coming from working as the Head Engineer at Dean St. Studios, one of London's premier recording facilities, I have accrued a wealth of knowledge and experience, working alongside and learning from some the music industries most revered artists and producers.
I have the expertise required to help any artist achieve the utmost quality recording with the last few years have been a whirlwind of some of the biggest names in the global and UK market, including Ed Sheeran, Florence and the Machine, Lady Gaga, Paul Weller, A$AP Rocky, Plan B, John Legend, The Weekend and most notably, Adele - with whom I tracked vocals for her seminal "25" album, which lead to me being awarded a Grammy.
Particularly skilled at Vocal recording (Adele/Lady Gaga/A$AP Rocky) I also have vast experience working with typical 4-5 piece bands (Wolf Alice/Broken Bells) as well as a whole variety of complex instrumentation such as String Arrangements, Brass/Woodwind, Percussion, Piano etc.
As a producer, using skills learnt from the industries greats such as Tony Visconti (David Bowie/T-Rex), Paul Epworth (Adele/Coldplay/Foster The People) and Mark Ronson (Amy Winehouse/Lady Gaga/Bruno Mars) I am looking to help artists deliver their message in the best possible manner. Whether that message has a deep heartfelt emotion or is as straight forward as "shut up and dance"- it's how you say it that counts
Send me a note through the contact button above.
- Ed Sheeran
- A$AP Rocky
- Mark Ronson
- Lady Gaga
- plan b
- Broken Bells
- Paul Weller
- Vance Joy
- James Arthur
- John Legend
- Florence + The Machine
- Robert Plant
- Cee Lo Green
- Tom Odell
- Fleetwood Mac
- The Weeknd
- Boy George
- Culture Club
- Marc Almond
- Take That
- Michael Kiwanuka
- Aloe Blacc
- Aston Microphones
4 Reviews - 1 Repeat ClientEndorse Austen Jux-Chandler
Very fortunate and definitely privileged to work with him.
Austen is an exceptionally talented Producer and Engineer! Im very thankful.
Austen is the best mixing engineer I have ever worked with. His mixing is an art form of its own. I was beyond impressed in what he created. He is immensely talented, as well as an amazing communicator. He was so quick to respond to any question I had for him. It’s rare to find someone who is not only brilliant at their job, but who is also a genuinely kind person. I will definitely be contacting Austen again in the near future!
Austen is very clearly part of a rare breed of music professionals who've earned their marks at a top studio working with artists we hear on the radio every day. What he brings to the table is vast toolbox that will help nurture your music goals. On top of being a skilled professional, he is really one of the nicest guys I've ever met. I'm looking forward to working with Austen again.
Interview with Austen Jux-Chandler
Q: Describe the most common type of work you do for your clients.
A: My bread and butter is a studio recording engineer. I cut my teeth in one of the best studios in London and am now using that knowledge and experience to help musicians create productions they can be proud of.
Q: What other musicians or music production professionals inspire you?
A: Working closely with UK artist 'Plan B' showed me what dedication to your art means - turning up at lunchtime and waiting for someone else to do it all for you is not the route to success. His relentless efforts to pursue the utmost perfection in each element of his songwriting, arrangements and performance was mind blowing, and despite not necessarily being 'technically minded' he still took the time to understand each step of the recording, mixing and mastering process to ensure it was done in the best possible way. I try to approach each of my own works with the same dogged enthusiasm.
Q: Tell us about your studio setup.
A: Being an in-house studio engineer meant I have always had access to the industry's best equipment. I crafted my skills using all the name brands an engineer dreams of. As a result my personal gear list is rather humble - preferring to keep things simple and portable to allow me to set myself up in any studio I need to.
Q: What's your strongest skill?
A: Bringing the best out of people.
Q: What type of music do you usually work on?
A: Being in-house in a premier commercial recording studio means you have to stay flexible so I have always had a wide repertoire of musical styles.
Q: Can you share one music production tip?
A: The 'song' is the key. It doesn't matter how much 'production' you add, if the song is no good then it's a waste of time.
Q: What was your career path? How long have you been doing this?
A: During my degree I spent a year as an assistant engineer in Dean St. Studios, London, and promptly returned there a week after graduating! After not too long, I took the role as Head Engineer and spent the next 7 years working with and learning from some of the industry's greatest musicians, producers and engineers. I decided to go freelance in 2016 and have since won a Grammy award for my work with Adele, as well as engineering (and as a result - partly producing) the latest Plan B album.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: I'm a bit of a heretic when it comes to the usual engineer's approach to gear - I really don't care what gear is available, if you know how to use it you can make anything sound right. But, if I had to list a few items it would mostly be my favoured vocal chain from Dean St. - a valve u47, into a Neve 1073, followed by a PurpleAudio MC76, into a CraneSong Hedd 192 ADC.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Come prepared. Professional engineers and producers are not there to create the music for you, only to help you refine, capture and present it in as best a manner as is possible. We understand that every musician/artist has their own limitations; we are here to help pickup the shortfalls, but if you don't at least try to do your part (learn your song, practice your instrument, arrive focused and ready to work) then we don't stand much of a chance.
Q: What questions do you ask prospective clients?
A: Generally I'm open to any and all suggestions of which direction an artist wants to push towards but the main limiting factors are often budget and time. The classic triangle of do you want it 'Fast', 'Cheap' or 'Good' means you can usually only choose 2.
Q: What's the biggest misconception about what you do?
A: 1. It's easy. 2. Anyone with a laptop can do it. 3. It should be free. 4. It's glamorous.
Q: What do you like most about your job?
A: Creating and Collaborating
Q: What's your 'promise' to your clients?
A: To deliver the best product I possibly can. Producers aren't infallible, we have our limitations too, but I will always endeavour to push as hard as is reasonably possible to achieve your ambitions.
Q: Analog or digital and why?
A: This is a 'Mac' vs 'PC' or 'Logic' vs 'ProTools' type question......and it really doesn't matter to me. Use whatever means necessary to achieve the best possible product ... if you've been working on an old version of cubase since day one, and that's the tool you know better than anything else to get the sound you need, then use that!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I'm new to the SoundBetter community but am always happy to make new connections! Fellow music people give me a shout and introduce yourselves, even a simple hello on instagram (@austenjc) has lead to some great connections with people across the world.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Of course, one of my proudest moments was joining the rest of the production team on stage at the Grammy Awards when Adele won the Album of the Year Category but I would remiss to mention my production work with UK indie band Wolf Alice.
Q: What's your typical work process?
A: I typically like to spend a good amount of time with the artist(s) ahead of any recording taking place, ideally including a 'live-show' too for a glimpse of the song's true energy. Then, during recording I like to build a solid foundation, starting with the rhythm tracks and then building melodic information from there.