Graduate Tonmeister. Mix engineer and multi instrumentalist: drums, bass, guitar, piano, sax, flugelhorn, cello.

My recent Beyoncé cover video has 100k+ views on YouTube!

I recently graduated from the University of Surrey and am building a commercial recording studio - throughout construction, I'll be offering my services as a mix engineer and musician from my residential property.

During my studies I produced tracks in multiple genres, including: acoustic, classical (chamber and orchestral), hip-hop, jazz, rock, metal, pop, rap, and sync (radio advert). I listen to a wide range of music daily, and am confident in producing music in an appropriate manner for a variety of genres.

I have several instruments at my disposal, along with industry standard microphones. If you have a project that requires additional instrumentation, and you would like me to fill in what you cannot, I play these instruments to a high standard: acoustic guitar, bass guitar, electric guitar, drums, piano, and alto saxophone. I also have a trumpet, flugelhorn, and cello, and can play simple parts on these. If you want to ask me about other instruments, feel free - I may be able to source them or find a musician to help us out!

If you're interested in having me work on a YouTube cover video with you, and want to see what I'm capable of, feel free to request video examples of my recent work.

My credits include

Gear highlights

  • UA Apollo 8p
  • UAD Plugins
  • ADAM Monitoring
  • Logic Pro X
  • Pro Tools 12
  • 2x AKG C414B-ULS
  • Neumann U87
  • Audix/Rode/Sennheiser/Shure Mics
  • Avalon U5
  • 4/5 string Warwick Basses
  • Martin 000X1AE
  • Mapex M Series
  • Selmer Alto Sax

Genres I specialize in

Terms of Service

Two revisions (additional to first submission) allowed. Typical turn-arounds: Mix/Edit - 1 week; Full Production - 2 weeks. Additional costs if equipment hire is incurred.

Reviews of Ben Davies Music

  • Listing_thumb_soundbetter023 months agoby Verified Review

    Working with Ben was a great experience. He's very detailed and meticulous and did a great job with arrangements and execution. Highly recommended!

  • Default-avatarabout 1 year agoby

    Ben has a fantastic studio knowledge and attitude. We worked together on a tape project and it sounded beautifully traditional. I can highly recommend Ben as an engineer and producer.

  • Default-avatarabout 1 year agoby

    Ben was absolutely wonderful to work with! Very dedicated and understanding. It was great to work with someone who can take your ideas and turn them into something special!

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Interview with Ben Davies Music

Describe the most common type of work you do for your clients.
During my studies at the Institute of Sound Recording (at the University of Surrey) I was allowed full access to their industry standard studios. This access meant that I was able to invite musicians into the studios for me to work for them as recording, mixing, and mastering engineer, in addition to being producer if they didn't already have someone doing that for them. All of this work was carried out alone, with the exception of an assistant engineer during recording, meaning that I am very used to each of these roles. Though I no longer have access to the large inline analogue and digital consoles that I used while at university, the skills honed there are transferrable to other scenarios outside of the traditional studio environment. This means that I am now able to efficiently and professionally carry out in the box (DAW) work, in addition to recording (admittedly to a slightly lower standard than the purpose built studios at Surrey) in my residential property.
Can you share one music production tip?
When mixing, set the monitor level at a comfortable place and leave it there for the duration of the mix. It's incredibly tempting to get excited by a track simply by ramping up the volume, but the solid reference point established by leaving the volume static will allow you to accurately assess your progress throughout the session. One caveat, however, is that it can be helpful to utilise the dim button (found on most DAWs, mixing consoles, and audio interfaces) to assess whether any elements of your mix are sitting too far forward or back in your mix.
What are you working on at the moment?
I'm producing and mixing an EP for a funky soulful pop artist and also editing and mixing a choral album that I recorded earlier in the year for an internationally renowned girls choir.
Analog or digital and why?
An age old question. It depends on what you're looking for as an end result. I did a session with a band that plays old rock and roll music (which you can actually listen to on my profile here), and they were looking for a very vintage sound, so we made sure to stick to older analogue gear - AKG C12s, Coles 4038s, and other similar mics, into an SSL 9000K via vintage Neve preamps, through Urei 1176s and the like, and straight into 24 track 2" tape. It sounded great and really worked for that session, especially when I turned off the Dolby noise reduction into the tape machine and let the tape hiss do its thing. I wouldn't recommend the same for a metal band, that would suit a more clinical digital approach, though. It's a matter of taste and knowing what works in different situations!
What advice do you have for a customer looking to hire a provider like you?
If you're not sure about something, don't be afraid to ask! The chances are I will be able to make it work for you, one way or another, and I'm a friendly guy - I won't bite, honest.
What do you bring to a song?
A desire and determination to produce something that I would happily listen to (I'm a bit of a perfectionist), that communicates a message to the listener, evokes an emotion, and inspires them to create and innovate.
What other musicians or music production professionals inspire you?
In terms of musicians, I'm constantly inspired by Robert Glasper. The way he communicates through his music is beautiful. When it comes to production professionals, I've been intrigued recently by the five mix bus technique, as detailed by Michael Brauer (Mix Engineer for Coldplay "Parachutes", The Rolling Stones "Steel Wheels", and Paul McCartney "Back in the U.S.").
What's your typical work process?
The first important step in achieving an end product that meets the clients expectations is me understanding what those expectations are. I strive to provide a friendly, approachable, and open communication with the client to fully understand their needs. If they have an idea of how they would like the end product to sound, ideally including a commercially available example for me to work from, then I can efficiently work toward that end goal. Part of my training at the Institute of Sound Recording involved communicating effectively with people who perhaps aren't trained in any technical way, and so I am still able to form an idea of what needs to be carried out technically in order to achieve the ideas that they have put forward. It's impossible to explicitly detail any sort of "standard" workflow for a project though, as every track is different and poses its own challenges and requirements.