Grammy-nominated Mix Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: Nick Cave & The Bad Seeds - Ghosteen. I recorded and mixed this album and it became the most critically acclaimed album of 2019, and equal with Kendrick Lamar for the decade 2010-2019. Sonically it came out great, and I had complete control of the audio aspect from start to finish. I flew around the world to complete the recording sessions, and then the band flew to Los Angeles to work with me out of Conway Studios. It came out brilliant and everyone was really happy.

Q: What's the biggest misconception about what you do?

A: Hiring me is going to be really expensive. If you want to have a production that competes in Spotify playlists, label compilations, Youtube and on airpods and car systems you need to hire a professional that knows how to bring the best out in your music. You'll need to have a budget of course, but my independent musician rate not as brutal as one might expect.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Go with your gut, if you get any red flags then it's not a great start. Should be about the project first, money second. But if you low-ball or skimp on payments, providers like myself tend to put a little red flag next to your name so it's a two-way street! Also be sure to print a rough mix. Doesn't need to sound great, but it should sound as good as you can make it. This forms the blueprint for what comes next.

Q: What was your career path? How long have you been doing this?

A: Went to audio school, worked in studios and live sound, did some teaching. Dropped everything and moved to the USA and landed a gig with some very talented producers then landed a role at one of the top studios in New York City with many of the top talents. From there I got a reputation as a cool-headed dependable engineer that gets it done and gets it done well, so I've maintained a solid career since then. Moved to Los Angeles start of 2018 and quickly began working with the superstars out here. Put together my own mixing studio and have been keeping busy every since.

Q: How would you describe your style?

A: Whatever my clients want me to adapt to! My mixes are generally pretty bold - the one thing I do on every production is make it really jump out of the speakers.

Q: Can you share one music production tip?

A: If it sounds good it is good! Go with your instinct and don't second guess yourself, it's important to keep taking steps forward, not sideways and backwards.

Q: What's your typical work process?

A: Usually I turn mixes around pretty quickly, and open them up to feedback from the client. I'll incorporate any and all mix notes and keep doing revisions until everyone is thrilled. When tracking, I go by the mix-as-you-record philosophy. I'll happily print compression and EQ to Pro Tools and make commitments early on. Helps to keep the workflow moving and stops people from going around in circles and second-guessing themselves.

Q: Tell us about your studio setup.

A: My personal studio is based around a Pro Tools rig running just about every plugin under the sun. I sum mixes through my Thermionic Culture Purple Bustard (16-channel high end tube mixer) then hit a Manley Nu Mu, Manley Vari Mu, Solid State Logic (SSL) Fusion and back to my print bus via a Crane Song HEDD 192. Zero compromises anywhere. For tracking sessions, I regularly work out of Woodshed Recording in Malibu, California. It's a lovely space (www.woodshedrecording.com). It's got a baby SSL, a ton of high end preamps/compressors/EQ's and a Burl Mothership for out I/O into Pro Tools HDX. We monitor through Augspergers and ATC's (as well as NS10's of course). Again, zero compromises on sound. My home setup includes a Pro Tools rig with all the plugins I use (UAD, Slate, Waves, Melodyne, Autotune, Fabfilter, Izotope etc etc etc etc). I have an Attack Wall system from ASC to get my acoustics absolutely spot-on (better than most high end commercial studios, no lie) and I use APS Aeon MkII monitors + Sub 12 and some smaller Genelec 8330's. I use the latest Apollo x16 for my outputs, and feed a Thermionic summing mixer followed by Manley NuMu and Manley Vari Mu bus compressors before hitting a Crane Song HEDD for my conversion back in. So I lose absolutely nothing by mixing at home as opposed to a commercial spot. When I do record or mix at a commercial spot I just take my gear in with me and use that anyway - it sounds perfect, it's reliable, it's better than what most studios own anyway, and I can take it home and recall mixes 100% to tweak further.

Q: Describe the most common type of work you do for your clients.

A: Most of my work is mixing records remotely for clients around the world. I have a studio in Los Angeles that I usually work out of, but will often work out of commercial studios too. About half of my clients are from major labels and the other half independent. I enjoy working with both equally.

Q: What are you working on at the moment?

A: Lots of stuff! Clients from LA, NYC, New Zealand, Netherlands, Russia, UK, Australia. All sorts.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Telefunken 251, a decent set of headphones, my rack of Manley's and my plugins.

Q: What do you bring to a song?

A: I make songs sound like records. Other than that I keep my personal opinions largely out of the way (unless requested to do otherwise) and let you make music.

Q: Which artist would you like to work with and why?

A: Lana Del Rey. Whether you like the music or not the productions and vocal work are absolutely on point. Last time I saw her she took down my number - Lana if you browse Soundbetter for some reason I'm waiting for that call!

Q: What type of music do you usually work on?

A: Bit of everything. I've got a background in rock and have spent the last few years working amongst some of the best pop, R&B and hip-hop musicians. Between my New Zealand background and my years in New York City I'm pretty well-rounded compared to many Los Angeles engineers.

Q: What's your strongest skill?

A: Recording and mixing quickly, and communicating well with people. Beginners or Grammy-winners I'm the same easy-going and focused person to everyone.

Q: Analog or digital and why?

A: Both - whatever is best for the situation. If you are smart you can incorporate both and keep it moving quickly and consistently still.

Q: What's your 'promise' to your clients?

A: You'll absolutely be happy with the final product. I take it too personally for one person not to be happy.

Q: What do you like most about your job?

A: Everything! Mostly hearing my work out there in the real world but I am happy to get out of bed each day and head into work.

Q: What questions do customers most commonly ask you? What's your answer?

A: Yo how much 2 make me famous? And I ignore them.

Q: What other musicians or music production professionals inspire you?

A: Every working engineer and producer pretty much.