music mixing for film, television, & video games
Supervising Music Editor for The Hobbit Trilogy & The Lord of the Rings: The Return of the King. Scoring Mixer for Soul of the Ultimate Nation, 2009 Lost Memories, The Aviator OST.

Whether the budget supports a full symphony orchestra, a handful of players with samples and electronics, or samples only; I can help you realize your music's full potential - delivering mixes that will stand up whether played in a cinema, on a television, or on a portable device.

Formats available include stereo, 5.1, 7.1, and Dolby Atmos.

My credits include

AllMusic verified credits for Mark Willsher:

  • Cypress String Quartet
  • Cypress String Quartet
  • San Francisco Symphony
  • Michael Tilson Thomas
  • Hila Plitmann
  • Benjamin Makino
  • San Francisco Symphony
  • Michael Tilson Thomas
  • Emily Jane White
  • Cypress String Quartet
  • Tara Kamangar
  • Gary Hoffman
  • Cypress String Quartet
  • Victoria Kirsch
  • Ariel Pisturino
  • Jamie Chamberlin
  • Howard Shore
  • Cypress String Quartet
  • Shauna Rolston
  • Heather Schmidt
  • Chanticleer
  • Cypress String Quartet
  • Howard Shore
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Chanticleer
  • Marguerite Krull
  • Julian Wachner
  • Stephen Salters
  • Marguerite Krull
  • Julian Wachner
  • Stephen Salters
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Michael Spyres
  • Michael Spyres
  • Chanticleer
  • Cypress String Quartet
  • Chanticleer
  • Chanticleer
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Christopher Ferreira
  • Thomas Clausen Trio
  • Thomas Clausen
  • Thomas Clausen Trio
  • Thomas Clausen
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Gryphon Trio
  • Gryphon Trio
  • John Adams
  • John Adams
  • John Adams
  • Mark Applebaum
  • Mark Applebaum
  • Mark Applebaum
  • Victoria Drake
  • Cypress String Quartet
  • Cypress String Quartet
  • Cypress String Quartet
  • Livia Sohn
  • St. Lawrence String Quartet
  • Livia Sohn
  • St. Lawrence String Quartet
  • Ray's Vast Basement
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Cypress String Quartet
  • John Adams
  • John Adams
  • John Adams
  • Mark Applebaum
  • Mark Applebaum
  • St. Lawrence String Quartet
  • St. Lawrence String Quartet
  • St. Lawrence String Quartet
  • Howard Shore
  • Eric Claybon
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • St. Lawrence String Quartet
  • St. Lawrence String Quartet
  • St. Lawrence String Quartet
  • Howard Shore
  • Neo Camerata
  • Neo Camerata
  • Rokia Traoré
  • John Bayless
  • John Bayless
  • Ray's Vast Basement
  • American Brass Quintet
  • Cypress String Quartet
  • Dorian Wind Quintet
  • American Brass Quintet
  • Cypress String Quartet
  • Dorian Wind Quintet
  • Ron Hacker
  • Ron Hacker & the Hacksaws
  • Michael Franti & Spearhead
  • Celia Malheiros
  • Celia Malheiros
  • Howard Shore
  • Howard Shore
  • Howard Shore
  • Adrienne Torf
  • Turtle Island String Quartet
  • Howard Shore
  • Peter B. Allen
  • Peter B. Allen
  • Eric Claybon
  • Timothy Day
  • Timothy Day
  • Anna Vissi
  • Anna Vissi
  • Turtle Island String Quartet
  • Turtle Island String Quartet
  • Henry Robinett
  • Henry Robinett
  • Vonda Shepard
  • John Bayless
  • Marc Moskovitz
  • Daniel Shapiro
  • Mark Weiger
  • The Hot Club of San Francisco
  • The Hot Club of San Francisco
  • Earplay
  • Mary Chun

Gear highlights

  • Pro Tools HD
  • Pyramix Virtual Studio
  • Neumann Surround Monitoring
  • Prismsound Convertors
  • Eucon Controllers
  • Flux
  • IRCAM
  • Fabfilter
  • Waves
  • East West
  • Celemony
  • Algorithmix
  • Izotope
  • Eventide
  • The Cargo Cult
  • Exponential Audio
  • Empirical Labs

Genres I specialize in

Reviews of Mark Willsher

  • Listing_thumb_2016-07-20_10.19.202 months agoby Verified Review

    Mark is really great to work with. Very intuitive and so accepting of feedback. He delivers such a great product every time.

  • Default-avatar3 months agoby Verified Review

    Amazing mixing engineer! Will work with him again :)

  • Listing_thumb_2016-07-20_10.19.205 months agoby Verified Review

    Mark is the best. 1) He is fast. 2) That speed does not waist his efficiency. His intuition is spot on. 3) He is a really nice guy. 4) Those credits mean something and you feel the wisdom gained through his experience in your tracks. I don't know about you but I want that in my music.

  • Listing_thumb__p14104205_3__6 months agoby Verified Review

    Mark is an absolutely gifted engineer who has golden ears. He exactly not only knew how to make orchestral sounds solid and come alive, but carefully paid attention to all of my detailed requests. He's undoubtedly professional and I strongly recommend working with him.

  • Default-avatar7 months agoby Verified Review

    Mark is really great! Recommend to working with him.

  • Default-avatar7 months agoby Verified Review

    Mark got ears made of Gold. Efficient, very sensitive about details, wonderful tastes for how music suppose to be placed. I can sense how he's been enjoying in his profession and how he treats music like it's his own. I'll be thrilled to recommend him if anyone is looking for a professional work with beautiful delicate music tastes! That'll be Mark

  • Default-avatar8 months agoby Verified Review

    I would enthusiastically recommend Mark for anyone seeking professional sound mixing work. We had surround sound mix issues for a documentary, and Mark was able to solve our questions intelligently, professionally, and efficiently. Highest rating!

  • Default-avatar9 months agoby Verified Review

    Mark is a real pro. He made my poor sounding recording sound powerful and was able to make corrections I would never have thought could be done.
    He is a great communicator, very structured and quick.
    Highly recommended!

  • Default-avatar9 months agoby Verified Review

    Response time and service exceptionally fast and efficient.

  • Default-avatar8 months agoby

    Working with Mark was a great experience! He is very knowledgeable and has a great ear. On top of that he works very quickly which is definitely a plus. I would highly recommend Mark for your mixing needs!

  • Default-avatar9 months agoby

    Mark strongly enhanced the overall artistic direction of the material by sculpting a beautiful dimensionality, and by bringing out the dynamics and drama. His tremendous technical skill, musical ingenuity, and artistic sense helped my album reach its full potential. He is efficient and a good communicator. Overall a true pleasure to work with!

  • Default-avatar10 months agoby

    Mark is extremely good at what he does. Knowledgeable and efficient, he also has great taste and a finely tuned ear. He's just awesome to work with!

  • Default-avatar10 months agoby

    My composing partner and I worked with Mark on our second film. We are very new to film scoring so we still need a lot of guidance. Mark was not only great at his job - he took the time to educate us about the process. He cares about getting great performances rather than relying entirely on post and he puts story first. A true pro!

  • Default-avatar10 months agoby

    Mark mixed some score cues for a recent film project that I composed for. I was working in Wellington, New Zealand and uploaded my audio files to Mark to mix, in San Francisco. We were on a tight deadline and Mark delivered a stunning job. I was overjoyed with the result
    His keen ear and enviable skill set took my music to a much higher level!

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Interview with Mark Willsher

What's your strongest skill?
I would say the ability to step back from all the minutiae and see the bigger picture. Does the track make me want to listen - does it encourage me to lean in or to step away - is it conveying the artist's intention - is it supporting the storytelling?
What questions do you ask prospective clients?
Can I get any demos you have, as well as conductor scores (if they exist)? and picture (when mixing for film)? I will also have questions about the story, and how you approached writing the music.
What advice do you have for a customer looking to hire a provider like you?
I have found that the ideal way to communicate about music and sound with someone you haven't worked with before, is through examples; which will help lay the foundation for a common language. Without examples the same verbal descriptions can mean different things to different people.
If you were on a desert island and could take just 5 pieces of gear, what would they be?
I would take no gear.
What was your career path? How long have you been doing this?
I played trumpet and piano through college (BMus), which is when I got involved in recording. After college I did a year and half stint at the Banff Centre for the Arts as an Audio Associate working primarily on chamber music and jazz projects, as well as live concerts. Early in my career I had no interest in film music and just wanted to make records. Unexpectedly I ended up working on three film projects back to back in 2002 that took me as a scoring mixer to Moscow and Seoul, and as a music editor to Abbey Road (London) and New Zealand. After that I was hooked and realized that I loved working on films as much as - if not more than - records.
Can you share one music production tip?
If something is bothering you fix it at the time - don't assume you can fix it later.