Remote Mixing & Mastering

Q: What are you working on at the moment?

A: Several on going sound design projects for sample packs and regular mastering for several labels including Zeca Records, Platform 22, One Night Records and most recently I have secured a contract with new Industrial Techno Label Valhalla Techno.

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

A: It's all just limiting.

Q: What questions do you ask prospective clients?

A: Do you have a required turn around time? Do you have examples of artists you like?

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

A: All types of electronic music, plus some singer songwriter suff.

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

A: I recently had the opportunity to be involved with a short film as a sound recordist, designer and dubbing mixer. It's not often we get the opportunity to have so much control over the sound of a film, so this was a great project to get stuck into. You can also see this on my portfolio at philipdenton.com.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Rob Pennington for mixing!

Q: Analog or digital and why?

A: Either, or, both, sometimes. Analogue can sound great, but it's not necessarily always the right option. I have done some track where I have not been achieving the desired result and there for begin to eliminate parts of the chain. On occasions I have had tracks that sound better when untouched with analogue processing. That's more of an exception to the rule mind.

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

A: I'll make you track stand up to those of your artistic peers.

Q: What do you like most about your job?

A: Hearing new music and giving it that extra something, and having a happy and satisfied client as a result.

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

A: How quickly can I turn a track around! Usually 2 days for up to 4 tracks.

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

A: Make sure you are 100% happy with your mix-downs, and reference it in as many places as possible

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

A: 1 year professionally, 5 years in total.

Q: How would you describe your style?

A: Measured yet punchy, can be aggressive if required.

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

A: Any of the Pole Group guys, such consistently good productions!

Q: What do you bring to a song?

A: I'm always looking for that extra 10% to make a mix polished and shine bright.

Q: Can you share one music production tip?

A: When you are mixing, aim to be peaking around -6db, with the fader at 0. This means mastering engineers have more room to add that extra sprinkle of magic.

Q: What's your strongest skill?

A: Urm, mastering!

Q: What's your typical work process?

A: It' usually a case of running a track through the Sontec and a Avalon Tube Channel Strip, and often some outboard compression. I find the dbx really nice fo giving solid punchy lows. Then it is tracked back into Pro-Tools, and often at this point there will be a little more EQ and compression to sweeten before limiting and getting it to the desired LUFS.

Q: Tell us about your studio setup.

A: We have some really nice analogue outboard gear such as Avalon Vacuum Tube Channel Strip, Sontec 432C Equaliser and Fairchild 660/DBX160 compressors. AD/DA conversion is handled by the Eclipse 384 with Dangerous Mastering Console, all run through Kii3 speakers in an acoustically treated room. The combination of the Sontec and Avalon tube is fantastic and can really lift a track up and make it sparkle whilst also giving it that analogue warmth.

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

A: Favourite artists range from the likes of The Gorillaz, Dizzy Rascal to Ben Sims and Oscar Mulero.

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

A: Mastering, mainly in the realm of house and techno