Club-Ready Mixing & Mastering

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

A: I’m obviousl very proud of the work I’ve done as part of Stanton Warriors, helping to shape and evolve breakbeat and bass music over the years. We always aimed to bring something fresh to the scene, blending underground energy with strong songwriting and production values. It’s been amazing to see those tracks connect with people around the world and stand the test of time.

Q: What are you working on at the moment?

A: At the moment I’m working on a bunch of different things - client mixes and masters, new Stanton Warriors tracks, solo material as YARDWRK, and mentoring producers through PEAK Producer Training. I like keeping things varied, it keeps the creativity flowing and always feeds back into my mix work. I’m also exploring game audio and interactive sound design, learning tools like Wwise and FMOD, which has been a great way to expand my skills and bring fresh ideas into my production and mixing approach.

Q: Analog or digital and why?

A: I love both for different reasons. Analog adds personality and vibe, it can make a sound feel “real.” Digital gives me control, flexibility and instant recall, which is vital when collaborating remotely. The truth is, analog emulations have become so good now that it’s often hard to tell the difference, and I find myself mixing digitally with an analog mindset most of the time. That comes from years of working with hardware and always chasing that warmth, depth and musical feel in every mix.

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

A: My promise is simple: you’ll end up with a track you’re proud of. I’ll work closely with you, take feedback on board, and keep refining things until it feels right. It’s a creative process, and I’m committed to seeing it through until we get there together.

Q: What do you like most about your job?

A: Honestly, just being able to work on music every day. It’s a privilege to help artists realise their vision, to take something raw and make it sound finished and powerful. There’s nothing better than hearing that final version and knowing it hits exactly how it should.

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

A: Most clients ask about turnaround times, revisions, and how best to prepare their files. I always let them know that clear communication and good organisation make the whole process smoother. Once I have everything I need - stems, references and notes - I’ll usually turn around the first mix quickly and then refine it together until it’s perfect.

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

A: A lot of people think mastering can fix everything, it can’t. The mixdown is where the track really comes to life, and even before that, it’s all about solid production choices. Mastering just adds that final bit of polish to something that’s already working.

Q: What questions do you ask prospective clients?

A: I always start by asking what music and artists they love. The more references and inspirations I have, the better I can understand what makes them, and their sound, tick. I’ll also ask what they like and don’t like about their current mix so I know exactly where to focus. It’s all about getting on the same wavelength creatively before I touch a fader.

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

A: Share as much info as you can about what you love, reference tracks, vibe, energy, even what you don’t like. The more I understand your taste, the easier it is to hit the mark. And don’t worry about trying to “fix” everything before sending it, just give me your best version and we’ll build from there together.

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

A: I started out on guitar at 11 and spent my teens playing in bands, learning bass, drums and keys along the way. By 18 I’d taken Grade 8 Classical Guitar and went on to study Popular Music & Sound Engineering in Manchester. Around that time I discovered the UK’s thriving Acid House scene and got hooked on electronic music. After moving to London, I worked my way up in a commercial studio in Camden — from tea-boy to house engineer in three years — before freelancing at some of the city’s top studios. There I worked with pioneers of the UK Garage scene (Tuff Jam, Spreadlove) and began producing in my own right, which eventually led to forming Stanton Warriors. Since then I’ve spent nearly two decades touring globally, producing, remixing and collaborating with some of the biggest names in dance music — while also mixing and producing for hundreds of independent artists along the way. That journey has given me both the technical depth and the creative instinct I bring to every project today.

Q: How would you describe your style?

A: Not an easy one to answer but If I had to, I’d describe my sound as dance music with groove, weight and personality. I love punchy, characterful mixes that hit hard on a system but still have vibe and emotion. For me, it’s all about that extra something, the x-factor that makes a track stand out from the crowd and hold up over time.

Q: Can you share one music production tip?

A: Don’t overproduce. Arrange for impact. The difference between a demo and a record often comes down to energy flow, not just sound quality. Think about dynamics, tension, and release. Give the listener a reason to stay engaged every 8–16 bars.

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

A: I mainly work across dance and electronic music. Everything from House, Deep House, Breaks and Bass Music through to Garage, Leftfield Bass, Indie Dance. I love projects that push those genres into new spaces, whether that’s underground club tracks or crossover electronic pop.

Q: What's your strongest skill?

A: I’d say my strongest skill is being a good collaborator. I really enjoy working with artists to understand what they’re going for and then helping bring that to life. Every project’s different, so it’s about listening, adapting, and adding value without ever stepping on the creative vision.

Q: What do you bring to a song?

A: I’ve spent over two decades on both sides of the booth - producing in the studio and testing tracks on some of the biggest dancefloors in the world with Stanton Warriors. You quickly learn what makes people move and what falls flat. That experience has given me a real feel for how to make music connect, not just sound great technically, but feel right. That’s what I try to bring to every project I work on.

Q: What's your typical work process?

A: The first thing I do is dig into the references. They tell me so much about what the artist wants to feel from the final mix. Then I’ll go through the rough mix and map out what needs work, maybe it’s tightening the low end, balancing energy between elements, or adding width and excitement. The goal’s always the same: take what’s there and push it to its full potential without losing the original vibe.

Q: Tell us about your studio setup.

A: I learned to write and mix using hardware, but these days I work about 98% in the box, centred around Ableton Live with UAD, SSL, Slate, Kush, and Plugin Alliance for analog warmth and tone, and FabFilter, iZotope, DMG, and Oeksound for modern precision and control. I also jump into Logic, Studio One, or Pro Tools when a project calls for it - whatever keeps the workflow fast and creative. For hands-on character, I’ll reach for my E-mu SP1200 for drums or a few analog synths (Sequential Pro One, Jupiter 6, Juno 106, Korg MS-20) to add texture and depth.

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

A: I’ve always been inspired by artists and producers who blur the lines between genres - people like Prince, Daft Punk, Massive Attack, and Burial. They remind me that great production isn’t just about sonics, it’s about emotion, identity and taking risks. That mindset still drives everything I do in the studio.

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

A: Most clients come to me for complete mixdowns that also include production enhancements, things like fine-tuning drums, bass and transitions to give the track more energy, depth and clarity without losing its original vibe.

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

A: (Assuming a big ass solar panel is a given!) 1. Acoustic Guitar 2. my SP1200 3. Laptop 4. Focal Monitors 5. my sample library