Berklee College of Music graduate with over 10 years experience in the music industry from building music venues, co-creating a music PR company to releasing records and playing guitar for signed artists. I have an in depth understanding of all the various facets of this industry in the UK.
I was put in a conservatory at the age of 3 and haven't looked back! Music is my first love. From understanding what a song needs in terms of production, how to record it and balance it out in the mix to the way it should be marketed, I have done it all in many different genres. I work freelance as a live sound engineer in various venues around London and run my own recording studio, Mattison Studio. Get in touch and let's make some music!
Would love to hear from you. Click the contact button above to get in touch.
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9 ReviewsEndorse Julien Baraness
Julien has supreme knowledge of sound, both in terms of music theory and music technology. I have worked with him on numerous projects and he has excelled as a recording and mix engineer. Not only this, he is super helpful and attentive and a great guy to be around. Highly recommend!
I had the absolute pleasure to work with Julien on various occasions, most resent project being my debut EP as part of the "TVOYA" duo, which he mixed. Julien is super professional and with a great attention to detail, without compromising on efficiency. Very knowledgeable, his advice is always spot on and he will do what's best for the music piece, enhancing what's already there. I will gladly trust him with my next releases, as I'm extremely happy with the results we've got!
I've worked with Julien for over a decade now, at first when he was doing a brilliant job engineering our live shows ... The last few years he has been engineering and co-producing our album in his studio and I've found him to be extremely dedicated, versatile, knowledgable and uber-efficient in that capacity too. Highly recommended.
I've had many sessions with Julien and he's been fantastic every time. Super efficient, professional, very easy to work with and boy does he know his gear! Based in the basement of his beautiful home, the studio has a warm welcoming atmosphere, very conducive to the recording/creating experience! Will 100% be back!
Excellent sound engineer and very talented musician. He's the guy behind "Wanted" by the Five points gang nominated "Album of the year" by Blues From The Ouse.
I highly recommend Julien for his professionalism.
Had the pleasure to work with Julien on lots of different projects, from gigs to studio recording, to mixing, to producing... Can't recommend his skills, knowledge and ears enough!
Worked with Julien numerous times, for both engineering projects and mixing some others. Always really quick, efficient, and a joy to work with. Flexible too, and never left unhappy with my time there. He also engineered and mixed live video sessions shot in his studios for me or other bands I was involved with, always with an ideal result!
Julian ran some mixing lessons for me which I can't recommend highly enough. We worked on a mix that I had recorded going through everything from the basics of fixing phase and gain staging right though to exploring concepts like sound design and the basics of mastering. The lessons were taylored for my track and the topics I wanted to cover. Really great sessions and excellent value!
Always a joy working with Julien! Very professional, shows great attention to detail and his musicianship makes him a great producer. Will undoubtedly go back to his studio as soon as it's possible again!
Interview with Julien Baraness
Q: What questions do customers most commonly ask you? What's your answer?
A: How much will this cost me? I charge a flat hourly fee for all my engineering and production services and base most of my work/time around that, with the exception of online one to one tuition which is more expensive. I do everything to the highest standard I know, so I am happy and confident it's the right thing to do and it allows me to maintain transparency with my clients. If you would like to discuss your project, get in touch.
Q: What was your career path? How long have you been doing this?
A: My career began in 2007 when I was responsible for the backline at the Sporting of Monte Carlo. I learnt how to mic up a stage, patch a console, tune guitars, basses, drums in a short time for some of the biggest acts at the time! This happened the summer before starting my MP&E major at Berklee, which would lay down the foundations for most of what I know today. After graduating, I was offered a job as chief engineer at DAD Studios in Pitfield street. I then moved into the live circuit and went in-house at the Finsbury in Manor House, where I helped in the redesigning and rebuilding of the venue. After 3 years, I started working for JaguarShoes and went in-house at the Victoria in Dalston, here I also assisted in the redesigning and spec'ing of the venue. I then decided to go freelance after 5 years of being in house and worked in various venues around London, following bands on mini tours and keeping some free time to gig as well. In 2017, I started the construction of my own studio, Mattison Studio, and have been combining live and studio sound, as well as gigs with various bands. I have been actively working in the London music scene since 2010.
Q: What type of music do you usually work on?
A: Most of what I work on is songwriter material. I believe this is because you need to start with a great song to end up with a great product. Luckily, I work with talented and original songwriters who have a vision for their music, be it folk, hip hop, rock or reggae.
Q: What's your strongest skill?
A: My strongest skill is the one I am constantly working on: my ears. I have spent years looking after my hearing to make sure I can deliver sonically accurate and competitive products to my clients. Needless to say, they improve with each project delivered.
Q: What's your typical work process?
A: A client shows interest, usually from working with an existing client. The majority of my work is word of mouth. We discuss their project: What are they after? Budget? Delivery deadline? After all this is factored in. I start working. My clients can keep up to date with live streams from Pro Tools via Audiomovers or get a bounce of the work if necessary. As I usually explain my entire process to my clients, they know what to expect from day 1 and are perfectly aware of the standard of work being done. I promote hard work, efficiency, a kind attitude and open mind.
Q: Tell us about your studio setup.
A: I run a concept studio from the basement of my apartment in North London. It's a 32m2 room for which I built all the soundproofing and have acquired gear over the years from reinvesting into the space. I have 16 channels of UA conversion and preamps and use a faderport 8 to have faders under my fingers (this is very important for me). I record to Pro Tools and monitor through a pair of APS Klassik 2020's and use Ollo S4X to check on cans. I also have in ears which I use primarily to get drums sounds. Backline wise, I have a lovely 1976 Slingerland Energizer 690T, Hartke LH1000 with matching 4x10 cab, a Fender Deluxe II, Jet City 50 2x12, fender 90 dsp, a plethora of mics and a slew of plugins and sound libraries that allow me to deliver on most demanding projects.
Q: Describe the most common type of work you do for your clients.
A: Depending on how certain they are about their art, I act as a producer to help shape the music or just focus on engineering if they are entirely certain of the vibe they want to convey and focus more on mic choice, style of preamp and how much I want to commit to the recording process. An 8h day at Mattison Studio goes as follows: I have artists come to the studio and record either live or in overdubs (bit by bit). I then end up doing some editing (unless a take is exceptional in it's emotional delivery!) and mix/pre mix, as well as sometimes master. This isn't usually all done in the same day, but in the case of live sessions, bands have tight turnovers and songs can be recorded, mixed and mastered in a matter of hours. During the harder months of Covid, I was streaming sessions in high definition to my clients and running sessions remotely, this was primarily for comping, editing and mixing, but I have gone back to my more traditional face to face relationship with my clients and find that it works best.
Q: Analog or digital and why?
A: I work entirely in the box, but enjoy and know how to operate large format analog consoles. I like digital for the ease of use and quality of plugins, which have become quite fantastic. I use UAD, Soundtoys, FabFilter, Brainworx, Waves and more. I do not believe one is better overall, but that they are both different and the end goal is making good music. I believe It's more about knowing how to use your tools.
Q: What's your 'promise' to your clients?
A: Every single decision I take with regards to your music is to give you the best possible end result I can.
Q: What's the biggest misconception about what you do?
A: Sound engineers, especially mixing engineers can be asked to fix things. Unfortunately, not everything can be fixed and It ends up being cheaper and faster to put the time and effort into accurately recording and performing with confidence to ensure a good product at the end, while retaining an efficient process.
Q: What questions do you ask prospective clients?
A: What are you trying to accomplish with this project, when is it due and what is your budget? These are fundamental for a good and functional professional relationship.
Q: What advice do you have for a customer looking to hire a provider like you?
A: I know this is in writing, so it's hard to convey someone's true nature, but I want to reaffirm that I am up for challenges and can deliver a high standard of work with an efficient turnover. If my word isn't convincing enough, feel free to ask me for references and client testimonials.
Q: How would you describe your style?
A: I can write, record, produce and distribute music. In sum, making the journey from concept to release with the added bonus of performance if need be.
Q: Can you share one music production tip?
A: Mic placement is crucial. If the sound source doesn't sound good when you are recording it, take the time to move the microphone(s) and capture the source right. Check for phase! Starting from a good clean source makes everything else easier.
Q: What do you bring to a song?
A: I'd like to say I bring my own touch and experience, like all my peers do. So why choose me? Well, I have a desire to learn and get better, so if your project/song presents a challenge, I'm interested and will put all my resources on deck to make the entire experience as good as possible. I bring over 20 years of experience as a musician and over 10 years as a producer/engineer with a degree in Music Production and Engineer from Berklee College of Music. Over this time, I've worn many hats and worked in many facets of the music industry. With the knowledge I have acquired, I can act as a producer and an engineer and hear the greater vision of the "skeleton" of a song, while being comfortable with all the equipment involved. This allows me confidence with regards to what can be achieved.
Q: What other musicians or music production professionals inspire you?
A: As a musician, I look up to anyone doing anything I find outstanding. It goes without saying that I am a huge fan of Jacob Collier (you should be too!). Otherwise, my influences on guitar range from Guthrie Govan to Sylvain Luc, with a profound appreciation for Julian Lage, Pete Thorn, Rick Beato and many others whom I can't start mentioning or it won't end. As an engineer/producer, I admired Andy Wallace from a young age and got into Michael Brauer, Andrew Scheps, Jack Joseph Puig, Tchad Blake, Sylvia Massy, Tony Maserati, Steve Albini, Rick Reuben, Tony Visconti, Quincy Jones and many more. I'd like to thank my Berklee teachers who taught me how to "listen" to music and whose words remain an ongoing source of inspiration, humility and motivation: Prince Charles Alexander, Mark Wessel, Jeff Largent, Jeanine Cowen, Susan Rogers, Mitch Benoff, Andy Edelstein and Richard Mendelson.
Q: What do you like most about your job?
A: I love working with artists who are driven and want to make a difference. Those who are willing to take a risk and make a more original product are always rewarded tenfold, in my experience.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I mixed the Southbank Symphonia (a 64 piece Orchestra) with DJ Mr Switch at Ambika P3, a subterranean venue, in the University of Westminster. This was a world premiere and featured in Time Out as one of the main things to do on the day in London. The concert took place in 2016. I'd like to thank Nonclassical for giving me this extraordinary opportunity and my good friend and assistant Jimmy Logic for helping me with the work load! The day started at 6 and finished around midnight. We supplied a FOH rig, stage monitor for conductor and DJ, mixer and mixed the show alongside the BBC who recorded it. The whole event couldn't have gone better! Doing FOH for an orchestra and a world renown DJ, organised by a contemporary classical label (founded by no other than Gabriel Prokofiev) while liaising with the team of BBC engineers was an honour and the experience of a lifetime to say the least... Thank you!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: My good friend and talented singer/performer, Evan Anderson. If you need a great male voice! Very nice guy, tons of experience and extremely talented. You can trust him with your eyes closed!
Q: Which artist would you like to work with and why?
A: Jacob Collier, just to pick his brain.