Mixer, Producer and Engineer

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

A: I am always pleased and proud of whatever I am working on. Recently I engineered (and co-wrote and co-produced some tracks) an album for Louis Franck, in which the music is to be used as part of an art installation. I love how the music transformed and takes the listener into different spaces and moods.

Q: What are you working on at the moment?

A: Mixing a live concert mix project for The The, which was recorded at the Royal Albert Hall. It was also filmed, so will be mixed in surround. A great project to work on.

Q: Analog or digital and why?

A: Both. They are all tools, depends what the job is and what is available to me. When I am recording and producing I love analogue equipment for many of the sonic qualities (plus happy accidents) and committing to sound and digital is great for editing. When mixing I find digital great for work flow, particularly in regards to speed of mix recall and tweaks and trying ideas.

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

A: I’m on your side. I will work as hard as I can to make your dreams a reality. The project is done when you are satisfied. It’s your music not mine.

Q: What do you like most about your job?

A: Listening to interesting sounds and music and people. Meeting people and seeing people pleased and excited as their music comes to life, also how different people work.

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

A: How long will it take? Typically a day a mix is what I aim for although the day might be split over two days if the song is a big track.

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

A: That the same process will work for every project. Just because a process or trick worked once, doesn’t mean that it will work for everything or every time.

Q: What questions do you ask prospective clients?

A: I ask questions that relate to the clients expectations and aims. I try and ascertain the client’s level of technical understanding and dialogue. I like to understand client’s influences, the processes and people that have been involved prior to my involvement. If possible I ask to hear a few songs that the client thinks are useful or relevant examples of music that they like. As well as usual deadline related questions, such as what files I will be receiving and expected to deliver etc At end of day it’s not my music, I am there to make someone else’s vision come to life and to make it sound better. I have respect for the people and music that I work on, whilst maintaining minimal ego myself. I see myself as an enabler

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

A: Communication! It’s key. Talk to me, send me examples of music you like (or even dislike), so that we can start to understand each other. Also, if I am mixing, be clear on expectations of me and the music and ensure the production is complete. I often suggest starting by mixing one song and then go from there to see if we are both on the same page before committing to an entire project.

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

A: Kettle. Electric toothbrush. Protools rig. Monitors. Computer.

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

A: As a teenager my Grandfather and myself, built an electric guitar, which got me hooked on the different sonic possibilities and sound making. I got a place on a music tech degree course. After completing this music course I got a job working in a TV post production house as the runner, from there I got a job working for Miloco studios, as the runner, then worked my way up to assistant engineer, then engineer. Working at Miloco gave me the opportunity to learn from many producers and engineers. As well as use various types of equipment and studios, large tracking studios, large format mixing studios, writing rooms, Neves, SSL, API’s … During this time, I worked for Craig Silvey for a year (Arcade Fire, Goldfrapp). Then went freelance in 2012.

Q: How would you describe your style?

A: Thoughtful and considered.

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

A: Talk Talk. I would have loved to have been involved in any capacity. Their music has so much space, tension, melody and drama. They have a great combination of ‘Hits’ and ‘Albums’. ‘Spirit of Eden’ to me is a sonic masterpiece.

Q: Can you share one music production tip?

A: Take regular breaks to maintain a sense of perspective and listen to other music for respite and inspiration. Also, try and be as prepared as possible.

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

A: Variety is key to me and I am open to working on any type of music. I feel that I have the skills and experience to work with most genres and styles . I have worked on a lot of more unusual projects, such as sound and music for art installations, Radio show, Sound design and live broadcast related projects. My CV spans a lot I have a lot of experience with Bands and electronics and the combinations of the two. Both in dealing with people, personalities and the processes and procedures that are often involved when working with a band.

Q: What do you bring to a song?

A: A fresh perspective and overview. I aim to ascertain what the core of the music is and re-enforce it by adding and enhancing clarity, drama, excitement, focus and space to elements as necessary.

Q: What's your typical work process?

A: When mixing the first thing that I do is listen to the rough mix of the music that I am meant to be mixing and any reference tracks that I have been given. I do this to try and gain an understanding of what elements of the reference/monitor mix are important and also to familiarise myself with the song. I then make notes on the arrangements/structure of the music and quickly assess what aspects/elements of the music may need attention, also aspects that I think are really strong, plus any questions that I may have. Next I import the multitrack and do any necessary housekeeping, such as organising my Protools session into a clear (colour coded), logical and ergonomic manor and check I have all the audio files that I am meant to have. Then I start mixing … I initially aim to make a working balance of the song using just pan positioning and volume levels. I then start to add, Eq, Dymanics and processing, effects and automation to bring the song to life, add excitment and create definition between sections and drama and movement. As a rule of thumb, when EQing, I tend to cut rather than boost. Then I send a test mix to client for feedback … from there I make required tweaks and revisions.

Q: Tell us about your studio setup.

A: My studio set up is based around a Protools system, with a Universal Audio interface and various plugins. (Izotope, Soundtoys ,UAD, Valhalla, Waves,). Plus a few analogue reverbs and delays. Monitoring wise I use Genelecs speakers, Grado and Beyerdynamic headphones and a domestic speaker dock (to hear how the mix is really going to sound). I work between many commercial and private studio set ups, so my aim for my setup is to be as reliable and compatible with other professional facilities as possible.

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

A: I am a huge fan and have much appreciation of producers, artists and mixers who create music with great arrangements, space, texture and impact. Notably: Talk Talk / Mark Hollis, Blondie, Chemical Brothers, Drake, Jeff Lynne, Angel Olsen, Pink Floyd, Daft Punk, Alan Moulder, Billie Eilish, The The, Pulp, Sharon Van Etten, Gus Dudgeon, Erol Alkan, Pulp, Chris Thomas and Tony Visconti.

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

A: Engineer, Mix and Produce commercial music and sound (also, audio archiving and restoration).