My experience ranges from touring in a punk band to co-writing songs with pop artists to mixing country albums.
I am a Brooklyn-based mixing and mastering engineer, and my focus is to provide my clients with a professional, radio-ready production. I started my music career by playing with a band full-time and following the Vans Warped Tour. I realized I was more passionate about creating, writing, and recording music than performing and soon discovered my love for mixing. I specialize in alternative rock, pop/punk, indie singer-songwriter genres. It's my goal to make sure my clients are highly satisfied with their production.
I've carefully assembled a specific 'in the box' setup, so I can mix in several different studio locations. I love a wide sound with everything being clear within the mix; with lots of movement with fader rides to make the song exciting and building up all the way to the end.
Turn-around time on mixing & mastering projects varies from project to project, but typically 5-10 days for the first mix.
Feel free to contact me if you have any questions.
Tell me about your project and how I can help, through the 'Contact' button above.
2 Reviews - 1 Repeat ClientEndorse Charles Iwuc
Charles is always awesome to work with. He is very responsive open to play with ideas to get the best result for your song. He is great at what he does and we will definitely continue to create music in the future.
Charles is great producer everything comes back perfect. Returning back for more songs 100%
Interview with Charles Iwuc
Q: Can you share one music production tip?
A: Have you ever wanted that extra slinky, clanky bass tone? Tune up some fresh Ernie Ball strings and play with a quarter.
Q: What type of music do you usually work on?
A: I tend to work with artists who love that late 90s, early 00s pop/punk sound. Bands that grew up listening to Green Day, blink-182, AFI, Sum 41, Saves The Day. I love working with bands that love a specific bass tone, or snare sound. And for me, it makes the recording process a bit more challenging, but obviously very satisfying to put together their vision.
Q: What's your strongest skill?
A: Song-structure and mixing. I've always been a writer who starts with a formula, and then breaks it. Breaking it is the fun part, and what makes the song memorable. For mixing, I need to know exactly where the artist wants to take their music; radio-ready, low-fi, arena-rock, stripped-down. I like to know which artists my clients look up to or what to sound similar to. It gives me a better understanding of how we want the final product to sound.
Q: What do you bring to a song?
A: I love letting my clients shine and then adding the glossy, subtle elements to their project. The extra notes in a chord that are hidden deep in the mix, or the shiny synths or strings that float left and right in a bridge, or an added harmony only on the third chorus to really make one more layered impact on the artist's idea. I enjoy making each part of a song have its own mood and a chance to stand out (or lay back).
Q: What's your typical work process?
A: I have learned to make spontaneous, executive decisions quickly. Overthinking and spending weeks on a guitar riff or a vocal harmony used to be a downfall of mine, but years ago I realized you must work smart and fast to achieve your end goal. Music creativity can come and go in an instance, and as a producer/engineer I need to be the one to catch everything the artist is trying to paint on their canvas.
Q: Tell us about your studio setup.
A: I currently run a tiny house studio in the US Virgin Islands overlooking the bay called Seagull Studios VI. I'm a minimalist and I record, mix, and master everything "in the box." Analog gear does not hold up too well down here with the salt air, so I've learned to adapt and treat everything digitally.
Q: What other musicians or music production professionals inspire you?
A: The late, great Jerry Finn has and always will be an inspiration to me. He had worked with every pop/punk band under the sun and really set the bar high when it came to getting those classic guitar tones and hard-hitting drum sounds. Butch Vig is also a producer I look up to; he does an amazing job with song structure. He knows exactly when to either make a mellow, low-key bridge or and epic, widened bridge. As for modern day producers, I love Paul Leavitt's wide mixes, and Joey Sturgis' insane metal mixes.
Q: Describe the most common type of work you do for your clients.
A: My most popular work involves co-writing with artists, mixing, and mastering. Taking their demos or voice memo ideas and writing a full song with them. A song can start with juts one melody that's written while walking down the street, and I have the most fun with expanding that one idea and making is something that will mean so much to the artist and soon, their fans.