Record Producer & Mixer

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

A: Rye's first EP. She came in with guitar and vocal ideas and together we built a sonic landscape that expressed her emotions in ways only sound can. It put her on the map and listening back now it feels like a time capsule - a perfect snapshot of where she was as an artist. I'm really proud of that one.

Q: What are you working on at the moment?

A: An early Green Day style record, an 80s influenced record, and a handful of singles for a garage rock band. Loving it all!

Q: Analog or digital and why?

A: Both - whatever gets the job done. But I've never been able to fully recreate the magic of having my hands on a piece of analogue gear. There's something that happens in that signal chain that you can hear and feel, and it consistently delivers something closer to the records I love.

Q: What do you like most about your job?

A: When artists don't believe what's coming out of the speakers. That moment when they realise they've made a record that stands up against their favourites is really amazing.

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

A: Can I get it for cheaper? And my answer is always the same - you get what you pay for. I want the people I work with to grow, and I always do my best to help them get their music in front of the right people. But quality costs, and it shows in the result.

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

A: That anyone can do it. Sure, we can all make music - and they're not entirely wrong. But the client is paying for expertise, taste, and compatibility. Experience dictates taste, and the collection of sounds, instruments and instincts a producer brings is what differentiates one from another. Knowing your room and your gear, and having years of sessions behind you, makes a difference you can hear.

Q: How would you describe your style?

A: Emotionally led and sonically considered. I'm obsessed with space, tension and release - making sure every element earns its place in the mix.

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

A: Olafur Arnalds. I would happily sit at the back of the room and just take it all in. Everything he does has that magic quality!

Q: Can you share one music production tip?

A: Keep referencing and listening. Step away from the project, come back with fresh ears, and find new perspectives. The longer you stare at something the harder it is to hear it clearly.

Q: What's your strongest skill?

A: Helping people articulate themselves through the mood of their music. A lot of artists know what they feel but struggle to translate that into sound.

Q: What do you bring to a song?

A: An eclectic musical taste and a deep sensitivity to emotion, tension and release. I worked with Rye, an artist from Lithuania, who came in with guitar and vocal ideas and together we built a total sonic landscape around her - expressing her emotions in ways only sound can. That's what I'm always trying to do.

Q: What's your typical work process?

A: Everything starts with a call. We'll build reference Spotify playlists together and make sure we're genuinely on the same page before anything gets recorded. Throughout the project there's lots of communication - sharing drafts and mixes at every stage. When we're close to the finish line we'll often jump on a call with a stream running and finish things together in real time.

Q: Tell us about your studio setup.

A: Blast Recording is a professional studio housed in a converted Victorian glassworks in Newcastle, designed by the team behind Abbey Road and Real World. The control room is built around an SSL AWS 900 console with vintage Neve and Chandler outboard, and the live room is suited to full band tracking. The mix suite runs Adam S3As with a Bricasti M7 and a broad selection of characterful outboard. We love collecting and are always looking for rare pieces of equipment to take everything to a more unique level.

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

A: Olafur Arnalds and Flyte - you can feel them in their music. Production wise, Andrew Sarlo and Shawn Everett are my two biggest inspirations, both for their approach to mood and their willingness to experiment.

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

A: Mark Broughton!!

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

A: We will make it sound like you.

Q: What questions do you ask prospective clients?

A: What are your goals? What motivates you to create music? Who did you listen to growing up? What plans do you have for the release? The answers tell me everything I need to know about where we're heading.

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

A: Really get to know the producer you're considering working with. Don't rush in. You have to be sure you're on the same page creatively before any work starts - the relationship is as important as the result.

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

A: Laptop, UA Interface, Keyboard, Guitar, Headphones.

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

A: About 15 years. I was self taught as a producer while completing a classical music degree and working in studios simultaneously. I went on to do a lot of sessions with the BBC and spent years developing relationships with labels and artists across the UK. I became studio owner of Blast Recording in 2025.

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

A: I tend to work on anything 'Indie': Indie Rock, Folk, Pop, Classical - anything interesting!

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

A: The most common projects I work on are full productions, often starting from a melody or demo from the artist and building everything around it. This typically involves an back-and-forth process - I'll develop an initial demo, share it, and we'll refine the direction together until it feels right. I then mix the finished record myself. A lot of this work is done remotely, which works well once we've established a shared sense of direction. Where the music calls for it, I'll bring in session musicians to add live elements.