I'm a mixing engineer/producer, with 20+ years of experience in studios from Spain to Nashville. I've mixed records for Blue Note, Nervous Records, BBE, Midnight Riot, PlayItAgainSam, Lumberjacks In Hell, WePlayHouse, ... I specialise in anything groove related : from house to funk and soul. I provide a solid low-end and smooth mix.
I started out mixing in the late 90's on tape, as a hiphop producer. I released records on Blue Note and BBE. After a short break from the music industry, I moved towards house music around 2015.
I use a hybrid digital/analog setup, combining the best of both worlds. When needed, I can give tracks more character using tube equipment, but also have excellent plugins to keep it strictly in the box.
My setup is centered around Logic Pro X, using select plugins from Softube, Klanghelm, Izotope, TC Electronic.
On the hardware side I use Pultec style EQ's and a variety of compressors including LA2A and 1176.
My monitoring is based on Adam speakers and subwoofer, in a cosy, acoustically treated studio that I know inside out.
I'm not an assembly line type of mixer : I don't use mixing templates and start every new mix from scratch. I also don't believe in rushing mixes, so if you're looking for someone who does the job within 24 hours I'm probably not your guy. I love music, which is why I have a vinyl based audiophile setup in my living room and consequently I can only mix with love and passion, until the mix is perfect.
I consider myself a boutique mixing service, more than a business. I don't accept all projects, if I don't feel the music, there's no use in me mixing it as I won't be able to do it any justice.
Tell me about your project and how I can help, through the 'Contact' button above.
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Interview with krewcial
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: Lucinda Slim's debut EP, inspired by classic and northern soul. I assembled the band, organised and supervised the recording sessions, co-arranged, produced and mixed the record and even started a successfull crowdfunding campaign. The record involved songwriting by Gabriel Roth (from the Daptones) and horns by the Haggis Horns (Amy Winehouse, Mark Ronson). The record changes hands for $100 today.
Q: What are you working on at the moment?
A: Mixing for various clients and pre-producing and recording my new album.
Q: Analog or digital and why?
A: I could very well mix everything in the box, I don't think one is better than the other The reason why I still incorporate analog gear is because of the little variations of analog gear and the ergonomics. There's very little software that allows you to change 2 controls simultaneously.
Q: What's your 'promise' to your clients?
A: That they can expect the same standard of mixing as in every thing I've done before.
Q: What do you like most about your job?
A: Being able to add my experience and background to a person's project. And taking separate parts and blending it into one solid coherent piece.
Q: What's the biggest misconception about what you do?
A: That it's some sort of magic or secret. In all honesty, it's just using your ears, listening to both the music and the client and then practice, practice, practice. There is no final mix, there's always room for an alternate mix, but also a moment when you have to commit.
Q: What questions do you ask prospective clients?
A: What kind of record/mix do you have in mind? Do you want me to just mix this, or give arrangement/production suggestions as well?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Be communicative : let's talk about your project. Let me know what you're trying to accomplish, either by giving me references or talking about some of your favourite records. And secondly : be prepared to commit. In this day and age, it's very hard to commit and very tempting to leave all options open until the end mix. This offers great flexibiity, but also a huge risk of procrastinating and never finishing things. I can help clients to commit, especially if it's a song they have been working on for a long period of time. I can help them see clear again.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Assuming there's electricity on the desert island : Akai MPC 2 Pultec EQ's 1 RNC compressor SE ribbon microphone AKG 712 headphones
Q: What was your career path? How long have you been doing this?
A: I started doing the mixing for my own projects on 4 and 8-tracks, then moved to harddisk recording and mixing. I've
Q: How would you describe your style?
A: I like to blend today's mixing standards and references (especially when it comes to low end) with the way 70's soul and funk were mixed.
Q: Which artist would you like to work with and why?
A: Any gifted artist is a joy working with. There's the big names, but I work with a lot of session musicians without a deal, but who've been honing their skills in their bedrooms or local bands for years and just kill it musically. So that is key for me : people who can play and have original ideas.
Q: Can you share one music production tip?
A: If you have one main loop carrying your song, splitting it up into various versions with low and high pass filters gives you more control over the frequencies. It's perfectly possible to bring out just the hihats or just the low end this way.
Q: What type of music do you usually work on?
A: House music.
Q: What's your strongest skill?
A: As a mixing engineer : a solid low end and a strong mix, without flattening everything and killing all dynamics.
Q: What do you bring to a song?
A: in short : +20 years of experience, a wide knowledge and understanding of all groove-based music. As an engineer, I can detect and solve problems that have to do with frequencies and dynamics. As a producer, I can also bring useful suggestions about song arrangement and structure.
Q: What's your typical work process?
A: I start by importing all files and organizing my session : putting all drums together, followed by bass, instruments and vocals. I'll have a first listen to see what I have to work with and what may be missing. If there's a reference mix, I'll check that as well and make notes. When needed, I'll pass audio through my tube EQ's and/or compression to add a little warmth and analog harmonics. Unless it's a vocal driven song, I usually start with the drums and bass. Getting a first balance and making sure the low end is tight, solid and even. I'll then start adding instruments or vocals, depending on the song. Once I have a basic mix, I'll switch to mono and continue adjusting levels that way. All stereo effects and panning happens in the final stage, when I'm sure the mono mix is perfect. A mixdown isn't a linear process, there's a lot of going back and forth and adjusting small bits during mixdown. I always mix around 85 dB, using a calibrated decibel meter. Occasionally I'll increase the volume to not just hear the music, but also feel what the low end is doing.
Q: Tell us about your studio setup.
A: I use a hybrid digital/analog setup, combining the best of both worlds. When needed, I can give tracks more character using tube equipment, but also have excellent plugins to keep it strictly in the box. My setup is centered around Logic Pro X, using select plugins from Softube, Klanghelm, Izotope, TC Electronic. On the hardware side I use Pultec style EQ's and a variety of compressors including LA2A and 1176. My monitoring is based on Adam speakers and subwoofer, in a cosy, acoustically treated studio that I know inside out. I always check mixes on the second setup in my house, which is a high fidelity turntable setup with a modified A&H mixer, Technics SL1200's, vintage Pioneer amp and full range Jamo studio speakers.
Q: What other musicians or music production professionals inspire you?
A: Russ Elevado Bob Power MonoNeon Cory Henry
Q: Describe the most common type of work you do for your clients.
A: Mixing and producing.