Tuning - Mixing - Mastering

Q: Can you share one music production tip?

A: Layers of compression are nearly always more transparent than one compressor slamming away. Not uncommon for a lead vocal to see 4 compressors before it hits my mix bus. The first one on the channel with the most aggressive Attack and release settings (fast release is your secret weapon here), and then more gentle compressors doing less reduction as it goes through the bus's, blends with BV's, and off to the mix. That will make it more consistent to deal with and help you sit it in the right spot.

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

A: If I was recording there is only 1 microphone for me U47. Gear wise... Distressor, Pultec eq, Fairchild! Neve console... Basically, everything that would die in 5 seconds of desert island heat

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

A: Really it's all sorts. Usually a vocal as the centre piece, somewhere between pop, indy and EDM.

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

A: All of the Live To Vinyl sessions. They were the biggest challenge for me. Having Nile Ridgers on the floor and counting down the clock till he played and I mixed as it was being cut to vinyl is a trip. Maximum preparation, maximum pressure, maximum satisfaction.

Q: What questions do you ask prospective clients?

A: I always ask for references to open the conversation of the sound we are going for. I find it's the best way to understand the thought process from the get-go. It helps me to lock into what they love about music and usually starts a conversation about the different elements. It's a crucial step for me and I love hearing what people come back with. Sometimes they apologise because it's 3 totally different tracks... The drums form this one, strings from this, and vocals from this... but I can totally get the picture from that. It nearly always makes sense because the music is the common language and you can piece together their process.

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

A: Be self-critical of what you have done. It really is worth spending money on a great mix, it will multiply your hard work. But listen to other artists in your genre, have you put as much thought into the composition or sounds or playing as the people you admire. Is there any little trick they have done that is the icing on the cake?

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

A: I worked in my first studio when I was 16, from small town to big city over 20 odd years, learning each one as I go.

Q: How would you describe your style?

A: Upfront and personal

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

A: Beck I think, just an innovator and I love his take and style. One of the first artists I truly got into on my own.

Q: Analog or digital and why?

A: Both are essential for me. Analogue is how we get it in, digital is how we organise and make sure we get it out. It's perfect harmony. If we only had one or the other we would be poorer for it.

Q: What's your typical work process?

A: Varies a lot, but it usually starts with hearing the music in the state it exists at that moment, then getting into some philosophical questions about where it should go and what purpose it serves for the artists. Where the artist is at, where the song fits into that, how it should move forward. Then it is a matter of executing that, maybe adding some parts, maybe taking some away, or revisiting some. Then mix and work together to complete.

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

A: I'll get it right for you! I love the collaboration and I want to know about your vision, I have loads of experience in what works and what doesn't, and I have the technical skills to make it sound amazing.

Q: What's your strongest skill?

A: I'm pretty good at getting to the bottom of a problem and handling it sensitively. Band or artist dynamics can be complicated and I think it is one of the roles producers have played throughout time. Mediating all the creative brains that exist in a production.

Q: What do you bring to a song?

A: Apart from experience mixing all sorts of music, an honest and informed perspective on what works and how to make the most of opportunities that exist out there.

Q: Tell us about your studio setup.

A: I was in the big studio system for a long time, working 80 channel consoles and sessions with 40 or 50 mics on the floor. It's really tiring coiling all those cables! haha, No I keep it simple for mixing. I have some choice bits of outboard gear that I run through or print back into ProTools. Urei compression, API EQ, some crazy Russian delays, filters and so on. I have some amazing v72 pres that I had wired into a box with some clever electronics so I can run anything through them. Sometimes stems or the whole mix,

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

A: So many... I love big sounds with intimate performances, if that makes sense? Neon Bible by Arcade Fire is a favourite, produced by the band, working closely with engineer Marcus Strauss and then getting Nick Launey in at the later stages to sit in on sessions and mix the whole thing. Seems like a great inclusive approach using everyone's skills. The record sounds epic and intimate, and I think that was because there was such a deep understanding between everyone involved. I love it. Other producers I love are Daniel Lanois, Rick Rubin, the gods of the game, basically. Mix engineers, Tom Elmhurst has mixed so many of the records I love, Amy Winehouse, Bowie, Beck... Really great mixes of amazing songs... when the two collide, well, that's what we are aiming for. Artists right now, I'm a bit in love with Dua Lipa, I love her dark pop sound and kind of disinterested vocal, the productions are all so cool, either big and dark or really bouncy, but she ties it all together and it all fits. Also love Banks for taking pop to the outside, making weird ok. I could go on but you get the idea, I love it when everything works together, the results are magic

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

A: Mostly I mix, sometimes I master if that works for the project, plus I quite often add programming and production to finish up songs. Lately, I have been collaborating a lot and co-writing as well, for artists to release but also for library and sync opportunities.