World-class mixing and additional production to make your writing/creative work shine. You know your song needs a special mix. Maybe you aren't sure if the production is quite done, or the timing and tuning need tightening. That's where I can help, honest feedback and advice, additional production tricks and a perfect mix to bring it all together
I was the head engineer at Metropolis Studios in London for 10 years, working on numerous no. 1, top 10, and platinum-selling records, including Grammy-winning 'Damn' by Kendrick Lamaar and Oscar-winning title song 'Glory' by Common and John Legend. Other credits include Pharrel, Rihanna, Amy Winehouse, Van Morrison, Noel Gallagher and many more across all genres.
I am the go-to mixer for The Rolling Stones with their legacy Live shows, I have done around 12 titles covering 4 decades of their career. I also revived the Live to Vinyl technique at Metropolis Studios where a band plays live, I mix live and a mastering engineer cuts live, direct to acetate disk. Credits include Nile Rogers, Moby, TLC, Public Enemy, Kelis and loads more, some for the 'Once in A Lifetime' show are available in the US on Netflix.
All of this has given me a sharp insight into how to grab the attention of whoever hears a song. We are working these days to attract listeners but also playlist curators, music supervisors and advertising executives to maximise revenue streams in this competitive space.
As you may be able to tell from the above I work across all genres and styles. Every song is a new puzzle to me, understanding the intention, presenting the ideas and getting into the ear of everyone who hears.
Get in touch and we can work out how to achieve the most for your music.
Send me a note through the contact button above.
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Interview with Sam Wheat
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. Its perfect harmony for me. If we only had one or the other we would be poorer for it.
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: 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: 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 electroinics 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 becasue there was such a deep understandingbetween 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 Whinehouse, 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.