Mixing & Mastering Engineer

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

A: The project i am proudest of is 'Magic Words' by Aristide (feat. Marlonne), where I served as mixing and mastering engineer. The artists initially approached me with an existing version already mixed by a seasoned producer someone far more experienced than me whom I know personally. Following up on that version brought intense pressure but also an exciting technical challenge Listening closely to the track one specific moment struck me: an acoustic guitar phrase transitioning between Marlonne’s verse and Aristide’s vocal return on my soul is yours.To me, that was the true emotional heartbeat of the record. Instead of merely trying to match the heavy compression or volume of the existing mix, I chose to rebuild my entire mix around that single transition. I take immense pride in this record because it proved that great mixing isn’t about sonic excess, but about discernment: knowing when to trust silence and space at the critical moment

Q: What are you working on at the moment?

A: Right now, I am mixing and mastering a Gospel Hip-Hop album, alongside a series of singles for a local artist duo, entirely produced in house at Studio FOLG (tracking, mixing, and mastering).

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

A: Not at the moment. I prefer to focus entirely on my own production and mixing pipeline to ensure my clients receive direct, cohesive communication and execution with zero middlemen.

Q: Analog or digital and why?

A: The best of both worlds: an uncompromising hybrid workflow Treating analog and digital as competitors is an outdated debate. In modern engineering, each serves a distinct, vital purpose: Digital provides surgical precision, speed, and recall. For clinical notch filtering, transparent dynamic EQ, transparent vocal tuning, and rapid client revisions, in the box processing is unmatched Analog delivers dimension, weight, and organic color. Real transformers, discrete circuits, and hardware leveling impart harmonic textures and a 3D glue that purely digital algorithms still strive to match. My philosophy combines the absolute control and flexibility of digital processing with the sonic authority of hardware inserts. Digital sculpts the detail, while analog delivers the warmth, cohesion, and physical impact required for competitive commercial releases

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

A: My promise is simple: to treat your music with the exact same dedication, artistic care, and technical precision as if it were my own record. You will never receive generic presets or an automated, rushed balance. I commit to honoring the authentic emotion of your performance while elevating it to meet competitive commercial standards Our collaboration is only finished when you are 100% proud to turn it all the way up and release it to the world

Q: What do you like most about your job?

A: What I love most is the exact moment a project shifts from a promising demo into a polished, competitive record ready for commercial streaming.

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

A: "Can you make my track sound just like X artist or X son ?" My answer: Yes, a reference track can be very helpful in establishing a clear sonic direction. I use it as a benchmark, but my main focus is understanding what the artist specifically loves about that reference and tailoring it to fit their own song, rather than simply trying to clone an existing record. 2. "I only have a stereo beat (2-track MP3/WAV) from YouTube. can we still get a commercial sound?" My answer: Definitely. While multitrack stems offer the deepest level of control, a significant portion of modern urban and Afro records are mixed over 2 track beats. I utilize spectral unmasking, Mid/Side processing, and dynamic EQ directly on the stereo instrumental to carve out a clean frequency pocket for your lead and backing vocals. This ensures the vocals sit cohesive and locked inside the record rather than resting awkwardly on top

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

A: The biggest misconception is believing that mixing and mastering can magically 'fix' a poor recording or a weak performance ('fix it in the mix'). No amount of top tier hardware or surgical processing can simulate authentic vocal delivery, un-clip distorted audio, or completely remove heavy room reflections from an untreated bedroom. Mixing isn’t about repairing mistakes; it’s about magnifying emotion, dynamics, and sonic impact. My job is to take a record from 80% to 100%, but that foundational 80% always comes from the source: the artist’s commitment and a clean capture.

Q: What questions do you ask prospective clients?

A: First, I try to understand what the artist wants listeners to feel with their song. I often ask if they have reference tracks and what specifically they like about those references. I also want to know what they already love about their current track, what they’d like to change, and if there are specific elements that are especially important to them. For the vocals, I may ask how they envision them sitting in the production: more natural and upfront, heavily processed, commanding the spotlight, or more blended into the track. Finally, I look at where the project currently stands and what it specifically needs: a full mix, dedicated vocal production, mastering, or something else. The ultimate goal is to have a clear creative direction before we begin.

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

A: Prioritize clean capture at the source: Comp your strongest takes and make sure your recordings are free from clipping, harsh room reflections, or excessive noise. The cleaner the raw tracking, the further we can push the presence, warmth, and depth in the mix. Deliver clean consolidated multitracks. Export your stems as 24-bit WAV files aligned from bar 1 (timeline start), with intuitive labeling. This ensures every minute is dedicated to musical mixing rather than session troubleshooting. Provide your rough demo and clear sonic references. Always include your latest rough mix alongside 1 or 2 commercially released songs you love. It bridges the communication gap instantly, aligning our vision on vocal presence, low-end punch, and overall balance

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

A: Focal Clear MG Headphones: For surgical uncompromising acoustic inspection and critical dynamic decisions MacBook Pro with Pro Tools & Waves plugin suite: The core engine for editing, production, and mixing Antelope Galaxy 64 Interface: For pristine, mastering-grade AD/DA conversion and routing power Neve 1073 DPX Preamp: For unmistakable analog weight, rich transformers, and harmonic warmth Neumann U87 Ai Microphone: The undisputed industry standard vocal mic that captures depth air and character effortlessly.

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

A: My journey started on the creative side as an artist and producer. Very early on frustrated by the limitations of typical home studio tracks, I developed an obsession with audio engineering: understanding exactly what it takes to elevate a raw demo to commercial release standards I have been producing, mixing, and mastering for over 6 years. Over that time, I’ve committed to continuous ear training, mastering Pro Tools workflows, acoustic room design and curating an elite hybrid signal chain (Neve, Antelope conversion, Neumann). Today as the founder of Studio FOLG, I balance hands on vocal production in the studio with remote mixing and mastering for independent artists worldwide. Having sat on both sides of the glass, I understand an artist’s creative vision intuitively while executing it with uncompromising technical precision

Q: How would you describe your style?

A: I would describe my style as warm, punchy, and unapologetically vocal driven.Leveraging a hybrid analog/digital workflow (harmonic Neve coloration and musical optical leveling). I inject analog weight, depth, and character into tracks that were tracked in standard bedroom environments. My sonic identity balances a tight, authoritative low-end (kicks, 808s) with a vocal placed commanding and dead center dynamically controlled, crisp and wrapped in modern spatial depth.

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

A: I would love to work with Burna Boy. Beyond his global influence, his music embodies the absolute sweet spot between rich African sonic heritage, heavy modern bounce and raw, unfiltered vocal delivery. His deep commanding vocal texture is built for the hybrid analog chain I love to push: capturing weight, harmonic warmth and effortless presence that commands attention while letting the intricate, organic percussion breathe beneath it

Q: Can you share one music production tip?

A: Never rely on the mix to fix a weak take or an overcrowded arrangement, NEVER !! The sonic authority of a record is won at the source. a committed performance, precise mic placement in a controlled room, and sound selection where instruments don't fight for the same acoustic real estate. When elements clash in a session, the answer is rarely stacking more corrective EQ, it’s muting what isn't serving the groove, shifting octaves, or re-tracking with the right energy. A great mix doesn't invent magic out of nowhere; it elevates and polishes what was captured with intention

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

A: I specialize primarily in modern urban and Afro genres: Afrobeat, Afropop, Amapiano, Hip-Hop, Trap, and contemporary R&B My mixing and mastering workflow is tailored for records that rely on commanding vocal performances organic groove patterns and hard hitting low end dynamics (808s log drums punchy kicks) I also frequently work on modern Pop and cross genre projects blending acoustic elements with electronic production, making sure each track honors its stylistic roots while meeting top tier commercial streaming standards.

Q: What's your strongest skill?

A: My biggest strength is vocal production and presence: locking the vocal dead-center so it sounds forward, warm, and competitive without ever feeling overprocessed

Q: Tell us about your studio setup.

A: My studio environment is professionally treated and built around a hybrid analog/digital workflow, bridging iconic analog warmth with modern digital precision. Acoustics & Control Room: Fully treated acoustic space featuring 20 broadband absorption panels (Maison Adam & Primacoustic) and 6 dedicated bass traps, ensuring pristine vocal capture, tight low-end response, and reliable monitoring translation Monitoring & Reference: Primary monitoring on Genelec 8050A speakers backed by Focal Clear MG open-back headphones for critical dynamic inspection and accurate stereo imaging Signal Path & Hardware Processing: Neumann U87 Ai microphone paired with a discrete Neve 1073 DPX preamp and tracked/leveled through the Antelope A4-1B optical tube compressor, captured via the high-end AD/DA conversion of the Antelope Galaxy 64. DAW & Control: Pro Tools running on dual Slate Raven MTi2 touchscreen production consoles DSP & In-the-Box Processing: Complete plug-in suites from Universal Audio (UAD), FabFilter, Soundtoys, Auto-Tune Unlimited, alongside surgical processors including Soothe2, Gullfoss, Valhalla DSP, and Plugin Alliance.

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

A: My inspirations bridge the gap between pioneering beatmakers and top tier modern mix engineers On the production and rhythmic front, I draw heavy influence from Timbaland for his boundary pushing groove and bounce, alongside leading African producers like Sarz, Kel-P, and DJ Tunez for their mastery of authentic percussion, organic textures and forward thinking Afrobeat and Amapiano aesthetics. When it comes to sonic engineering and mixing, icons like MixedByAli and Jaycen Joshua set the benchmark for me in terms of front-and-center vocal presence, surgical low-end balance, and delivering the punch expected from major streaming releases

Q: What do you bring to a song?

A: I bring objective perspective, clarity, and musical cohesion. After spending weeks living with a project, it’s completely natural for an artist to lose perspective. My role is to help every single element find its rightful place without ever sacrificing the raw emotion of the song In practice, I focus heavily on vocal tuning, dynamic control, and front-and-center presence, while ensuring the low-end and stereo imaging translate with punch and clarity across all playback systems. Beyond individual processing, my mission is to make sure every technical choice serves the overarching record. The end result is a balanced, dynamic, and fully competitive track from initial mix down to final master, built for commercial release

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

A: I specialize in full song mixing and mastering for Afrobeats, Hip-Hop, R&B, and modern Pop Most of the time, I work from completed productions, whether provided as full multitrack stems or as a stereo instrumental paired with vocal tracks. My job is to give the song a cohesive balance and a clear sonic direction, dialing in the vocals and instruments, dynamics, low end, depth, and spatial balance Special attention is dedicated to vocals whenever they serve as the centerpiece of the track: vocal tuning and editing when needed, dynamic control, presence, creative FX, and seamless integration into the production. I also ensure that the bass, kick, and 808s deliver the required punch while translating accurately across various playback systems. The ultimate goal is to deliver a clean, dynamic, and musical mix, followed by a master that aligns with the song’s creative direction and is built for professional commercial release

Q: What's your typical work process?

A: I start by listening to the song carefully and actively before making any processing decisions. I want to understand its energy, mood and overall vibe first, because that becomes the foundation for the mix. For vocal driven music, I pay particular attention to how the voice should exist within the production. Should it feel upfront and intimate, or more integrated and diffuse within the instrumental? Should the vocal remain natural and controlled, or should we push it toward a more processed and artificial character? I also ask the artist for reference tracks whenever possible and, more importantly, I ask them how they hear their own record. The artist knows the intention behind the song better than anyone, so understanding that vision is an important part of my process Once I understand the direction I want the record to take, the technical work becomes a series of decisions guided by listening. EQ, dynamics, saturation, effects, automation and spatial processing are tools I use to move the song toward that destination not a predetermined chain I apply to every project