I mix & master music for post-punk/new wave and rock/indie bands looking to take their music career to the next stage by getting signed to a record label. My background in BBC radio means that my mixes are radio-ready and have been used on commercial releases so, I can help bands produce a mix that will get them noticed. Major artist experience.
BBC and SAE London trained. I am a professional sound engineer with over 18 years experience working both in professional studios (Abbey Road, BBC Maida Vale) as well as smaller home studios and therefore, can help you achieve the sound for your music that currently only exists in your head. I will shape the sound of your recording using EQ, dynamics and effects until you're happy.
I offer a free consultation prior to any booking. I can tell you where I feel your song needs sonic enhancement or even a re-recording of certain tracks. For mastering bookings, my free consultation will offer advice on your mix, if I feel the song could benefit from some mix changes before I begin mastering.
As a mixing engineer, my talents lie with balancing your recorded, arranged and edited tracks into a professional sounding, radio-ready mix. Therefore, the production work should have already been done on any project you'd like me to work on.
Finally, you'll find me very friendly and easy to talk to with a genuine desire to make your music sound the best it can possibly sound.
I am also a full member of the Music Producers Guild and you can find my releases on Discogs here: https://www.discogs.com/artist/469871-Sara-Carter
Send me an email through 'Contact' button above and I'll get back to you asap.
- James Blunt
- Natasha Bedingfield
- Chris Martin
- Kula Shaker
- Maximo Park
- The Doves
- The Maccabees
- Juliette and the licks
- biffy clyro
- The Black Keys
- John Legend
- The Enemy
- Maroon 5
- The Kooks
- The Feeling
- Girls Aloud
- The Wombats
- Ida Maria
- Scouting For Girls
- Lady Gaga
- Imogen Heap
- The Cure
- Crowded House
- Scissor Sisters
- Tv On The Radio
- Richard Hawley
- Beth Otron
- Massive Attack
- The Futureheads
- Duran Duran
- Rod Stewart
- Paul Weller
- Hot Hot Heat
- Zero 7
- My Morning Jacket
- Stephen Malkmus
- The Racontuers
- The Music
- The Organ
- Little Man Tate
- Clap Your Hands Say Yeah
- Kaiser Chiefs
- Regina Spektor
- Seth Lakeman
- Stephen Fretwell
- Ipso Facto
- Sebastian Tellier
- The Cardigans
- The Rogers Sisters
- The Cribs
- Sargasso Trio
- The Editors
- Star Sailor
- Gang Of Four
- Stone Roses
3 ReviewsEndorse Sara Carter
Sara is a wonderful mixing and mastering engineer. She demystifies all aspects of the process in a clear, thorough, and professional manner. Furthermore she listens to every request one can make and isn't finished until you're completely satisfied with the result. Sara is a pleasure to work with and I look forward to working with her again!
Sara was absolutely wonderful to work with and made sure we were completely happy with the master. Her work was incredibly professional for an affordable price. I definitely recommend her if you're looking to bring your recording to the next level!
Sara is very professional and she has made an amazing job!
I was a little bit scared to work distance but she has been there to reassure me. she works she works methodically, and it's very effective! She has made propositions and at the end, I've got an amazing EP, with an amazing sound! Thank you Sara, hope to work with you again ;)
Interview with Sara Carter
Q: What do you like most about your job?
A: I doesn't "feel" like a job
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My MacBook Pro, Focal Spirit Pro headphones, my iPhone (to tether the macbook to for the internet), some sort of solar powered electricity generator, and a second one in case it breaks down! (Ever prepared)
Q: Which artist would you like to work with and why?
A: An artist with great songs that give me goosebumps. I particularly enjoy working with female bands and artists because I feel they are under-represented in the music business and I'm big on promoting the bands I work with, wherever and whenever I can.
Q: What type of music do you usually work on?
A: Usually, it's rock, punk, indie or alternative because that's the music I listen to however, I also really enjoy working with funk 'cos it's groovy.
Q: What do you bring to a song?
A: I love how music sounds because I believe this brings the goosebump factor. My goal is to make the song sound awesome on your hifi, iPhone, laptop whatever.
Q: What's your 'promise' to your clients?
A: It's not finished until you're satisfied.
Q: What questions do you ask prospective clients?
A: Who's your favourite artists? What's your all time favourite song? How long have you been performing? What are your expectations from me during this arrangement? What are your career goals? How are you going to use this song? Can I come to a rehearsal?
Q: What was your career path? How long have you been doing this?
A: I started in the late 90's following a desire to record myself practising guitar, playing along to backing tracks then the recording bug took over. My home studio grew and grew, I had an 8 bus mixing console, outboard effects and recorded to a Fostex 16 track hard disc recorder. In 2001 I jumped into changing career and went to SAE in London for a couple of years then landed the dream job at the BBC in 2003. After 6 years there, I decided to take a break to pursue a different passion (beer!) and have returned in the last couple of years to set up another home studio based around Apple computers, the much talked about pro-tools competitor- Studio One from Presonus and plug ins by Waves, Soundtoys, Fabfilter and many more.
Q: How would you describe your style?
A: Easy to work with, super attention to detail with a relaxed approach. I'm easy to talk to and see the funny side in most things yet I'm very serious when it comes to music and seeking my clients satisfaction.
Q: Can you share one music production tip?
A: Take the time to get great sounds recorded, don't rush it. You don't need expensive gear, just take to time to place the mics so they pick up the best qualities of the instrument as it sounds in the room.