Mixing, Mastering & Production

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

A: I have been producing music since I was 10 years old. I primarily produce music for self-released compositions but have also made compositions for brands and companies when I was working in D&H Blurb (Advertisement Agency). I have a Music Production Certificate from 'Sri Aurobindo Centre for Arts & Communication' and I'm currently pursuing a Bachelor's degree in Sound Engineering at Catalyst Music (Funkhaus Studios).based Berlin, Germany

Q: How would you describe your style?

A: My style is straight to the point and I try to achieve not only what the client desires but also make creative suggestions on what may enhance the composition.

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

A: I would love to work with FKJ (French Kiwi Juice). His understanding of music and dynamics is extraordinary and the mixing and recording decisions he takes are very well conveyed. He also has a great sense of harmony and this plays a huge role in voicing and making space for elements to sound good especially in terms of dynamics.

Q: Can you share one music production tip?

A: Make sure you have a clear understanding of what elements need to be highlighted and what elements are complimenting the composition. This ensures that you're not confusing your listeners by asking them to focus on too many elements at the same time.

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

A: I specialize in electronic music such as House, Dance, Drum & Bass, Trance, Techno, IDM, Glitch Hop and many more but I also have plenty of experience with R&B, Soul, Pop, Jazz, Rock, Rap, Hip-hop and Metal.

Q: What's your strongest skill?

A: My strongest skill is attention to detail and having well trained ears.

Q: What do you bring to a song?

A: With over 15 years of training my ears to understand the depths of mixing and mastering, my main goal is to achieve clarity and to ensure that the dynamics of the song are well balanced and to highlight elements of the song which give meaning and gravity to the composition while keeping in mind the client's creative direction.

Q: What's your typical work process?

A: Firstly, I like to gauge exactly what my client is looking for and get a deep understanding of the aesthetics and final product that the client desires. This is in my opinion one of the most important aspect of a Mix & Master project and having good clarity about this saves not only time for the client but also ensures that I'm able to deliver what the client is looking for. Secondly, I love to work in an very organized manner so that if any changes or adjustments must be made later on, I can be efficient and have a clear understanding of the project. So this involves good labelling, a clean playlist with defined edits, a simple and understandable effects chain and notes on any creative changes that may affect the aesthetics the composition in order to make it sound better and match what the client is looking for and keep them informed of these changes. Thirdly, during the session understanding why certain mixing decisions were made by the client and understanding the context and desired character of sound so as to avoid disrupting the client's creative mixing decisions. But this also involves suggesting certain mix decisions that could potentially enhance the composition but weren't necessarily perceived by the client initially. The focus of this point would be on having a great understanding of dynamics.

Q: Tell us about your studio setup.

A: I mostly work digitally, but I have access to the prestigious Funkhaus Studios in Berlin as a Catalyst Student. This gives me the ability to use equipment such as the SSL Origin, Audient 8024 24 channel analogue desk with automation – 48 channels on mixdown, Trident 88 Classic 24 channel analogue desk, numerous control surfaces for mixing with DAW. Speakers such as - Kirsch Audio SQ8, HEDD Audio Type 30, HEDD Audio Type 20, HEDD Audio Type 07, HEDD Audio Type 05, Yamaha NS10, Eve Audio, ADAM, PSI Audio. And Studio Hardware like the SPL Iron Mastering Compressor, Aurora Audio GTP 8 Mic Pre, Universal Audio LA-610 MkII, Smart Research C1 Bus Compressor, Empirical Lab EL8x DISTRESSOR, DBX 160 A, Drawmer DL441, SPL Transient Designer, Kush Audio Electra, TC Electronic Firework, plus 20 different bookable hardware FX.

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

A: I'm inspired by artists like FKJ, Tom Misch, Ian Kirkpatrik, Skrillex, Deadmau5, Haywyre, FINNEAS, Mr. Bill, Martin Garrix, Brasstracks, Masego, Thundercat, Kaytranada, Quincy Jones and Charlie Puth to name a few. In terms of Sound engineers, I personally have the privilege to learn from Ciaran O'Shea who has worked in a number of prestigious studios such as Sound City (L.A.), Park Gates Studios, (England) and with industry big hitters such as Sylvia Massy (Tool, Prince).

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

A: I have primarily do Mixing & Mastering for my clients but I have also written, composed and produced complete musical compositions for clients when I was working as the Music Director at D&H Blurb which was an Advertisement agency.