Mixing & Mastering

Adrien on SoundBetter

I’ll respect your tracks yet make your music impactful and moving!

Passionate about sound since I was born. Classically-trained musician (concert flute), self-taught extreme metal drummer and guitar player, I understand all music in-depth.
My skills in mixing/mastering were honed through hands-on practice and ever-improving.
For now I only do “in-the-box” mixing and mastering.
I do not offer guitar re-amping at this time.
We can communicate in English, French or German.

Send me a note through the contact button above.

Interview with Adrien

  1. Q: What questions do you ask prospective clients?

  2. A: Where / how did you record your tracks? Can you send me all the stems properly named, logically structured in WAV without any processing applied? Is there any artist you would like to sound similar to? Can you provide me with a sample of the last song of yours where you were fully satisfied with the engineering?

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

  4. A: Be explicit about what it is you want, but if you don't know it's ok, I will make it sound how I think serves the music the best, or "in the vein of" {insert your favorite band name}.

  5. Q: What's your typical work process?

  6. A: - Open tracks in Audacity to check for any unusual peaks or noise. - Import tracks in Reaper - Name every track correctly if needed - Assign relevant tracks to individual buses - Put a final mastering limiter on with 6-12dB of headroom so the limiter does nothing. - Press play and twist volume knobs until I get a rough mix. - From there I will understand what gets muddied up in the mix and start working with compression and EQs. - Start messing around with an SSL mix bus compressor with just -2dB of gain reduction on auto-release. See if it brings something or takes away. - Perhaps I need to stop here before messing up an already great mix. So I take a break and double check on my return if I want to polish anything harsh or breathe life into flat material. Here I will work with macro and micro automations for awhile. - Guitar bus processing without any compression. Usually harsh frequencies can be tamed a bit. Not always, not too much. - Drums bus compression and saturation could be applied now, if not earlier. This is more to keep transients in check to help at the mastering stage. - Bass processing. Depends on the thickness. Usually I want to ensure the bass is glued to the guitars. - Vocals compression, EQing, reverb, de-essing if needed. - Adjust mix bus compression to average at -3dB of gain reduction. - From there I might add mastering plugins like a different compressor than on the mix, tape saturation, clipper, limiters to see how well my mix holds up. Then I take those away and render the mixdown as a 24 bit WAV file. Mastering happens separately unless otherwise specified.

  7. Q: What are you working on at the moment?

  8. A: On an Enslaved - Vetrarnótt cover played and produced entirely by myself.

  9. Q: Analog or digital and why?

  10. A: Digital because more control, cleaner, less can go wrong.

  11. Q: What do you like most about your job?

  12. A: The process of molding sound into shape like a sculptor would with clay.

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

  14. A: It's not about how impressive your gear specs are, how large your mixing desk is or whether your studio floor is mounted on springs or flying through space. It's also not about me really. I'm here to maximize the music's impact so it can be cranked up safely and enjoyed! It's about understanding what the music needs in any context. And this is what I bring to the table: a deep understanding of music from a classical music theory point of view and being a fan of modern music too!

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

  16. A: MacBook Pro, Motu M2, Sennheiser Momentum 2.0 over-ear, Solar guitar A1.6RD Artist LTD

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

  18. A: Firstly I'm an audiophile. I deeply care about mastering quality and am a fan of MFSL editions of classic albums for example. The warmth and clarity is amazing. Been doing this for about 2 years. But as a kid I was already playing with GoldWave to analyze the spectrum and waveform of all my music, digitalizing my parents' tapes, messing up with noise removal, etc. I feel like I've been working with audio software forever. Other than that I have an office job as a software product manager.

  19. Q: What do you bring to a song?

  20. A: Clarity, perceived loudness, punch, preserving dynamics.

  21. Q: Tell us about your studio setup.

  22. A: Studio room is about 22 sqm with basic sound insulation. I know how this room sounds after many years so I get great results in it. - Motu M2 year 2020 - Mac Mini - Reaper 6 - Behringer Truth B2031A - Sennheiser HD650 - Sennheiser Momentum 2.0 over-ear - Premium gold-plated cables everywhere, obviously no bluetooth. - Waves' "Grand Masters Collection" plugins - EZDrummer 2 + Death Metal and Dark Matter sample packs - Line6 HX Stomp - Fortin Nameless plugin - OwnHammer Impulse Responses (Mesa and Marshall cabs)

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

  24. A: I will get the job done to your satisfaction!

  25. Q: Can you share one music production tip?

  26. A: Saturation. Use it.

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

  28. A: Metal

  29. Q: What's your strongest skill?

  30. A: Doing what the music needs and not overdoing it.

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

  32. A: Erik Rutan, Tue Madsen, Dan Swanö, Alan Parsons, George Marino, Rick Beato and many more...

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

  34. A: I am just starting to take this from a hobby to a side-job because I believe what I'm capable of for my own songs should be shared with better musicians than me who want to focus on making music, can't do everything themselves or want to take it to the next level.

Deliberate Trajectory - Aliens Frozen in Time on an Exoplanet in the Eternal Twin Moonlight

I was the composer, player, recording, mixing and mastering engineer in this production

Terms Of Service

Up to 3 revisions. Payment 50% upfront, 50% upon delivery.

GenresSounds Like
  • Death
  • Enslaved
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