Mixing/Mastering Engineer

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

A: Selah - bernice.wav it was my first time attempting a gospel mix, and hearing what I was up against (grammy nominated mixers), I was satisfied with my work, which took a couple months to perfect, with the help of my fellow mixers from the gospel community.

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

A: bernice.wav! she recommended me this website.

Q: Analog or digital and why?

A: I'd always say analog for the tonality. But digital for the convenience. I myself own digital plug ins due to a lack of space and financial ability, but if I had a choice, it would be analog.

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

A: I promise to serve the best I can for your song, and to your needs.

Q: What do you like most about your job?

A: I love seeing the progression of the song, from nothing to a full polished mix, and seeing my client's reactions.

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

A: Mixing is easy, and it doesn't require any creative skill. While mixing is mostly technical, the best mixers out there have a creative aspect as well in adding various FX to various sections and often suggesting certain changes to the artists/producers.

Q: What questions do you ask prospective clients?

A: What are you music inspirations? What do you listen to on a daily basis? What are you looking for in releasing music?

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

A: Know what you want, and don't be afraid to be specific and picky. the more you know what you like and want, the easier my job is, the better your music will sound.

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

A: I came from a diploma in music and audio technology, then moved onto internship at EBX, one of the biggest backline/show production companies in the country for 6 months, then freelanced with them for about a year. At the same time, I've been freelancing on the studio side, mixing for various small local artists like bernice.wav, and helping out my juniors in their projects. I would like to pursue my mixing career at Berklee, and make my mark and connections there.

Q: How would you describe your style?

A: I would consider myself flexible. I can work with a range of genres, orchestral to metal, and I'm always learning more about each genre to better my mixing skills.

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

A: Dave Ghrol. His music (foo fighters) has always been a part of my life and I'd love to be able to mix for him one day.

Q: Can you share one music production tip?

A: Mixing wise, mix with your ears and not your eyes. If it sounds good, it sounds good, no matter what the attack/release/input/output is on your compressor, or how thin the Q is on your EQ at whatever range. Trust in your ears, and always get a second opinion.

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

A: I usually work on rock/heavier type of music, but recently I've ventured into gospel and folk, on the smoother side of things.

Q: What's your strongest skill?

A: Mixing and professionalism. I always strive to put the best out for my clients, no matter the pricing.

Q: What do you bring to a song?

A: I bring a level of professionalism and character to a song. I always try to put the music first and go with what the artist had previously, and what the artist is looking for.

Q: What's your typical work process?

A: After getting information from the client about their wants on their songs, I study the production demo and the references, pointing out what would fit in, what the client wants specifically (i.e. if the references fit the style they're looking for), and any specific FX that the client might have had in the production demo. I then study the references and similar artists to find out the sound that I'm looking for. Then I start mixing at a high volume, with all tracks at negative infinity, then bringing them up one by one, this helps me avoid peaking. I start with balancing with just volume faders, then finding out any sections where the track is slightly louder than the average loudness of the track, and bring down the gain of that specific section. This helps me avoid unnecessary automation near the end mix. After that I go with tonality, then spacial FX, constantly referring back to the references provided by the client. At the end, I ensure that the mix doesn't go above -6dB to give headroom for mastering.

Q: Tell us about your studio setup.

A: I have a home studio setup with a pair of Adam Audio T7Vs, in a semi treated room. I also have a pair of Beyerdynamic DT770s for referencing, and StealthSonics' U2 in ear monitors. My primary DAW is Logic Pro X, using Waves plug ins and a variety of sample libraries such as Keyscape, Albion One and Amplitube amp simulators.

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

A: Ruper Neeve, Chris Lord Alge, Dave Ghrol, Young The Giant

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

A: Audio mixing for Singles and Albums.