Grammy-nominated Mix Engineer

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

A: One project that stands out is the Basement Jaxx album I mixed early in my career, which went on to receive a Grammy nomination. It opened my sonic world and pushed me into a broader way of thinking. That was a great milestone for me.

Q: What are you working on at the moment?

A: I'm currently working on Goldie's new album.

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

A: I'd recommend Ross Mixes. We met through Ten87 Studios, where he was based for a while. I rate his work highly. He's a stunning mixer.

Q: Analog or digital and why?

A: Both. Digital can sound warm and full of character, and anologue can sound harsh if it's used badly. I care less about the format and more about using the right tools in the right way.

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

A: My promise is to treat every record with care. I'll be honest about what it needs and work to bring out its strongest qualities. No generic mix style.

Q: What do you like most about your job?

A: Mixing helps me find flow state. There's usually a moment where the technical side disappears and I start to just act intuitively. That moment is still exciting to me.

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

A: Most questions usually come up during revisions. Whether a vocal can feel more upfront. drums can hit harder or certain balance tweaks. I try to understand the intention behind the notes and make sure all the revisions improve the record.

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

A: That a good mix happens in a few hours. Sometimes a quick pass can work, but a detailed mix takes time, perspective and repeated listening on different systems. A lot of the work is in small decisions: balance, automation, tone, space and translation. That's what creates a strong sounding record.

Q: What questions do you ask prospective clients?

A: I usually ask for the rough mix or demo. I'd ask for any relevant references. If there's any specific issues they want addressing. After that, I bring my own perspective to the mix while maintaining the original feel, that's usually why people come to me.

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

A: Choose someone whose taste and approach feel aligned with your music. A good mixer should understand what makes the song special and help bring that out.

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

A: A laptop, UAD Apollo interface, Rosson RAD-0 headphones, McDsp APB and TPI RN1s. That would be enough to work anywhere.

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

A: I've been working in music for around 20 years. After leaving SAE in 2006, I started out recording and mixing artists I met through the group Foreign Beggars, which introduced me to a lot of notable vocalists and producers. That gradually led into more club, electronic and alternative records. One of the first albums I fully mixed was for Basement Jaxx, which went on to receive a Grammy nomination in 2014. Since then, I've worked across a wide range of genres, artists and labels.

Q: How would you describe your style?

A: Intuitive, detailed and expressive. With a focus on being connected to the artist's identity.

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

A: Rosalía or FKA Twigs. They are both forward thinking artists with strong identity. I'm drawn to artists who push sound and performance into new territories.

Q: Can you share one music production tip?

A: Prioritise gain staging. It makes all the difference. Good gain staging gives you better tone, more headroom and clearer decisions.

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

A: I usually work across alternative pop, electronic music, R&B, hip hop, club music and bass heavy records.

Q: What's your strongest skill?

A: My strongest skill is vocal placement. I'm good at making vocals sound clear, natural and emotionally believable, while still sitting inside the production. A lot of that comes down to small details.

Q: What do you bring to a song?

A: I try to get a good understanding of the song and enhance it. Giving each element space and clarity without losing the identity of the record. And bring out the character of what makes a song feel a certain way.

Q: What's your typical work process?

A: I usually start by listening to the demo or rough mix of the track a few times to understand the intention and feel. From there I organise the session and build the mix, usually from the low end and drums up through instruments and atmosphere. Then focusing on the tone and detail of the vocals. Once that's all balanced I'll go back through the mix and add any character and fine detail. I spend a lot of time on tone, depth, dynamics and automation so the final mix feels true to the song and artist.

Q: Tell us about your studio setup.

A: I'm based at Strongroom Studio 9 in London. The room has a warm detailed sound and is set up for mixing, production and vocal recording. I work with Amphion Two18s with BaseOne25, TPI RN1's and Avantone MixCubes. UAD Apollo conversion, and a hybrid analogue chain including McDSP APB, Neve 1073s, SSL G Comp, Kush Clariphonics, Avalon 737, Empirical Labs Lil FrEQ and Zahl EQ. It gives me a fast work flow whilst still having the depth and character of analogue gear.

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

A: It's hard to name a few because I am inspired by a wide range of music and creative approaches. I take inspiration from everywhere, but I'd have to mention Björk, Rick Rubin and Four Tet. People who can move between worlds but also have a strong sense of identity.

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

A: Most of my work is full mix engineering. I also record vocals and other instruments when needed.