Live and studio Engineer/Producer living in the midlands
Experienced live & studio engineer offering a range of tracking/mixing/mastering and production services using DAW's or live/studio hardware. Prepared to travel. Rates can be negotiable depending on nature of work required. Most of my listed credits are with live events and live sound engineering/production is my main specialism. However, I bring the same quality-focused approach to my recording and mastering work as well.
Online mixing now available on SSL Duality.
Tell me about your project and how I can help, through the 'Contact' button above.
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Interview with Ceri Jones
Q: Describe the most common type of work you do for your clients.
A: Live sound production/engineering, album post production mixing, mastering, tracking.
Q: What other musicians or music production professionals inspire you?
A: It's a very long list but personal highlights include Henri Sorvali, Rick Rubin, Flood, Terry Date, Andy Wallace, Flemming Rasmussen, Colin Richardson, Quincy Jones, Dr. Dre, Quothorn, Chuck D...
Q: What do you bring to a song?
A: Objectivity -I go into sessions with no preconceptions. Clarity -every instrument sits in its own place in the mix without being overbearing. Co-operation -I work best collaboratively as I believe strongly that it's a two-way process between you and your client/you and your co-writer(s) so if you're looking for a producer that will tell you what to do every step of the way, you're looking at the wrong guy!
Q: What's your strongest skill?
A: Mixing (the whole thing -tracking, dynamics, EQ, mixdown, production touches). I may add parts to the song (or remove sections of existing ones) where necessary but always with a view to preserve/enhance the integrity of the music.
Q: What type of music do you usually work on?
A: I work on a wide variety of music and have probably mixed every genre there is (except classical). My preference is metal but I can work on any style really...
Q: Can you share one music production tip?
A: It's cliche because it's true: Shit in = Shit out. Make sure the sound quality of your initial tracking is the best that it can be before you move further into the process. It may make the initial tracking process lengthier but you and your client will be thankful you invested the extra time at the start.
Q: Which artist would you like to work with and why?
A: At the moment it has to be Henri Sorvali for his metal work. The songs he's written for his main band 'Moonsorrow' are epic in scale and scope. It would be great to get an insight into his process and it's also a great excuse to go to Finland! ;p
Q: What was your career path? How long have you been doing this?
A: 17 years.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: macbook pro, an audio interface, my guitar, my bass, a decent mic.
Q: What advice do you have for a customer looking to hire a provider like you?
A: Feel free to get in touch and ask whatever -there are no 'wrong' questions...
Q: What questions do you ask prospective clients?
A: Do you have an overall sound in mind? What do you wish to do with this? The usual stuff really...
Q: What do you like most about your job?
A: The variety and working with talented people.
Q: Analog or digital and why?
A: Both. Digital for the ultimate control; Analog for the sound and the artistry.
Q: What's your typical work process?
A: Personally, I prefer to go into studios for tracking and do the bulk of the production and mixing at home. My home setup is a PC running Pro Tools 12.x, Cubase 8.5 and Reason (for certain synths) and I also have a Mac with Logic Pro X and Pro tools 12.x. I also have a focusrite Saffire for any tracking that needs to be done at home. If required, any final mixdown touches are done back in the studio I used for the tracking. If working on my client's equipment I will see what can be done with the existing tracks before going to the additional expense of going into the studio. I will take a copy of the multitrack stems home with me in case any ideas occur between sessions and then re-import these back onto their DAW. Once I am finished with the process I will only retain the multitrack stems with the client's consent -otherwise I only keep the stereo mixes.