Broadcast Quality Mixing

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

A: I worked as the mixer for the latest James Frankland album entitled "Fates Right Hand". This is an instrumental guitar album. I began my musical journey as a guitarist so this felt very nostalgic for me. James is heavily inspired by Hans Zimmer so I was able to connect with James and deliver the final mixes he had envisioned.

Q: What are you working on at the moment?

A: I am currently mixing orchestral arrangements of Disney's "The Little Mermaid".

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

A: Your music will reach the high standards expected for broadcasting.

Q: Analog or digital and why?

A: If I was to pick one I would go for digital. Digital mixing has come on leaps and bounds of the last few years and the equipment has become so advanced that it is indistinguishable from the original hardware. This allows me to keep my over heads down and charge a fairer price.

Q: What do you like most about your job?

A: I enjoy meeting new people and getting their music to live up to their expectation's.

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

A: A common question is "can I program orchestral instruments?" Yes I can and to save time I will ask for the midi if it is available. Another commonly asked question is " Do I offer discount bundles for mixing and master?" Yes I do. If I can get as much info about the project as possible we can discuss this further.

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

A: I run a small modest studio and I often think people don't see it is as legitimate studio. I am not interested in accumulating gear and having lots of equipment lying around. If I don't use it I sell it. This had left me with work environment that doesn't look like a traditional studio.

Q: What questions do you ask prospective clients?

A: I ask many question's but the questions below are most common. Is the music for a particular purpose? Who inspired it? Is there any reference material I should hear? Do you need alternative mixes?

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

A: Provide as much detail about the project as possible and there are no such things as bad questions.

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

A: I would take a Mac Book Pro, Headphones, an SSD, my phone and some kind of GPS.

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

A: I started out as a guitarist in 2004 and went on to play in multiple bands as well a theatre productions. I eventually decided that I wasn't interested in touring anymore and I wanted to begin writing music for TV's. To do this I became a library composer and this is where I started to hone my skills in audio production. After receiving multiple placements in shows around the world this caught the interest of my peers and I began offering my services as a mixing and mastering engineer to them.

Q: How would you describe your style?

A: I often talk about a sonic print. To me, this is how the finished recording sounds regarding the tone and there are many great ways to mix a great recording. However, I have spent many hours experimenting with traditional methods to create new ways of mixing to give you your own sonic print.

Q: Can you share one music production tip?

A: When programming orchestral instruments use a variety of articulations to give them a more realistic feel.

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

A: I mostly work on Orchestral/Orchestral Hybrid scores. The hybrid element rare usually Rock, Pop and Industrial.

Q: What do you bring to a song?

A: I bring fine details and qualities out of each instrument so your music has a sound unique to you. For example the sound of a finger moving over strings or keyboard sounds from an old piano. I am also able to bring both live recordings and VST's together and make them sound like they are played together.

Q: What's your typical work process?

A: I first like to get as much information about the artist and their music as possible. Is the music for a particular purpose? Who inspired it? Is there any reference material I should hear? Do you need alternative mixes? From here I book a slot in my diary to work on the project and I keep regular communication between the two of us. Once complete, I send a private streaming link for you to hear the results and book a slot for revisions. This allows for a fast turn around. I offer two revision sessions and when the client is happy with the final mix I send over the WAV and or MP3 files after payment is received.

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

A: I would like to work with Bear McCreary as I really admire his commitment to recording live instrument in small groups. Most people don't do this as it can be a challenge to edit but Bear chooses great musicians and gets it right at the source.

Q: What's your strongest skill?

A: My strongest skill is making VST instrument (mainly orchestral instruments) sound real as if they have been played by people in the same room.

Q: Tell us about your studio setup.

A: I run a simple set up with all the equipment I need to get the job done to the highest stand with no unnecessary equipment. This allows me to make quick and accurate decisions while I work as well as keep my over heads down in order to offer a fair price. My studio is fully equipped with room emulations for a live feel as well modelling gear by SSL, Abbey Road and Chris Lord Alge. I also use various tape and console emulations should you require a vintage sound.

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

A: Dennis Sands, Hans Zimmer, Charlie Clouser.

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

A: The most common work I do for my clients is mixing and mastering for TV shows and Film. I also provide alternative mixes of their music to increase the chances of securing sync placements.