Mixing / Mastering

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

A: Significant past achievements of mine include writing the release and rights contracts which underpin the Unbeyond Anthologies record label's releases, and A&R duties during the label's transition to a private outreach approach. I have been sound engineering and producing music in a broad spectrum of genres for over a decade however, with a previous production service for private clients and a UAL certification in Music (Studio, Live, Business). I have 15+ years of experience in both Guitar & Bass, and 10+ years of experience in audio archival/research and restoration (The Vault). Also frequently release my own Electronic music on various record labels, and have had my music featured in multiple video games (Beatstar, The Dice Test, Quinn & Flynn).

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

A: The Dice Test. It's a psychological horror game that requires you to own a six sided dice and input the numbers for each roll into the computer. As you roll, the computer decides if you are human or AI. I recorded all the sounds and rebuilt a Y2K office soundscape. As the computer begins calculating what you are, its fans can speed up and down depending on how sure it is. That's an audio only detail. It's a background sound that builds a necessary part of the picture, even if it's not the focus point. Storytelling through audio is a really useful exercise to practice.

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

A: Collect one or two reference tracks, things you liked the sound of or had in mind (and why!). All engineers inherently have their own mixing style that they gravitate towards, but that's not to say that we can't lean something in a certain direction. Be prepared to describe what you imagine; moods, meanings.

Q: Analog or digital and why?

A: A mix of both really. I don't prefer one or the other, and they both have their use cases. It's alright to have a favourite plugin or favourite bit of kit, but you absolutely must be able to use it as the context demands. You shouldn't favour one or the other for the sole reason of it being 'Analog' or 'Digital'. That's just elitist and limiting. Don't be afraid to use the whole toolbox.

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

A: If I think that a project is out of my range, I'm not afraid to turn it down or recommend someone else.

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

A: "Can you add more bass?". The answer is yes. I will try to highlight your bass in the mix, though it may not be as simple as adding more volume. A little EQ/Compression goes a long way.

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

A: It's commonly disputed and refuted by producers that all we do is "Sit around clicking buttons all day". In truth, that's correct. We are absolutely sitting around clicking buttons all day*.

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

A: I'm not going to list off 5 pieces of gear (unless you'd like to sponsor me!) but I do own a Tascam field recorder and a second set of monitors that can fit in a backpack. I suppose that means the remaining 3 pieces of gear need to be a sequencer, a solar panel, and a battery.

Q: Can you share one music production tip?

A: Close your eyes for a minute and forget about the visual graphs. Trust your ears. Does the song sound correct to you?

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

A: Electronic. Drum & Bass, Dubstep, Breakbeat. Also very proficient in Rock/Metal/Pop.

Q: What's your typical work process?

A: Start with the basics: Drums. If the drums aren't working, you will never be satisfied with a mix. Next up is getting the bass to be present and clear. These two elements are the most essential to a pro sound and are generally the driving force behind a song. You are most likely to perceive faults both perceptually and sub perceptually, with these.

Q: Tell us about your studio setup.

A: I currently do most of my audio production on Apple computers, but also use a custom Windows PC when necessary. At the centre of my setup are Adam studio monitors, and a 16 fader console. My 1989 Silicon Graphics 9500900 keyboard is not music related but I would class as an essential piece of the studio nevertheless.

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

A: Glyn Johns ('60s/'70s era). Forrester Savell (Karnivool)

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

A: Mixing, mastering, production.