Mixing & Mastering Engineer

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

A: Nylon string classical guitar, full size drum kit, manuscript paper, pencil and a Letherman :-)

Q: Tell us about your studio setup.

A: I mix in Logic Pro monitoring through DMAX Supercubes 5 full-range speakers. I have a good collection of outboard effects and reamping options — including a vintage Yamaha SPX90 — so I can push things outside the box when a track calls for it. On top of that, years of working on pro audio consoles in live and studio settings have given me a strong ear for what translates across playback systems.

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

A: Running sound at Jatka78 in Prague. It was a contemporary theatre hosting international acts, TV productions, and experimental performances — every show was different, every night was a new challenge. I managed the entire audio department, built the workflows, trained the freelance team, and made sure every show sounded right. It taught me how to listen under pressure and deliver consistently, which is exactly what I bring to mixing now.

Q: What are you working on at the moment?

A: Building my remote mixing practice and taking on new clients. I'm open for bookings and ready to start on your project this week.

Q: Analog or digital and why?

A: Both, but I work primarily in the box. My years on analog desks and outboard gear shaped how I hear — I think in signal flow, gain staging, and harmonic saturation. But digital gives me the flexibility and recall I need for remote work. The ear matters more than the tool.

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

A: I'll treat your song like it matters — because it does. You'll get honest communication, a professional result, and a mix that serves the music. If something's not working, I'll tell you. And I won't stop until you're proud of it.

Q: What do you like most about your job?

A: That moment when a rough set of stems turns into a finished record that gives you chills. Someone trusted me with their song, and now it sounds like they heard it in their head. That never gets old.

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

A: "How many revisions do I get?" — Two are included. Most clients are happy after the first or second pass. If we're aligned on references from the start, it usually goes smoothly. "Can you master it too?" — Yes, and I offer a bundle discount if you want mix and master together.

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

A: That mixing is just making things louder or adding effects. Most of the real work is about balance, arrangement decisions, and knowing what to leave alone. A great mix often means removing things, not adding them.

Q: What questions do you ask prospective clients?

A: What's the vibe you're going for? Do you have any reference tracks? Is there anything in the rough mix you already love and want me to keep? What platform are you releasing on? And what's your timeline — are we in a rush or do we have room to breathe?

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

A: Listen to their work, not just their credits. A big résumé doesn't mean they'll understand your song. Send a reference track with your stems so the engineer knows what you're going for — it saves time and revisions. And trust your ears: if the preview mix makes you feel something, you've found the right person.

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

A: I started playing guitar professionally at 15 in the Czech Republic. Moved to London, got my BMus in Music Performance & Production at LCCM / Middlesex University. Worked as a sound engineer across London's club and touring scene, then moved to Dubai where I engineered at Zero Gravity and helped install an L-Acoustics system. Back in Prague, I toured with bands, engineered at festivals, and became Head of Sound at Jatka78 theatre. In parallel I've been producing and mixing records since 2006. Over 15 years in, still learning, still loving it.

Q: How would you describe your style?

A: Warm, musical, and honest. I don't chase trends or slam limiters to make things loud. I want the mix to feel like the song — if it's intimate, it should breathe; if it's a banger, it should hit. I come from a live background, so I think a lot about how things feel in a room, not just in headphones.

Q: Can you share one music production tip?

A: Get your balance right before you reach for any plugin. If the faders and panning sound good with nothing else on, everything you add after that will actually help instead of just compensating. Most over-processed mixes start with a bad static balance.

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

A: Pop, R&B, soul, funk, hip-hop, and singer-songwriter. Music with groove and emotion — tracks where the rhythm section and the vocal need to sit together just right. I also do podcast editing and audio restoration, but music is where my heart is.

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

A: Bruce Swedien for the way he captured feel — his work with Michael Jackson is a masterclass in making records that move people physically. Daniel Lanois for his atmospheres and the way he treats the studio as an instrument. Rick Rubin for stripping everything back to what matters. And Bluey from Incognito — for keeping jazz-funk alive, sounding fresh, and proving you can be uncompromising and still connect with a wide audience.

Q: What's your strongest skill?

A: Listening. Knowing when to push and when to leave something alone. A lot of mixes get worse because engineers do too much — I've learned over 15 years that the best moves are often the ones you don't make.

Q: What do you bring to a song?

A: Feel. I'm a musician before I'm an engineer — I've played guitar professionally since I was 15. That means I'm listening for the groove, the dynamics, the emotion. I don't just make things loud and wide; I try to make the mix serve the song. If something needs space, I give it space. If it needs grit, I lean into that. The goal is always: does this make you feel something?

Q: What's your typical work process?

A: I start by listening to the rough mix and any references you send — no plugins open, just ears. Then I organise the session, get the balance right acoustically, and build the mix from the rhythm section up. I'll send you a preview within 3–5 days. You listen on your own speakers and headphones, send me notes, and I'll refine. Two revisions are included. Final delivery is WAV and MP3.

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

A: Most of my remote work is mixing singles and EPs for independent artists and producers. They send me stems, I send back a polished mix that's release-ready for streaming. I also do stereo mastering and occasionally lay down guitar parts on tracks that need it.