Producer, Engineer, Mixer

Q: What are you working on at the moment?

A: I’m working on a few really exciting projects at the moment though working with Mari Ali (Mhari Redmond) has been a highlight.

Q: Can you share one music production tip?

A: Spend the time working on the arrangement and song structure it pays off

Q: What's your typical work process?

A: My work process differs depending on the project. If starting from scratch working on a song that is going to be built up in layers. I would start by creating a guide track that includes the chords, a scratch vocal take and a simple drum machine or metronome to keep time. I would then build the track around this first capturing the ‘skeleton’ of the track before moving onto overdubs. I like to set aside time to experiment and to create a sound unique to each project. For live tracking I focus on making the band comfortable and getting as close as possible to a release ready sound with just the microphones. I then move onto any overdubs and finally to mixing.

Q: Tell us about your studio setup.

A: Depending on the project I work in different studios though I work mostly from Knockwood studios, the studio I built with my friend and collaborator Duncan Jones. I use pro-tools running on a desktop mac as well as a Tascam 38 8-Track 1/2” tape machine. My workflow is based on an analogue front end so I record everything through either my outboard pre-amps or analog console. I have a selection of high quality microphones including a Flea 47 (u47), Neumann U87ai, Coles 4038's a B&O BM5 and many more. I have a few pieces of analog outboard gear which I have selected for their distinct sound. These include a UAD 6176 Channel Strip, Warm Audio WA76, a Warm Audio WA2A, a Thermionic Culture Vulture Stereo Tube saturator, a GBS spring reverb and a Melos DE-1 Analog Delay. Knockwood has a vast collection of instruments including a Yamaha piano, Moog synths, Roland Juno 60, Hammond organ, Höhner Pianet T electric piano and many guitars of many varieties. I like to use guitar pedals as creative mixing tools and have them linked to my pro-tools I/O to do this. A few of my favourite pedals include the JHS Colour Box V2, the Demedash T-120 Videotape echo and a variety of Boss pitch shift/modulation pedals. I use plugins as well including ones by UAD, fabfilter, valhalla and soundtoys.

Q: What's your strongest skill?

A: I feel I have a a good ear for creating a balance of classic and new experimental sounds. I like to treat all sound as potential music, sounds such a feedback and spill have the potential to send a track in a completely new direction. I also think that I have a strong ear for melody. I also have a good perspective of a song as a whole which helps me to make the right suggestions when working on an arrangement.

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

A: I produced, engineered & mixed Beeeaters debut EP 'Head Like The Boiling Sea'. I'm very proud of this as it was the first thing I recorded at Knockwood. The soundscapes we built around the raw energy of a live performance make these songs very special.

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

A: ‘Can I have a cup of tea please?’, ‘Yes’ 'Can I push that button', 'no'

Q: What questions do you ask prospective clients?

A: Firstly for a demo to see if I like the song, I like to discuss what I think would make it sound better and see if they agree. I like to get 2-3 reference tracks so I know what direction to head in with the engineering. I also like to know if the artist has funding or is covering the costs themselves. I also like to meet the artist before we begin to show them the studio and share ideas

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

A: Speak to them first, different producers suit different projects. I wouldn’t want to work on something that I’m not the right producer for.

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

A: Flea 47, Macbook, UAD Apollo, Mellotron & a pair of good headphones.

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

A: I have been studying sound production since leaving school. I completed my Ba(hons) in 2022. I had been working in music the whole time I was studying and from 2021-2023 I was working as an assistant engineer in a variety of professional studios including to producer Chris McCrory who I occasionally still work with.

Q: How would you describe your style?

A: It’s difficult to say since the way I work changes with each project but I aim to make something that sounds interesting rather than just ‘good’.

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

A: I would love to record an album of stripped back songs by Brian D’Addario from the lemon twigs. His songwriting is very sweet & melodic and is often the highlight of a Lemon Twigs album for me.

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

A: Chris McCrory is a very talented producer/mixer who has a lot of experience working with a great variety of artists. His ear for ‘feeling’ in a performance is spectacular.

Q: Analog or digital and why?

A: I like to use both. I love analog and will try to use as much analog equipment as possible in a session as I believe this is where a lot of the vibe comes from. Every piece of kit is completely unique and adds it’s own character to the recording, it also responds in a more human way sonically than digital. Using analog kit especially tape is very instrument like itself. I love the versatility and non linearities of digital though, it allows me to create sounds that I simply couldn’t on tape. So a combination of both with the ratio depending on each project.

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

A: I wouldn’t define my production style as being within one genre but my favourite things to produce are cinematic-pop songs, contemporary folk and experimental pop. Though anything that sounds a bit weird will have my attention.

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

A: I grew up mostly listening to records from the late 1940s to the 1970’s. Artists like the Beach Boys and Beatles have been massive influences on me as I have learned. Modern producers who have taken these influences and then worked them into something new are a massive influence on me. Such as; Jack Antanoff (St Vincent, Lana Del Rey, Lorde), Jonathon Rado (Weyes Blood, Foxygen, The lemon Twigs) and Jonathon Wilson (Father John Misty, Angel Olsen).

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

A: I’ve mostly been working as an (recording) engineer for the last few years. Many of the people I have worked with have been self-producing their work and needed some help with the technical side. As well as this I’ve been working as a producer helping to shape and bring artists music to life. I have also been working as an assistant to a couple of producers but primarily Christopher McCrory.