Mark Wingfield - Heron Island

Award winning jazz Mix& Master

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58 Reviews (57 Verified)
Mark Wingfield - Heron Island on SoundBetter

I am an internationally acclaimed mixing and mastering engineer with over 300 rave reviews on jazz albums I have mixed and mastered (Including 3 Downbeat Magazine awarded "Masterpiece Albums" and a Jazzwise "Best Release" of the year). I can take your album to the next level. Want your album to have that "world-class sound"? I can help.

Official Apple Digital Masters Provider (formerly called Mastered for iTunes MFiT)

I specialise in jazz and related music (fusion, world music, prog rock). I will bring over 20 years of experience and craft into making your album sound great. I know how tough it is out there for jazz artists financially, so I work with a sliding scale of fees depending on the nature and size project. Get in contact and let's talk about your project.

What my clients are saying:

“This is the place where some of the absolutely best sounding albums on MoonJune Records were master-baked. Thanks to the sound wizard at Heron Island Studio.” Leonardo Pavkovic CEO, (Downbeat awarded) MoonJune Records, New York City.

“Mark Wingfield at Heron Island has mixed and mastered numerous releases for Greydisc. His mixes are of the highest quality; always with clarity and balance. His mastering is superb; I have never been disappointed.” Kevin Kastning CEO, Greydisc Records, USA.

What the press is saying:

“Mixing and mastering of the gods” Late For The Sky - One of Europe’s most respected vinyl review sites

"Shines with remarkable depth and tonal quality... immediately apparent in the mix is how natural sounding every part is, with plenty of space surrounding each element." Mediaversal - The USA’s preeminent Hi-Res reviews site

Find out more on my website: heronislandstudio.co.uk

Contact me through the green button above and let's get to work.

58 Reviews - 9 Repeat Clients

Endorse Mark Wingfield - Heron Island
  1. Review by Benjamin
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    This was the fifth time I’ve worked with Mark Wingfield, who is an excellent mix engineer who is meticulous and strives for perfection. Mark did an amazing job mixing my cover of ‘My Favorite Things’—the classic Rodgers & Hammerstein song. Since Mark is an accomplished guitarist too, he knows that artists want their engineer to create a mix that captures the ‘magic’ of the performances. Mark’s mixes do that! As always, he and I communicated very well, and I highly endorse him!

  2. Review by John D.
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    Mark was very receptive to my requests . He really understands the art and science of sound!

  3. Review by Michael J McEvoy
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    mark did a great job mastering my track 'Upstreaming'. He kept the integrity of my mix but was able to tighten up the bass end and 'tame' some of the wild rawness, without losing the dynamic energy. I'll definitely be coming back to Mark again!

  4. Review by Frieder M.
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    Absolute expert, highly recommended! Brilliant mastering skills especially as he is an excellent musician himself. Fair priced and a really nice person to interact with. He definetely raised the tracks to another level - top notch!

  5. Review by Benjamin J.
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    This was my fourth time working with Mark. For each project, Mark took my basic tracks to an unbelievably higher level after he did his mix. I like to ask Mark for his feedback during the recording and editing stages. He is always sensitive to what I’m trying to do and always provides helpful advice. He communicates very well and is patient, talented, knowledgeable, and a consummate professional. I highly recommend Mark to other musicians and will definitely hire him for my next project.

  6. Review by Bav
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    by Bav
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    Mark is a great collaborator when it comes to mixing, working with you throughout the process to get the exact end result you're looking for. Excellent communication and always delivering high quality work.

  7. Review by Bav
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    by Bav
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    A fantastic pro who gets the best out of your project. Mark is able to create the space needed to bring out all the elements of the track and get them sounding incredibly good. A pleasure to work with.

  8. Review by Anna W.
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    This was my second time working with Mark, and I am grateful that he was willing to help master more songs for me! His ability to bring out each element is unique, highly recommend!

  9. Review by Bav
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    by Bav
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    Mark is a true pro and brilliant to work with in the mixing sessions. Communication is great and he'll work with you to get the track just as you want it. Those final files sound so good.

  10. Review by Bav
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    by Bav
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    Mark is a true professional, who will continue working together with you until the track is exactly how you want it. A great collaborator.

  11. Review by Bav
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    by Bav
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    Mark goes above and beyond to get your project sounding exactly how you want it, with his skills and experience in mixing, you will only get a finished track of the highest quality, and it will sound excellent.

  12. Review by Bav
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    by Bav
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    You can be confident that, even with tracks that are daunting and ridiculously big, Mark will get it sounding exactly how you want it, in excellent quality. It's a pleasure working with him throughout the mixing process.

  13. Review by Bav
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    by Bav
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    Having worked with Mark on many tracks now, i don't even think about choosing anyone else to mix my project. A true professional, who is highly skilled at his job and always gets your music sounding excellent. Can't recommend him highly enough.

  14. Review by Meg B.
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    by Meg B.
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    Mark was really great to work with. Really supported me through the mastering process (I am something of a novice!) and was happy to answer any questions.

  15. Review by Bav
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    by Bav
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    Mark's a great professional who'll get your track to exactly where you want it to be. He always delivers high quality work that sounds fantastic. Can't recommend him highly enough.

  16. Review by Bav
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    by Bav
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    Mark is a highly skilled mixing engineer who is easy to work with and always takes your track to the next level. Your music will be in good hands.

  17. Review by Zach P.
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    Mark is brilliant in the jazz mastering industry! He is a great communicator that works hard to make sure you are satisfied with the product. I will certainly be using his services again in the near future!

  18. Review by Miriam D.
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    I experienced Mark Wingfield as professional, skilled, quick and very helpful. Thank you.

  19. Review by Gemari S.
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    Mark is very patient and will work hard to give you what you’re looking for. He has a great ear and sound. An absolute pleasure to work with.

  20. Review by Miriam D.
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    Mark did a brilliant mastering job for my song. He's quick, professional and
    very skilled.
    Highly recommended!

Interview with Mark Wingfield - Heron Island

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

  2. A: My Adam A77X mixing monitors, my Dunlavy Mastering monitors, my Chord SPM 1000B power amp, my RealTraps acoustic panels, and my RME converters.

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

  4. A: I have been mixing and mastering for over 20 years. I started mixing to tape in 100% analog studios, learning my craft on both sides of the Atlantic working in studios in Boston and then London. When software mixing became possible, I got into that early because I could see where things were going. So I've been using software alongs side analog for almost as long. I eventually specialised in jazz, world music and progressive rock and I also work on some classical music. I got work for a couple of well known jazz labels in the US, many of the albums I mixed and mastered got great reviews from audiophile magazines as well as some high profile music reviews mentioning the quality of the mixes. This led to a lot more work and eventually I ended up mixing or mastering three different Downbeat Magazine Masterpiece Albums of the Year and a JazzWise Magazine Best Release of the Year.

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

  6. A: I think most people know what mixing is in a basic sense. However there is so much more to it than moving controls and balancing the instruments. A good mix engineer brings a deep knowledge of your genre of music into how they mix. I know jazz inside out, every era of it from the 1940's to the most contemporary music happening today. I've heard every famous jazz album and many of them 100 times. So I know this music and I know how different sub-genres should sound. I know how all the instruments used in jazz sound at their best. I bring the experience and skills of over two decades of mixing jazz to your project. Mastering can be less well understood. Some people think that mastering is just about getting the technical details and loudness right for the various release platforms. And of course this is a vital part of it. But mastering is also a creative art and a good mastering engineer needs to really feel the music in order to make it sound it's best. Ultimately this is a subjective decision based on listening to the track, talking to the artist and feeling what the music needs. As a mastering engineer I bring decades of mastering jazz and related music and a deep knowledge of the genre.

  7. Q: Can you share one music production tip?

  8. A: Carefully positioning each instrument in the soundstage is important to make the listening experience as immersive as possible. This is done by careful use of reverbs and other soundstage tools. Reverb has many uses and they are all different and require different types of reverbs and setting. It's very easy to overdo it and crate a messy wash of reverb or under-do it and end up with a mix which is too dry and so tiring to listen to. So it's very important to understand the various functions of reverb in a mix and how to use them. Using world-class reverbs makes a huge difference to the overall quality of the sound. Using cheap or low quality reverbs or simply adding any reverb without knowing exactly what you are trying to achieve with the soundstage is likely to cause problems in a mix.

  9. Q: What do you bring to a song?

  10. A: I bring over 20 years of mixing and mastering experience working with some of the best musicians in jazz. My aim is always to help the mix or master realise the artist's vision. Sometimes this means working closely with an artist or producer to get things exactly right for the way they want to hear their music sound. Other times artists will prefer to hand things over and let me decide where to take the mix. Every artist is different and for me it's important to find out exactly what each artist or producer is looking for.

  11. Q: What's your typical work process?

  12. A: I discuss with the artist or producer what they are looking for in the mix or master. If I'm mixing a track then if they have a rough mix we discuss what elements they like about it and what elements they'd like to change or improve. We may also discus reference tracks. I'll then do a "first pass" mix and we will discuss whether I'm heading in the right direction. Once the artist or producer is happy with the general direction, we start looking at the details. If I'm mastering I will discuss what the artist or producer would like to see improved and I'll discuss what changes I think would make the tracks sound their best. I will then do a "first pass" master and we will discuss whether I'm heading in the right direction. I'll then make any changes needed before producing the final masters.

  13. Q: What questions do you ask prospective clients?

  14. A: I discuss their project and what they are looking for in a mix or mastering session. It's important to communicate with an artist or producer to find out what they hope you can bring to their music.

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

  16. A: If you're a jazz based artist have a look at the provider's CV, both the artists and record labels they've worked with. Also has the provider received any press reviews, won any awards? They should have a studio website with more information which should include client testimonials. If not, it might be better to look elsewhere.

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

  18. A: I love working with jazz artists or any related genre, which for me include progressive rock, but I also have a real interest in world music.

  19. Q: Can you share one music production tip?

  20. A: Carefully positioning each instrument in the soundstage is important to make the listening experience as immersive as possible. This is done by careful use of reverbs and other soundstage tools. Reverb has many uses and they are all different and require different types of reverbs and setting. It's very easy to overdo it and crate a messy wash of reverb or under-do it and end up with a mix which is too dry and so tiring to listen to. So it's very important to understand the various functions of reverb in a mix and how to use them. Using world-class reverbs makes a huge difference to the overall quality of the sound. Using cheap or low quality reverbs or simply adding any reverb without knowing exactly what you are trying to achieve with the soundstage is likely to cause problems in a mix.

  21. Q: What do you bring to a song?

  22. A: I bring over 20 years of mixing and mastering experience working with some of the best musicians in jazz. My aim is always to help the mix or master realise the artist's vision. Sometimes this means working closely with an artist or producer to get things exactly right for the way they want to hear their music sound. Other times artists will prefer to hand things over and let me decide where to take the mix. Every artist is different and for me it's important to find out exactly what each artist or producer is looking for.

  23. Q: What's your typical work process?

  24. A: I discuss with the artist or producer what they are looking for in the mix or master. If I'm mixing a track then if they have a rough mix we discuss what elements they like about it and what elements they'd like to change or improve. We may also discus reference tracks. I'll then do a "first pass" mix and we will discuss whether I'm heading in the right direction. Once the artist or producer is happy with the general direction, we start looking at the details. If I'm mastering I will discuss what the artist or producer would like to see improved and I'll discuss what changes I think would make the tracks sound their best. I will then do a "first pass" master and we will discuss whether I'm heading in the right direction. I'll then make any changes needed before producing the final masters.

  25. Q: How would you describe your style?

  26. A: I bring warmth and clarity to a mix, I like to hear the wood of and acoustic bass and the detail of complex ride cymbal work. I like each instrument to sound rich, vibrant and natural. Apart from that I let the music direct what I do, and approach things differently for each project's needs. The emotion of the music and of the performance is very important to me, so I work to help that project. If it's warm intimate track, I'll mix or master to help that come across and invite the listener in to the music. If it's a high energy track with intense performances, I'll mix or master to maximise the impact and power of the music. If on the other hand the music is about atmosphere and transporting the listener to another world, I will mix or master to accentuate whatever atmosphere the music is conveying. I also like to bring a sense of 3D depth to a track. This gives the instruments somewhere to be in relation to each other and I think that can help things sound more alive and real.

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

  28. A: I spend about equal amounts of time mixing and mastering. The two activities are quite different and require a whole different set of speakers and processors. They also require a very different mind set and I love both for different reasons.

  29. Q: Tell us about your studio setup.

  30. A: One of THE most important aspects of any mixing and mastering studio is the acoustic treatment. My studio's acoustic treatment was designed and supplied by RealTraps, who have done many famous recording studios. Mixing monitors: The multi-award winning Adam A77X studio monitors. Adam monitors are also used by Abbey Road, Bomb Factory, Universal Studios, Deepwave, Rupert Neve, etc… etc.. Mastering monitors and amp: The acclaimed Dunlavy Viscount monitors. The speakers of choice for mastering legends Bob Ludwig, Jonathan Wyner etc.., lauded as the “Holy Grail” of accurate reference speakers. The Chord SPM 1000B is the reference amplifier of choice for many of the worlds top studios including: Abbey Road, Sony Music Studios, Decca, EMI etc… RME converters, famous for their ultra clear and detailed sound. Many high end processors both hardware and software.

  31. Q: Analog or digital and why?

  32. A: Both are great. I grew up mixing to tape on all analog gear so I know that world extremely well. I can tell you from experience that not all analog gear sounds good. Mediocre or badly maintained gear and take away more than it adds to the sound. But the very best analog gear, if it's well maintained, can add some very nice qualities to the sound of a recording. To me it's these truly great pieces of gear that are of interest. However, recently plugin emulations of these great pieces of hardware have started to sound so good that you really can't tell the difference. Or the difference between hardware and software is less than between two different examples of the same hardware. And these days it's sometimes the case that the software actually sounds better than the analog gear it's copying. There are also a wealth of great audio software which can do things that analog just can't do. This has allowed mixing and mastering engineers to go beyond what used to be possible with pure analog studios. I still have racks of analog gear in my studio but I find myself calling on them less and less these days.

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

  34. A: I specialise in jazz but I also work with a lot of world music, progressive rock, fusion and some classical music.

  35. Q: What's your strongest skill?

  36. A: I bring warmth and clarity to a mix, with each instrument sounding rich and natural. This allows emotion of the performance to project and the details of the playing to shine. I also like to bring a sense of 3D depth to a track. This gives the instruments somewhere to be in relation to each other and the listener, and that helps the music sound more alive and real.

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

  38. A: Jan Erik Kongshaug who mixed many of the famous records on the ECM label is a big inspiration for me.

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GenresSounds Like
  • Jan Garbarek
  • Keith Jarrett
  • Allan Holdsworth
Gear Highlights
  • Acoustic design RealTraps
  • Adam A77X monitors
  • Dunlavy mastering speakers
  • Chord reference amplifier. TC Electronics
  • Virtigo VSC-2
  • Millennia Twincom
  • Clariphonic
  • Lexicon PCM 96
  • 480
  • Pro Tools
  • Logic
  • Slate Digital
  • Acoustica
  • PSP
  • Ozone
  • Waves.
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