Mark Wingfield - Heron Island

Award winning jazz Mix& Master

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20 Reviews (20 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

I'd love to hear about your project. Click the 'Contact' button above to get in touch.

20 Reviews - 4 Repeat Clients

Endorse Mark Wingfield - Heron Island
  1. Review by Nikita V.
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    Mark did awesome work with my tracks - as mixing engineer he gave me amazing visions of my music with results of highest quality, which I could use in my own mixing practice. As mastering engineer Mark improved all my tracks so much, now I'm feeling proud of each of them.
    For me it was a great pleasure to work with Mark, highly reccommended! Hope to return to Mark with new tracks someday :)

  2. Review by Bav
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    A gent to work with, and the end product is exceptional. Mark is my go to mixing engineer when I get to the final stages. And you learn a lot working with him too.

  3. Review by Nikita V.
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    It's a big pleasure and luck to work with Mark. I'm absolutely happy with the results. Highly recommended!

  4. Review by Bav
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    Very knowledgeable and skilled Mixing & Mastering engineer, who always delivers high quality work. Highly recommend.

  5. Review by Nikita V.
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    Mark is real pro and gentleman, he mastered my mix and I was impressed with the result from the first take - he brings clarity, elegance and taste in my mix, I can't stop to listening and can't believe that this record is mine :) Mark also answered all of my questions about process in details, it was big experience for me as record producer to work with him and to have a second professional opinion about my mix. I feel so inspired by this work!
    Cheers

  6. Review by Wilson R.
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    Brilliant to work with Mark. He genuinely understands the nuance, tone and demands of jazz. His mastering elevated the mix, providing not only more clarity, but a greater sense of instrumental separation and a deeper "depth of field" perspective regarding the overall soundstage. Open to discussion and providing guidance along the way, as well. I will definitely be returning to work with Mark again.

  7. Review by Bav
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    Mark is an excellent sound engineer to work with, taking the parts you have and making them bigger and better. A true pro.

  8. Review by Bav
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    Mark is a real pro at mixing and mastering, who works hard to get your tracks sounding exactly how you want them too, and always delivering excellent high quality finished tracks. Highly recommended.

  9. Review by Valerio F.
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    Great skills, experience and super easy to work with. A musician working with musicians, 100% recommended.

  10. Review by Matt G.
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    Very easy to work with, and the sound of his mastering was incredible. Would recommend to any jazz/fusion artists looking for good punch and clean sound.

  11. Review by Bav
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    A very knowledgeable mixing engineer who knows what he's doing, and also offers many tips and advice about how you can make things better moving forward with other projects.

  12. Review by Bav
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    Mark is great to work with, and the quality of work is at a high standard. whether you're finishing up a track or wanting a mix done half way through to bring out the detail and up the quality for your next phases, i highly recommend him.

  13. Review by Bav
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    Mark did excellent work on what was a quite a big project for just one track, and he got it sounding exactly how i want it and in very high quality too. Great to work with. Highly recommended.

  14. Review by Stéphane Q.
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    It has been a pleasure to work with Mark on my music!! He is attentive to your needs, your taste, your requirements, and really adapt the sound to them...
    Thank you very much for this great and prompt service!!

  15. Review by Bav
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    Mark goes above and beyond when working on a job, his knowledge and advice really helps you understand and improve your sound, this side of the music process.

  16. Review by Bav
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    Mark is my go-to Mixing engineer, his knowledge and understanding of music is second to non, helpful and keen to get your track sounding exactly how you want it, and sounding excellent too. Very easy to work and communicate with. Highly recommend.

  17. Review by Bav
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    Mark is very easy to work with and the quality of his mixing and mastering is superb. He really gets the best out of your music. Can't recommend him highly enough.

  18. Review by Bav
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    Mark did an excellent job mixing and mastering my project, really bringing out the quality of each instrument and giving them room to breathe. He was also incredibly helpful, and made sure you got the final mix you were aiming for.

  19. Review by Bav
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    Mark is able to bring depth and clarity to the mixing process, giving the instruments room to breath and sound great. His knowledge and advice for you to use in future projects is brilliant. Highly recommend!

  20. Review by Bav
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    Mark did excellent work on a one off track for me, really bringing it to life, and in great quality. Look forward to working with him again on the next project. Highly recommend.

Interview with Mark Wingfield - Heron Island

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

  2. 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.

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

  4. 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.

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

  6. 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.

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

  8. 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.

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

  10. 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.

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

  12. 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.

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

  14. 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.

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

  16. 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.

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

  18. 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.

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

  20. 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.

  21. Q: How would you describe your style?

  22. 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.

  23. Q: Analog or digital and why?

  24. 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.

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

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

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

  28. 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. Also do 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.

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

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

  31. Q: What's your strongest skill?

  32. 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.

  33. Q: Tell us about your studio setup.

  34. 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.

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

  36. 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.

  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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