Mix engineer specialising in daring electronic, industrial, heavy and everything experimental and left field that may seem impossible to mix. From the sultriest of trip-hop to the blackest of metal — your unique sound is in good hands.
Every project is different, and each artist has a sound all their own. As a mix engineer, my aim is not to make the record sound “right”, it is to make it sound its best with all its quirks and idiosyncrasies. A niche genre project mustn't try to sound polished and mainstream, but neither should it sound bad. No matter how underground, you want to stand out and reach as big an audience as the scene permits.
Here is where I come in. Using your brief, your references and any other information you deem helpful in understanding your sonic vision, I'll start working towards your goal.
Early on we establish the extent of my input — it may range from the lightest of touches to sculpt the minutiae that will take your mix from “almost there” to “all done” — to digging deep into the very core of your production to help you sort through the layers and hierarchy of the elements. My goal is to make you sound like you, at your best.
In music business since 2003, where I worked with unabashedly extreme and soothingly suave genres alike, I learnt that more often than not rules are best bent, limits pushed, some edges left rough, quality is not conformity, life is a journey and mind is a labyrinth (and a terrible thing to waste, too).
Tell me about your project and how I can help, through the 'Contact' button above.
Credits
Discogs verified credits for Mitia Wexler- The Evolutionaries
- Saint Martyn
- Flying Club
- The Evolutionaries
- Psy'Aviah
- The Evolutionaries
- Psy'Aviah
- Various
- Various
- Psy'Aviah
- Psy'Aviah
- Various
- Various
- Psy'Aviah
- Hateful Scarecrows
- Psy'Aviah
- Psy'Aviah Feat. Addie Nicole
- Psy'Aviah
- Psy'Aviah Feat. Saydi Driggers
- FragileChild
- FragileChild*
- FragileChild*
- FragileChild*
- FragileChild*
- FragileChild*
- The Evolutionaries
- Fragilechild
- Psy'Aviah
- Various
- Psy'Aviah Feat. Sorrow Stories
- Sorrow Stories
- Saint Martyn
- Flying Club
- 夢遊病者
- 夢遊病者
- Flying Club
8 Reviews
Endorse Mitia Wexler
check_circleVerifiedThorough, fast and onto the spirit of the piece immediately. I can't recommend Mitia highly enough for professionalism and efficiency, along with his approachability, patience and insight. A mix engineer you can trust to find the best in your work, bring it to the forefront and enhance its potential. A really good experience all round.
I worked with Mitia for my first album, several and choosen singles, remixes and alternate versions after a long break. As a musician its impossible to focus on writing music and lyrics and record them, to mix them, i layed them in mitias hand. He always did not just an amazing job. He's friendly and close to me as artist and as a "friend", as i told him some personal things.
In addition i want to thank him again for all.
What a great pleasure to see Mitia here on Soundbetter, a true professional who not only has an ear for the music but the technical expertise and training to make it the best it can be. I've had the privilege of working with Mitia several times on quite different sounding projects and with each he found the way to bring out the potential and make it sound not only finished but polished, in painstaking layers of technically accomplished detail.
His background in cinema sound has helped make him versatile, an all round professional, highly recommended.
When writing music I tend to focus on songwriting first, that is what I can do best. Mixing, there I need help. I also look for a second ear, but one that is not too pushy about things, one that can provide feedback and options. Mitia is calm, the communication & feedback loop is very open. As we progress through mixing and EP or Album Mitia makes sure the songs are all complimentary. That feedback I appreciate as it shows true involvement and passion for music from the engineer I work with. That enhances the whole production!
When writing music I tend to focus on songwriting first, that is what I can do best. Mixing, there I need help. I also look for a second ear, but one that is not too pushy about things, one that can provide feedback and options. Mitia is calm, the communication & feedback loop is very open. As we progress through mixing and EP or Album Mitia makes sure the songs are all complimentary. That feedback I appreciate as it shows true involvement and passion for music from the engineer I work with. That enhances the whole production!
Mr. Wexler is a consummate professional in every regard. Wether it is sonic or aesthetic considerations, song-craft, or even presentation, he gives his measured take on how to make the picture complete—a rare ability to understand music on a conceptual plane as well as contextualize how it will live out there in the world and be understood. We worked remotely and Mitia’s workflow was impeccable, direction for mic placement, soundproofing, position of amps and drums were outside of the scope of our contract — Mitia was generous and forthcoming yielding the maximum results. Highly recommend.
I have never offered an endorsement of anyone as highly as I do of Mitia here. On a technical level, what he is able to get out of a mix is truly impressive. He takes what is good and makes it great; he pushes the material to a new level. And he's really fast too. If you need to take a song and make sure it has the best mix possible, you owe it to yourself to use Mitia.
On a personal level, he is also truly impressive. To say he is patient is an understatement. His commitment is to get you a finished product that you really believe in. I've never enjoyed working with anyone more.
I was introduced to Mitia through a independent record label when producing my debut album. Mitia is a legend... He works closely with the artist, finding your core sound - bringing it to life. He embraces the moments in your work you would have otherwise missed -adding that spark. Patient, thorough and creative ... Mitia will help take your work up a level.
Interview with Mitia Wexler
Q: Describe the most common type of work you do for your clients.
A: I do a lot of mixing for self-produced, self-recorded projects with all the good, the bad and the ugly that comes with it. Multitracks come as they are and I'm turning those into finished records.
Q: What other musicians or music production professionals inspire you?
A: From my teens I've been impressed by the works of Flood and Spike Stent. While I'm namedropping: Teo Macero, George Martin, Rick Rubin, Steve Albini, Nellee Hooper…
Q: Tell us about your studio setup.
A: It's all in the box, under Ableton Live or Pro Tools, with a selection of Slate Digital, Waves and other plug-ins, monitored on a super-secret combo of vintage Wharfedale speakers, Beyerdynamic headphones and funny BT grot boxes. It sounds gorgeous and translates perfectly.
Q: What's your typical work process?
A: After receiving all the relevant information, perchance reference tracks and a rough mix to help me understand the aim, I lay out the multitrack and start working, following where the music takes me. I start with the “main parts first” approach but end up hopping around a lot pretty soon. Once I deliver the first print, I expect the artist's notes, which I address in the revision. If the revision brings complete satisfaction — great, if not — we continue working until it does. I did put “three revisions” in the terms, but in reality, it depends entirely on the client and the project. I've had cases where the first print was also the final and others where it took eight revisions to get things just the way the band wanted them.
Q: What do you bring to a song?
A: The sound it deserves. If it's an airy trip-hoppy pop tune with ethereal vocals — I'll make it float on the groove; if it's an abrasive black metal exploitation of the soul — I'll drown it in spiky filth; if it's a neo-industrial cyberdelia's love letter to the eighties darkwave — I'll have it dancing on spring reverbs and wobbly tape with neon dreadlocks; if it's mind-bending IDM — you get the idea…
Q: What's your strongest skill?
A: How can one answer that question without feeling obnoxious? My clients seem to like the way I handle the vocals, the spatial treatment and subtle details in the mixes.
Q: What type of music do you usually work on?
A: Electronica, trip-hop, Eurodance, IDM, darkwave, industrial, metal, grunge and everything in between or sometimes beyond.
Q: Can you share one music production tip?
A: Invest in music instruments and production gear, not EQs, compressors, tape emulators, reverbs and such. Let the engineers worry about the sound. Concentrate on writing the best song you possibly can and on capturing your finest performance. Once the music is brilliant, the sound will follow.
Q: Which artist would you like to work with and why?
A: You. I would like to work with you. There are so many stories yet untold…
Q: How would you describe your style?
A: Visceral, emotional, controlled, detailed, gutsy, modern-vintage, gritty-clean… It all depends on the music.
Q: What was your career path? How long have you been doing this?
A: I've been experimenting with music, recording and circuit-bending in my early teens without really considering a career in sound. Then, I graduated with a master's degree in music sound engineering in 2003. Life's adventures led me to working as a recording and mixing engineer in a recording studio, production sound mixer and boom operator in film, sound designer and engineer in theatre. I guess I don't own the sound, the sound owns me.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My portable computer, audio interface, good headphones… However, mix engineering would probably be the least of my worries on a desert island.
Q: What advice do you have for a customer looking to hire a provider like you?
A: A mix engineer is not just a skilled technician, it is a close collaborator whom you entrust with the precious output of your very soul. Keep that in mind when shopping around for one. Choose wisely.
Q: What questions do you ask prospective clients?
A: What is your song about? What do you want to say by it? What's its story? The rest is technicalities and they come second.
Q: What's the biggest misconception about what you do?
A: Mixing is not mastering, and mastering is not mixing.
Q: What questions do customers most commonly ask you? What's your answer?
A: Q: “Do you think it's doable?” A: “It most probably is. Let's find out.”
Q: What do you like most about your job?
A: Music is the most sensual art form, sound is an immensely powerful medium. Manipulating the sound of music is gratifying, satisfying and humbling at the same time. Exploring the inner workings of a song is a privileged peek into the artist's mind and that's also something extraordinary. And if you're looking for a more down-to-earth answer: driving while listening to songs that not just haven't been released yet, they haven't even been mastered — that's one glorious exclusive feeling.
Q: What's your 'promise' to your clients?
A: Something like “your music will reach its full potential and will sound as good as it does in your head, or better”.
Q: Analog or digital and why?
A: Digital. Because while not always succeeding at faithfully replicating the sound, let alone the workflow of analogue gear, digital has reached that mature enough stage where its astonishing flexibility, convenience, timesaving and accessibility don't have to come with the flat, bland and sterile sound. With the right software used wisely, one could argue we are getting the best of the two worlds inside the box now. That being said, break out for some nonlinear perfect imperfections? I'm in!
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: I'm afraid not (yet?)
Q: What are you working on at the moment?
A: I'll try to keep the “news” section up to date, it should have the answers.
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: In all honesty, every record I mixed that succeeds is a project I am proud of.
I was the mix engineer in this production
- Mixing EngineerAverage price - $350 per song
Two workday turnaround, three revisions, instrumental version and vocal stems included. Everything on top of that is $50 USD per hour.
- Nine Inch Nails
- Massive Attack
- John Carpenter
- Ableton Live
- Pro Tools
- Brainworx
- Slate Digital
- Soundtoys
- SPL
- Waves
- …
Get in touch for package deals
- IDM BeautyJan 18, 2024
Slowly, very slowly, a passion IDM project from some brilliant Izhevsk old-timers is coming along and I am mixing it as it does. A throwback and a peek into the future at the same time.
- Psy'Aviah — HealingJun 09, 2023
We've spent over a year working on the LP and its singles with Psy'Aviah. The final single is out, with a pretty video to go with it, too: https://youtu.be/Cs3PPH2pgLE
- Sorrow Sotries — Beyond RemedyFeb 03, 2023
Today, Tina Forlorn released the four songs I mixed for her, adorned with interludes, as a beautiful EP “Beyond Remedy”. Treat your ears to some playfully electronic stories of sorrow. https://sorrowstories.bandcamp.com/album/beyond-remedy
- Happy New Year!Jan 03, 2023
2022 has been quite eventful in many areas. Musically, it was less filled than its predecessor, but even so it managed to offer me the opportunity to work on some one-of-a-kind wonders. Here's hoping 2023 continues that trend, improving on the positives and leaving the negatives behind for good. Happy New Year!
- Saint Martyn — LP 2: That's a WrapNov 23, 2022
When the time permits, it's really nice to make a last pass on all the songs that make up a long play. Reveals some previously unnoticed blemishes and allows for an overall more coherent record. Why not take advantage of the total recall and spare the mastering engineer some unnecessary aggravations.
- Sorrow Stories — OrphanNov 15, 2022
The first song I mixed for Sorrow Stories is released on Bandcamp on 11th November. Synth- post- many things. Sorrow Stories — Orphan
- Saint Martyn LP2Oct 26, 2022
The work is underway on an upcoming LP from the ever-surprising electro-dark-industrial-synth-something wonder called Saint Martyn. Yet again I am given carte blanche and highly encouraged to venture into co-production territory. Gritty fun time…
