Recording, Mixing, Mastering

Q: What's your typical work process?

A: For mixing and mastering (which I suppose most of the SoundBetter clients will approach me for), I like to have quite a bit of information from the client. What artists or pieces of music do they relate to in terms of the song in question, what are they trying to communicate, what is the message and the mood? Many of my clients perform in languages I don't speak so it's really important to have the conversation in this regard. Typically I'll import the tracks and do a very rough mix so they can check if all the parts are there. It happens from time to time that the client accidentally sends the wrong take or doesn't send part of the performance - exporting can be tricky :) Once we are happy with that the client leaves me to play my instrument, which is the mixer. Once I feel I have something to present as a draft, we'll have another chat about my ideas, approach, and once I know the client likes where the mix is going I'll start refining it. I'm not the kind of guy who sends you a mix and expects you not to have comments/likes/dislikes. Mixing is ultimately a conversation between engineer and artist. The way I work I always send a semi-mastered mix as I don't like the idea of the client having to guess what mastering is going to do to the track.

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

A: When Ndlovu Youth Choir contacted me to record the drums, bass, guitar and perc for African Dream, I had no idea who they were. A few months later that track carried them through the America's Got Talent auditions and standing ovations. I had a tiny part to play in that but it still feels great. Alt/Folk singer Andra Cilliers (from Namibia) was another story. I recorded, mixed and produced her first two albums which ended up gaining her an absolute cult following. She landed a song on a US TV advert and toured Europe based on that first album. Almost every project reveals a little magic sooner or later - you never know where the music is going to get traction, which is part of the excitement of making it!

Q: What are you working on at the moment?

A: I always have several productions ticking over. Vox Chamber Choir & Franco Prinsloo (South Africa) are breaking barriers with their stuff. I get to record, mix and master their music which is an absolute privilege. Thili Maumela (South Africa), City Modiba (SA), Akwetto (Angola/USA), Chengetai and The South-African Jazz M'bassadors (France), Maniza (SA) are all exciting projects on my table right now.

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

A: I am new here - ask me again in a few months :)

Q: Analog or digital and why?

A: Mostly digital (incl digital outboard gear), with some analogue thrown in. If it sounds good, no one cares how it was done. I have figured out what works for me. It may be very different for the next guy.

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

A: I will walk the distance with you.

Q: What do you like most about your job?

A: I get paid to listen to and mess around with music! And the music changes every day. I can't think of many other jobs this cool.

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

A: They are often not sure about terminology like Stems and Separates: Stems are stereo submixes of instrument groups. Seperates are the individual audio tracks which a mix engineer will generally want to work with. The younger guys, esp in hiphop/rap etc are normally not sure about the difference between mixing and mastering. I normally refer them to my website where I dedicate some time to explaining it (https://onebigroom.co.za/process/recording/)

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

A: I think all sound engineers have the same problem. It looks quick and easy when you get good at it. It's not.

Q: What questions do you ask prospective clients?

A: What does the song mean? What are we communicating (message/emotion)? Who is the audience you want to reach? What existing songs reflect the feel/sound you are going for? What are the most important elements for you in the song?

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

A: Be willing to communicate your likes and dislikes. If you love it, say so. If you hate it, say so! My job is to not have an ego, my job is to interpret/translate and enhance your musical vision.

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

A: Some kind of four track, an SM58 (you can always remove the pop cap to get a 57!), Rode NT1A, my Ibanez Blazer bass, any acoustic guitar with a pickup.

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

A: I started playing piano at age 5. Bass guitar at age 14 (we had an alt/rock band from the first year of high school). Started playing professionally at age 21. Meanwhile I always loved technology and sound technology, so messing around with cassette tapes and hand-built mixers was part of that journey. In 2001 I finally built a pretty basic studio and it just kept moving forward from there. Hundreds of clients later I'm still doing it.

Q: How would you describe your style?

A: Enthusiastic/Flexible

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

A: I want to work with the next artist that brings an amazing song to my studio.

Q: Can you share one music production tip?

A: LISTEN with your ears and your gutt, they're both equally important.

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

A: Somehow my work has gravitated towards about 80% African Gospel, African Jazz and all kinds of world music which is funny because I'm a long-haired rocker! But my clients keep coming back so I must be doing justice to their music :) I do love acoustic/folky stuff and rock too. And I love electronic music. Everything has it's place - you can't eat the same meal every day.

Q: What's your strongest skill?

A: Respecting the artist who trusts me with their music.

Q: What do you bring to a song?

A: I am a musician at heart. I know how a good song should feel because I have been on hundreds of stages in my life. So my gutt plays a big part in my decisions and suggestions. Sometimes I'll surprise my clients by doing something unexpected because the musician in me said it needs to go here or there. If the client likes it, GREAT! If not, I roll back to the previous version and carry on. I am also ridiculously patient and happy to listen to any and all feedback. Ultimately it's not my song, so I have to respect that the client's taste is all that matters.

Q: Tell us about your studio setup.

A: My own studio is a 3 room facility with a really nice control room. I have spent the last two years refining the acoustics even more and mixing is a total pleasure in there. The live rooms are super flexible and great for anything from rock to jazz to acoustic work. I am also lucky to have access to a 4 room facility about 4 times the size of mine which features some amazing vintage gear, a Trident 86B in mint condition as well as plenty of vintage mics. We're talking Neumann u87s (originals), Beyer, AKG etc. We normally record grand piano (Yamaha C5 7-foot), smaller choirs and smaller classical/jazz ensembles there.

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

A: Anyone who is pushing the boundaries and who are good at what they do. I will literally listen to Jazz, Gospel, Metal, Country, Pop, Folk, Classical/Choral - I honestly have trouble choosing.

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

A: I record, mix and master A LOT of African music (jazz, gospel etc) in my own studio as well as my partner's vintage studio, working with some of the top local producers. Full bands (8 to 12 people sometimes) as well as smaller sessions and programming sessions. Most of my clients trust me to also mix and master their music once we have captured the performances. My other love is to record live concerts and to mix them for release. From time to time I will also produce for artists - it all depends on what they need.