Sweet Boy on SoundBetter

I am a mixing-mastering engineer and electronic music producer casting out to make magic of the best audible features in your music. I am assistant engineer to Justin Aswell, whom I observe and learn from constantly. I've mixed and mastered songs/albums by DJ NPC, Blutschwur, Boy A.C., Unruly Boys, and my own music as Teroscu and sw33t boy.

I am always learning new production techniques via online classes or reading or reviewing from my digital library.
I am looking to gain more clients and build a bond through music. Besides mixing and mastering, I record and produce on location. I do this regularly for Alex P. Drums youtube channel and recently produced a breakbeat loop pack for commercial release. I offer cassette mastering and also Cassette restoration and preservation services. I have a lot of experience comping drums, guitars and vocals.

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

Credits

Languages

English

2 Reviews

Endorse Sweet Boy

by Alex P.
Verified
Sweet Boy (AJ) recorded, time aligned and mixed my hardcore/metal/grindcore drum patterns and break loops. He has all the knowledge needed to go from just an idea to a finished and polished product one can be proud of. He is creative, has great input, but also knows how to let the artists’ work speak for itself. I recommend him to anyone and cannot wait for our next project together.
by Natalie Carr
AJ is incredibly well-versed in what he does and I’ve never seen him give anything less than full attention to a project. He’s obsessed with music and mixing and getting everything just right. The level of care and expertise is beyond, and he’s very communicative and kind. Thanks AJ!

Interview with Sweet Boy

Q: What type of music do you usually work on?
A: Electro, Hip-Hop, Ambient
Q: What's your strongest skill?
A: Working fast but staying relaxed.
Q: Tell us about your studio setup.
A: I use a subwoofer and two monitors to mix, my drum machines and synths are set up into my Traktor S8 controller with a color changing lights to match the vibe.
Q: What other musicians or music production professionals inspire you?
A: Richie Hawtin, Tetsu Inoue & Mike Dean.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: Natalie Carr! She's a phenomenal songwriter and has the voice of an angel. Her lyrics are very thoughtful and creative. I just absolutely love her.
Q: Analog or digital and why?
A: Both, it is purely contextual. It's more work to do things analog and it's more esoteric in the way things just come together compared to digital but they both have their place. Ask me about my outboarding processes for you project.
Q: What do you like most about your job?
A: I didn't expect to but I find myself producing vocals a lot outside of mixing. Whether it's comping a dub so the doubles are phase aligned or recording the takes, vocal production has become a favorite of mine.
Q: Can you share one music production tip?
A: If you're recording at home, do the best you can to acoustically treat the room you're going to record in. Don't use egg cartons either. I've treated rooms with heavy blankets and large painting canvases before and it cleans up the quality of your recording more than you can imagine. If you can't treat the room avoid three things: standing in the middle of the room, placing the mic too close to a wall or recording too loud or too quiet.
Q: What do you bring to a song?
A: A positive contrasting perspective
Q: What's your typical work process?
A: When I start on a mix, I import the stems into my DAW and group them into 1 of 6 categories. I have a mix template routed like an analog board with busses of each category sending to industry standard effects like a 250 Plate Reverb for vocals or compression for drums. This saves me time so I can address any issues before moving forward mixing your song.
Q: Describe the most common type of work you do for your clients.
A: I do a lot of mixing, and take special care of the drums. They keep the song rolling and provide the dynamics that make a listener go "Oh!" When done well those dynamics let the other instruments shine. When ignored, a song can be just plain boring.