Indie & Folk Mixing | Tapetown

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

A: I came to recording through playing music and being in bands. I worked as a recording engineer at Frostbox Studios in Copenhagen, where my earlier recording credits included Macklemore, Lukas Graham and Dev Hynes (Blood Orange). I later built my own mixing room near Aarhus and focused on mixing independent records. I'm also part of Tapetown with Rasmus Bredvig and Troels Damgaard Holm, working on mixing, mastering and live sessions.

Q: How would you describe your style?

A: Warm, gritty and present. I like depth, movement and a bit of character in a mix. The exact sound comes from the song and the artist's references, but I always want the record to feel connected to the original idea.

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

A: The War on Drugs. I'm a big fan of Adam Granduciel's songwriting and the sound of those records. The depth, atmosphere and groove keep pulling me back in, and I love Shawn Everett's work with them.

Q: Can you share one music production tip?

A: Keep your sessions organised, and do the preparation before the creative work. Clear track names and a rough mix you can refer back to make a real difference. I often prepare a session the evening before mixing so I can start the next day listening to the music.

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

A: Mostly indie, folk and alternative, including indie rock, indie pop, psych rock, lo-fi and Americana. I like records with personality and performances you can feel.

Q: What's your strongest skill?

A: Getting the drums and bass to move together. I spend a lot of time on rhythm and groove. I also enjoy finding character in guitars and bass with distortion, chorus or flanging when the song calls for it.

Q: What do you bring to a song?

A: Attention to detail and respect for the artist's idea. I listen for what makes the song work: a vocal that feels close, a drum sound, a rough edge or the way the bass moves. I want the finished mix to make those things easier to feel.

Q: What's your typical work process?

A: We start with your rough mix, a conversation about the song and any references you want to share. I want to know what you already love about it and what is bothering you. We agree the scope and delivery date, then I prepare the session and get to work. I often do the organising the day before so I can come back with fresh ears. You hear a complete first mix, then we work through your notes over up to three revision rounds. Once the mix is approved, I deliver a full-resolution stereo mix and an MP3 listening copy. Instrumental and a cappella versions are available on request.

Q: Tell us about your studio setup.

A: I work from my own mixing room close to Aarhus, Denmark, with a desk I built myself, instruments around me and a combination of analogue gear and plugins. The setup includes an SSL Fusion, an SSL G+ bus compressor, a TC 1210 chorus/flanger and a TEAC 3440 tape machine. I use SSL UF8 and UC1 controllers too. I like being able to reach for a knob and listen without staring at the screen all day.

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

A: Shawn Everett, Tchad Blake and Peter Katis. I love the way Shawn Everett helps a record like The War on Drugs feel both detailed and alive. Tchad Blake's use of distortion and saturation is a big inspiration, and Peter Katis has worked on a lot of my favourite records.

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

A: Most of my work is mixing songs for independent artists, often remotely. Indie, folk and alternative are where I feel most at home. I work from the separate tracks, using the rough mix as a starting point, and shape the balance, space and dynamics around the song. I also offer mastering and stem mastering, and work on records and live sessions as part of Tapetown. If a song needs editing or tuning, we agree that separately before starting.

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

A: Lucky Doom's Fieldwork EP is one I look back on fondly. We recorded the drums in a living room, and I mixed the record. I like the character you can get from working in a space like that. My first album, Spine of Man by Moonstruck, also means a lot to me: it taught me so much about making a record and listening all the way through the process.

Q: What are you working on at the moment?

A: Mixing independent records from my room near Aarhus, alongside my work with Tapetown on mixing, mastering and live sessions. The playlist on this profile is a good place to hear the music I've been working on.

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

A: I recommend choosing someone whose work feels close to your music, then having a conversation before booking. If a project needs another specialist, I'm happy to discuss that with the artist.

Q: Analog or digital and why?

A: Both. I love analogue gear for saturation, colour and bus processing, and I enjoy working with my hands. Digital tools give me precision and flexibility. I use whichever helps the song and keeps the session moving.

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

A: I'll listen carefully to your music and your notes, take the time the song needs, and be clear about the process. I want you to recognise your record in the finished mix and feel good about releasing it.

Q: What do you like most about your job?

A: Getting to know people through their music. I love hearing what someone has been working on, finding the details that make it theirs and helping the record come together. And I get to spend my days listening to music, which still feels like a pretty good deal.

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

A: People usually ask about price, revisions and timing. Mixing is €380 per song including VAT, with three revision rounds. Mastering, stem mastering and editing are quoted separately. For an EP or album, send me the songs and we can discuss the project as a whole. We agree the delivery date before I start.

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

A: A good mix starts with the song, arrangement and performance. Mixing can bring out a lot of detail and emotion, but it helps to talk honestly about the recordings first. If something would benefit from an edit or a new take, I'd rather discuss it with you early.

Q: What questions do you ask prospective clients?

A: What do you love about the rough mix? What isn't working for you yet? Are there records or songs that help explain the direction? I also ask about the recordings, the release plans and the delivery date so we can agree a useful starting point.

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

A: Listen to their work and see whether you connect with it. Then have a conversation about your own music. You should feel comfortable sharing a rough mix, describing what matters to you and asking questions. A good working relationship makes the whole process better.

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

A: Assuming there's a computer and something to listen on: Soothe2, Melodyne, my TC 1210, SSL UF8 and SSL bus compressor. A slightly impractical desert-island setup, but I'd be happy with it.