What was your career path? How long have you been doing this?
I've been messing around with mixing desks ever since I was a toddler, sitting with my dad in the radio station he worked in. But I've been producing and song writing since I was fourteen.
Can you share one music production tip?
Mix as though your entire project is in mono - and only toward the end do you start mixing in stereo effects and panning. Even then, use them sparingly.
What type of music do you usually work on?
Usually indie-pop, with danceable beats and catchy melodies!
What do you bring to a song?
Flourish, fullness, and beauty. There's beauty to be found in any song, whether it be a full string section tugging at your emotions, or a simple harmony used very sparingly in the mix.
Coming from a dance background, I also bring rhythm. Melody and harmony are only half of a song - the other half is how they represent themselves rhythmically.
Tell us about your studio setup.
My setup is almost embarrassingly simple, with a Mac Mini running Logic Pro X, and an M-Audio interface connected to an Akai MIDI controller and my Shure SM7b. Also laying around my studio are several instruments, from guitars, basses, drum kit scraps, an autoharp, various old synths, to an upright piano.
What other musicians or music production professionals inspire you?
Producers such as Martin Hannett of Joy Division fame, who brought in a sense of image and space to the sound, inspire me, definitely. But also there are your pop producer masterminds, such as Stephen Hague, who know just what it takes to turn an already good song into something that digs into your brain and stays there.
Describe the most common type of work you do for your clients.
Typically, I mix and beef up tracks recorded in the not-best conditions by my clients, adding instrumental flourishes, harmonies they might not have considered, and just general polish to the entire project.