Classical & Soundtrack Mixing

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

A: My career path began with formal academic training, where I earned a dual master's degree in Sound Production and Acoustic Engineering. That foundation gave me a deep understanding of both the artistic and technical sides of audio—from room acoustics to signal flow and critical listening. I started working in prestigious recording studios, handling sessions for classical musicians, jazz ensembles, and film scores, which allowed me to refine my craft alongside some of the industry’s most demanding artists. Over time, I also began working directly with orchestras, capturing live performances and studio sessions where precision and transparency were essential. I’ve been doing this professionally for over a decade, and throughout that time I’ve continued to evolve my approach, integrating new formats like immersive audio while staying true to the acoustic principles I built my career on.

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

A: I usually work on classical, jazz, and soundtracks, which remain the core of my practice. In recent years, I’ve also expanded into pop and K-pop productions, where I apply the same attention to detail—clean vocal processing, balanced instrument layers, and maintaining dynamic impact across both acoustic and electronic elements. Whether it’s a solo piano recording, a full orchestral score, or a polished pop mix, I adapt my technical approach to suit the genre while preserving musical integrity.

Q: What's your strongest skill?

A: My strongest skill is combining a deep understanding of acoustics with precise technical execution to preserve the natural character and emotional intent of a performance. I excel at managing phase coherence, spatial placement, and dynamic range—especially in complex acoustic recordings like classical and jazz ensembles—while ensuring the final result translates accurately across all playback systems. I also know when to step back and let the music speak for itself, applying processing only where it genuinely serves the artist’s vision.

Q: What do you bring to a song?

A: I bring clarity, depth, and dynamic integrity. I make sure every instrument sits in its natural space without masking or phase issues. I preserve the emotional arc of a performance by handling dynamics with precision—keeping the soft passages intimate and the climaxes powerful without distortion. I also bring technical consistency across formats, so whether the final destination is streaming, vinyl, or an immersive format like Ambisonics, the translation is seamless. Above all, I bring respect for the artist’s intent, treating every project as if it were my own.

Q: Tell us about your studio setup.

A: My studio setup is built around a hybrid configuration that combines the warmth and character of analog gear with the precision of modern digital workflows. I use RME and MOTU audio interfaces as the backbone of my conversion, feeding into a Studer 961 mixer for analog summing and tonal shaping. For processing, I work with Hologram Electronics signal processors and a Crane Song compressor to add color and control when needed. My monitoring chain is centered on Dynaudio speakers, giving me an accurate and honest reference across all frequency ranges. On the microphone front, I rely on a curated selection including Schoeps, Neumann, Coles, and Austrian Audio to capture everything from solo instruments to ensembles with clarity and depth. On the software side, I use industry standards like Pro Tools, Logic Pro, and Nuendo for editing and mixing, alongside specialized tools such as iZotope RX for restoration, and Weiss, Sonnox, and FabFilter for processing.

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

A: I draw inspiration from a range of engineers who combine technical precision with musical sensitivity. In the classical world, I admire the work of Philip Siney and Jean‑Marie Geijsen for their natural capture of acoustic spaces. Among South Korean works, I follow SM Classical's team for their clarity in orchestral and piano recordings, as well as classical and pop mixing. I also respect how Korean mastering engineers like Nam‑Woo Kwon achieve competitive loudness while preserving dynamic detail.

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

A: I mostly work on classical and jazz recordings—solo piano, small ensembles, and chamber groups. Clients send me multitrack sessions or stereo stems recorded in studio or live settings. I focus on balancing levels, managing phase coherence between microphones, and shaping dynamics to preserve natural transients. I also handle noise reduction, corrective EQ for room acoustics, and prepare final masters for streaming or physical release.