Epistemic Audio (df. = of or relating to knowledge of audio) describes my approach to mixing: listen carefully, know the track's goal, and make every mix decision to achieve that goal. This allows me to treat each project fresh: no templates or presets, just ears and knobs.
| What I need from you |
Quality multitracks (stems), organized and clearly titled, in WAV format
Song BPM
Reference songs (if applicable)
A rough mix (if possible)
Notes describing your vision for the song
| What I will do for you |
Equalization
Compression
De-essing
Stereo Panning
Auto Tune (if needed and desired)
Multiband compression
FX (Reverb, Delay, Chorus, etc.)
Side Chaining
Saturation
Parallel Compression
Mastering
| What you will get from me |
Commercial-ready WAV file
Clear and prompt communication
Commitment to understanding your artistic vision
Contact me through the green button above and let's get to work.
Interview with Epistemic Audio
Q: What are you working on at the moment?
A: I'm mixing an EP for a band called Northern Cross (one of their songs is my sample). As well, I'm finishing my own metal album and then plan to resurrect an old personal project that fell by the wayside during COVID.
Q: Analog or digital and why?
A: I'm only digital. Analog has its virtues, there is no doubt, and most of the music I listen to was recorded in analog. But the digital domain offers unmatchable flexibility, and there are always ways to get that warmth back.
Q: What's your 'promise' to your clients?
A: I will listen to your music and your ideas, and take really seriously your creative vision. Your work is my work.
Q: What do you like most about your job?
A: Taking other people's musical vision and making it complete.
Q: What questions do customers most commonly ask you? What's your answer?
A: 1. What is your turnaround time? A: typically about a week for a song, simply because I always have a few different projects going at once. As well, I do not like to send out anything with which I'm unhappy. If I run into some snags working on your project, I want to talk to you about them so I can be sure they're resolved. Sometimes this takes a bit more time, but it's always worth it.
Q: What's the biggest misconception about what you do?
A: That spending money on gear is more important than spending time learning to listen. Gear is important, there is no doubt. But mixing is about listening. Be patient.
Q: What questions do you ask prospective clients?
A: 1. Do you have any reference mixes you like that I can use when working on your project? 2. How would you describe your project? 3. What are you goals for your project?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Please be sure to reach out before we begin working together. This helps me confirm that I can help you complete your project the way you envision it.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: My ears (1 and 2); Reaper (DAW); Axe FX II; PRS Custom 24
Q: What was your career path? How long have you been doing this?
A: I spent 15 years in academia, eventually earning a PhD in philosophy. However, I've been a musician for 30 years, and have been mixing for about 5. I started mixing my own music out of necessity, and began moving on to mixing friends' work.
Q: How would you describe your style?
A: Detail-driven, focused. Soundwise, I like clear productions that lean on the tighter side without sounding clinical or cold. I do like more dense arrangements and the challenge of fitting all the pieces together, but a good mix must breathe, too.
Q: Which artist would you like to work with and why?
A: Steven Wilson because he would teach me his Jedi ways.
Q: Can you share one music production tip?
A: Your ears are your best piece of gear. Listen, listen, listen.
Q: What type of music do you usually work on?
A: Metal and rock
Q: What's your strongest skill?
A: I listen. Of course, I listen to your work carefully to understand your vision. But I also listen to you. What do you want? What do you like and not like? How can I help you?
Q: What do you bring to a song?
A: Attention to detail. I like to get things right, and I do not like to send out work with which I'm unhappy. 15 years in academia taught me the importance of being detailed and persistent, and I will bring this to your project.
Q: What's your typical work process?
A: I strongly prefer to meet the client, understand their needs and listen to any recordings they might have. This helps me confirm I can help them bring their vision to life. After that I get going on the multitracks. When I'm about 80% done I like to send out a sample to ensure that I'm on the right track. Once I get the go-ahead I then complete the last 20% of the mix. This involves getting things presentation-worthy, as well as listening on a variety of sound sources (car, bluetooth speakers, phone) to ensure compatibility. I like to start with drums and bass, getting a thick, solid foundation for the song. Then I bring in higher-frequency instruments, starting with guitars and any electronics. Vocals and FX are last, though vocals typically take the most time because they are so dynamic and personal.
Q: Tell us about your studio setup.
A: Focal CMS 65s RME Fireface 800 Axe FX II GK Acoustics sound treatment Reaper (DAW) Waves plugins Neural DSP Superior Drummer/GGD Drums
Q: What other musicians or music production professionals inspire you?
A: Steven Wilson, Devin Townsend, Nirvana, Emperor
Q: Describe the most common type of work you do for your clients.
A: I mostly do mixing work for rock and metal bands. I'm also happy to program drums, do some session work (guitar, bass), and create guitar patches for your mix.
I was the Mixing Engineer in this production
- Mixing EngineerAverage price - $100 per song
- Electric GuitarAverage price - $70 per song
- Programmed drumAverage price - $70 per song
To confirm that I'm the right fit for your project, please contact me so we can discuss your vision and review any demos or recordings you have. My turnaround time is about 7 days.
