Producer and Mixer

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

A: I am especially proud of my first solo album with my Franklin Mansion Project. I really poured my soul into that record. I am also extremely proud of the music I am making with my friend Michael Baker for my Bloody Tourist project. I truly feel like we are pushing boundaries sonically and musically. 'Ceremony' is the track attached above in my profile. Have a listen!

Q: What are you working on at the moment?

A: It's been a busy year. I'm currently juggling 4 albums with my project Bloody Tourist, my good friend L.Lsn, my own solo project Franklin Mansion, and another wonderfully talented artist I work with called Ochre. On top of this I am also working on scoring my first 2 feature films this year. Very exciting! I'm also focusing on building my video game scoring portfolio as I have recently graduated top of my cohort in the legendary Jason Graves video game composition course. Lots brewing!

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

A: I am new to the platform, but I was directed here by a wonderful producer and mixer I found on Instagram called Aubrey Whitfield. While I don't know her personally, I admire her work and she is always posting really great creative production tips that I've learned so much from!

Q: Analog or digital and why?

A: It's nice to have hands on buttons for sure. So you can't beat analog for that. It's tactile and rewarding. But in terms of actual sound I truly believe that having done a LOT of comparing, analog emulation in the box these days in virtually indistinguishable from the real thing. Having said that I'd love a couple of LA2A's if you have them going spare.

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

A: I’ll bring my full attention, respect, experience, and creative instincts to the table every time without compromise.

Q: What do you like most about your job?

A: Definitely the "Aha" moment you have with a client when the penny drops and you stumble on a sound or a melody or a lyric that ends up being the northern star for the rest of the song. Thats the dragon I'm chasing!

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

A: "What's your style?" My work is eclectic for sure but theres always a common thread of musicality and organic instrumentation through every thing I do. I always encourage new clients to have a listen to the Spotify playlist I have compiled where you can listen to all of my work :)

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

A: Probably that I’m either just a producer, or just a mixer, or just a songwriter, or just an instrumentalist. In reality, I wear all these hats simultaneously and see them all as intrinsic to the creative process. I pride myself on being able to offer a holistic approach to music-making, where each stage from songwriting and arrangement to recording and mixing is part of the broader picture we call “production.” I love all stages of bringing music to life.

Q: What questions do you ask prospective clients?

A: I like to keep it conversational. I’ll usually start with something like: What are you working on, and why does it matter to you? What kind of emotional tone are you looking to convey? What have you been listening to or reading or watching recently that you found inspiring? How do you like to work collaborative, or more hands-off? What’s your timeline and budget, and where are you at in the process of the project? I just want to get a feel for the story you want to tell and how I can help tell it. That all that really matters to me honestly.

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

A: Take the time to figure out what you actually need, not just in terms of skillset, but vibe. There are loads of talented people out there, but the magic really happens when there’s a shared sense of taste and trust. Don’t be afraid to ask questions, be specific about your vision and look for someone who’s genuinely curious about the work. We're not looking to tick boxes here, we're making art! Personally, I care a lot about the emotional core of whatever I’m working on. I want it to feel right, not just sound good on paper. If that resonates with you, we’ll probably gel

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

A: A solar panel. An 8 track. Shure SM7B. Sunglasses and extra socks

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

A: most of my life. I started playing piano at 7 years old, started guitar when I was 12, played my first gig at 15, and haven't stopped since. I got my degree from the University of Sussex in 2015 and have been touring, writing and producing professionally since then.

Q: How would you describe your style?

A: Thoughtful, bold, ambitious, musical.

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

A: I typically work with songwriters looking to break out of the box of the "singer songwriter". Finding ways to navigate that sonic landscape with intrigue and bold production choices I believe is why I have been able to build trust and beautiful working relationships with the artists I work with.

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

A: I've become mildly obsessed with Kimora over the years. Her ear for left of field melodies and bold production choices I just find amazing. That would be awesome. That would be awesome. I am endlessly inspired by Feist and her unbelievable output.. That would be awesome. I love how Lizzy McAlpine writes songs. That would be awesome.

Q: Can you share one music production tip?

A: Over the years, I’ve learned that truly understanding gain staging and maintaining sufficient headroom during mixing has significantly improved my workflow and the quality of my mixes. It might sound basic, but it’s crucial. Equally important is trusting your ears. If something sounds good, it probably is. Resist the urge to over-process; not every track needs EQ or compression. Often, the most effective mixes are those where each element is given space to breathe, allowing the song’s natural character to shine through.

Q: What's your strongest skill?

A: My ears, my sense of time and groove, and my ability to listen emotionally to something and get to the heart of it.

Q: What do you bring to a song?

A: I bring instinct, taste, and restraint. My background as a multi-instrumentalist and producer means I’m always listening for what serves the song, not just what sounds impressive. I have a strong melodic sense and a feel for dynamics, tension, and groove but I’m not precious. I’m here to shape, support, and elevate whatever’s already working. I’m the guy who might spend two hours deliberating a hi-hat pattern, but also know when to step back and say, “Actually, let’s mute everything except the vocal and that weird noise we hated yesterday.” Yano? I’m also collaborative to the bone. I know how to listen. To the track, to the co-writer, to the silence before the chorus hits. Whether it’s refining a lyric, finding a killer harmony, or just knowing when not to add another synth, I’m focused on helping the song say what it needs to say in the clearest, most emotionally honest way possible.

Q: What's your typical work process?

A: My typical process starts with understanding the artist’s vision, whether that’s through casual conversation, reference tracks, or lyric ideas. I prioritize working with songwriters, so I like to be involved from the earliest stages, helping shape the song structure, refining melodies, or suggesting chord changes if needed. Once we’ve got a solid foundation, I’ll move into production land and understand what the music makes me feel first and foremost. I then start with broad strokes, building the sonic world around the song, whether that’s a stripped-back acoustic vibe or something more electronic or cinematic. I’m a huge fan of the collaborative process, so I’ll often send drafts back and forth, or work in real time sessions to make sure the production always serves the emotion of the song. I also do a lot of mixing as part of what I offer, and can take projects all the way through to delivery, but I’m not precious and I’m happy to hand off stems if someone else is handling that end. I come from a live music background, so I’m always thinking about how something will translate off the record, too. And while I’ve been doing a lot of scoring to film recently, my main passion is helping songwriters bring their ideas to life in a way that feels both emotionally honest and sonically rich.

Q: Tell us about your studio setup.

A: I primarily work from my home studio where I have streamlined my setup over the years to maximize my work flow. Everything runs through my Apollo x4 and Audient ASP880 interfaces, normally via my Warm Audio WA-2A compressor for some lovely analog warmth before it ever reaches my DAW. In addition to the this I have the majority of the Universal Audio plugins, including many preamps such as the Neve 1073, Manley Voxbox, API Vision Channel strip, amongst many many others. All of these things together have dramatically improved the fidelity and sonics of my recordings that I believe stands up against many high end studios. Apart from this I have over 40 weird and wonderful guitar pedals such as the Hologram Chroma Console, Microcosm, Infinite Jets, Multiple Strymon units, Earthquakes Devices and lots more. I utilize them as outboard having acquired a Radial re-amp box a couple of years ago, which is an invite well of inspiration and intrigue when it comes to mixing, adding nuance and depth. I am also the proud owner of a Nord Stage 4, Prophet V, and a Korg Minilogue which is wonderful to turn to when I need something cool on a moments notice. In addition to this I have dozens of high end VST's including Serum, the entire Arturia soft synth suite and many others, so I am never short on inspiration when I need it. In terms of other instruments I have a beautiful 1991 Les Paul Custom, a 2007 custom shop Fender Stratocaster, a custom built frankenstein Jazzmaster and Telecaster I made myself, a 1986 Epiphone Casino, a 1952 Hofner Nylon String Acoustic, a Taylor 314, a Gretsch G5260 Baritone guitar that soothes my spaghetti western obsession, a 1985 Squier JV Jazz bass that I adore and has been on almost every piece of music I've been involved in over the last 10 years. Some extra things I have is a 6 string Guitar/Banjo, a Kala Tenor ukulele, a clarinet and Saxaphone and lots of percussion options. When it comes to microphones I have 2 SM7B's with accompanying cloudlifters, an Aston spirit large diaphragm condenser, a pair of Rode NT5's and various other high quality microphones. Think that cover most of it!

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

A: I’m inspired by a mix of artists and producers who all approach music with intention, emotional clarity but most of all MUSICALITY. People like Blake Mills, Sam Evian, Jonathan Wilson, Luke Temple and Kevin Parker of Tame Impala really stand out for me. Not just for their sound design, but for how they build entire worlds sonically. I’m also drawn to producers like Justin Vernon of Bon Iver, Nick Hakim, Mac Demarco, Ethan Gruska and especially in terms of philosophy and process. They are a constant reminder for me that sometimes the most interesting part of music happens by accident or through limitation. In terms of songwriting and arrangement, Maddison Cunningham, The Barr Brothers, James Blake and Phoebe Bridgers to name a few have had a big impact on me. They both know how to use space and silence in a really powerful way, which I think is one of the most underrated things in music production. From a more technical angle, Andrew Scheps and Tchad Blake are mixing engineers I look up to—especially how they balance grit and clarity in their mixes. I love when something sounds slightly broken but still beautiful. Lately, I’ve also been really inspired by composers like Ryuichi Sakamoto and Hildur Guðnadóttir—people who blur the lines between sound design, score, and emotional storytelling.

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

A: I specialize in bringing songs to life through production, arrangement, and mixing. Most of my clients come to me with a seed of a song or demo, and I help develop it into a fully realized track, whether that means building lush soundscapes, refining and adapting melodies, refining vocal production, or tightening the groove and flow of the song. Having said that I also often write from scratch with clients as well. I often work across genres, but I’m especially at home in pop, soul, indie, and cinematic styles. My focus is always on elevating the emotion of the song and making sure the final product feels both polished and authentic.