Mixer (Stereo & Dolby Atmos)

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

A: I started out making tea and cleaning the studio at ICC in Eastbourne UK when I was 20. I went on to become studio manager, before going freelance. Since then I've had the privilege of working in some of the worlds top studios such as Metropolis, RAK and Abbey Road in London, Real World in Somerset UK, The Sound Kitchen in Nashville, and This Music Studio in Hong Kong.

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

A: I'm a big U2 fan so Daniel Lanois, Steve Lillywhite and Brian Eno have had a big influence on me. I also love the work mixers Cenzo Townsend, Michael Brauer and Tom Elmhurst.

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

A: SM7 mic, Focal Headphones, Neve Pre amp, UAD Apollo Twin, Espresso machine.

Q: Can you share one music production tip?

A: Every idea is worth trying.

Q: What are you working on at the moment?

A: I'm currently finishing mixes for a singer / songwriter from Liverpool, UK. Also in the middle of an album project for a Dutch Singer / Songwriter, and working on Atmos Mixes for a label in Nashville, USA.

Q: Analog or digital and why?

A: Both because two are better than one.

Q: What questions do you ask prospective clients?

A: What are you listening to right now. What other artists influence your work.

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

A: I work on a wide range from Indie, alternative to CCM and Worship music.

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

A: Mixing in stereo and Dolby Atmos. Also production.

Q: What do you bring to a song?

A: I always say a mix shouldn't just sound good, but needs to feel good. I try to figure out what the message of the song is, how that makes me feel, and that determines my approach and even what gear I patch in to try and get that feeling across in the music.

Q: What's your typical work process?

A: I like to get a rough mix from the client so I can hear how you hear the song. I'll listen to that a few times to get a feel for what's there and what I think needs to be improved. Then I'll start in on the track. I generally start with drums, percussion, bass and the main musical elements but get the vocal in pretty early on to make sure that's fitting and working with everything else. Then I'll bring in the other musical elements. When I'm happy everything's sitting together well, I'll turn on the automation and work from there.

Q: Tell us about your studio setup.

A: My room is based around Pro-tools and an Amex Big 28 input console. I like the blend of analogue and Digital. Outboard gear includes Summit Audio MPC100A, Purple Audio 1176, Focusrite ISA215 EQ, Neve 1073's, SSL Bus Compressor, DBX and Valley people compressors, Warm Audio Pultec style EQ, Heritage Audio Successor compressor, Universal Audio 710 Twin Finity Pre's. Each piece of analogue gear has its own tone and colour. My main stereo monitors are KRK6's with a sub, and for Dolby Atmos I'm running a 7.1.4 Focal system with Avid Mtrx studio as the controller.