Mixing Engineer

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

A: I worked with a goth band back in the day. They wanted to get a bit of a retro sound to their next single. They were shocked when I went the angle of live recording and put them all in the same room. The mic's worked beautifully and the band had an amazing clean tone. They did not think it was possible, but the finished project had them all smiling ear to ear. I was really happy about that one.

Q: What are you working on at the moment?

A: I'm currently working on my own musical project.

Q: Analog or digital and why?

A: Both, because they both are superior to each other in their own way.

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

A: What is your recording method? To which I respond with the answer provided above for "what is your typical work process"

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

A: The biggest misconception is that I just hit record and mix until it sounds good. lol.

Q: What questions do you ask prospective clients?

A: Do you have any deadlines? What format do you need for a final product? Can we set some time to discuss in detail your expectations and my own?

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

A: I'd ask that you come prepared with material. If you have pre-recorded content, I'd ask that you come with that ready as well.

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

A: Minimal, I can do! I'd need the DAW for basic recording. I'd take a long with me my EMI REDD.47 preamp and my EMI RS124 compressor. I would also bring my EP-WA tube Eq. These could manage the outboard processing. Lastly I'd bring my Neve 1059 Satellite for bus mixing.

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

A: I have been songwriting and acquiring my musical skillset since I was a young teenager. Music production grabbed my attention as a late teenager. I have been carrying on and crafting my skills ever since. It has been a journey of about 25 years.

Q: How would you describe your style?

A: My style can be described as a fusion of vintage authenticity with modern precision. I have a deep appreciation for the warmth and character that analog equipment provides, and I use it to shape a unique, timeless sound. At the same time, my technical proficiency with digital tools allows me to maintain clarity and control throughout the production process. My approach emphasizes bringing out the organic qualities of a track while ensuring it is polished and professional, balancing creative artistry with technical expertise.

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

A: I would love to work with somebody like, "Cage the Elephant". I know I can take their rough and raw performance and pump out a beautiful piece that sounds like they're in the room with you.

Q: Can you share one music production tip?

A: It's not knowing what to put on the track that counts. It's knowing when the rack needs it.

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

A: I typically work on raw rock and roll or electronic based alternative music.

Q: What's your strongest skill?

A: My strongest skillset is knowledge. Understanding the equipment and signal flow is crucial in audio recording because it directly impacts the quality and character of the final product. Every piece of equipment, whether analog or digital, plays a specific role in shaping the sound, and knowing how to use each tool effectively allows an engineer to achieve the best possible result for the artist’s vision. In a studio setting, the engineer must be familiar with how sound moves through the signal chain—from the microphone to the preamp, through compressors, EQs, and other processors, and finally into the recording interface or DAW. Proper knowledge of this flow ensures that the signal remains clean, without distortion or unwanted noise, while optimizing its sonic qualities at every stage. Each outboard processor, for instance, has its own distinct characteristics that can enhance or modify the sound in specific ways. Knowing when to apply subtle compression or how to sculpt frequencies with an EQ can dramatically improve the clarity, warmth, and dynamics of a recording. Misusing or misunderstanding this equipment can have the opposite effect, leading to muddiness, loss of detail, or an unnatural sound. Ultimately, a deep understanding of both the equipment and the workflow gives an engineer the creative flexibility to tailor the recording to the artist’s needs, ensuring that every song reaches its full potential, both sonically and emotionally.

Q: What do you bring to a song?

A: This hybrid technique enhances the song by combining the precision and control of digital recording with the warmth, depth, and character of analog processing. Digital recording through the DAW captures the performance with crystal-clear accuracy, ensuring every detail of the song is preserved. Then, by sending the tracks through high-quality, rare outboard gear, such as compressors, EQs, and other vintage processors, the song is infused with the organic richness that only analog equipment can provide. The analog processing adds subtle color, warmth, and texture, creating a fuller, more dynamic sound that feels alive. Compressors bring smoothness and consistency, while EQs sculpt the frequency balance, making the mix more cohesive. This approach also adds a unique sonic signature to the music that can’t be replicated through digital plugins alone. The end result is a track that not only sounds polished and professional but also has a timeless, authentic quality, standing out in today’s crowded digital landscape.

Q: What's your typical work process?

A: I work primarily within a digital audio workstation (DAW) environment, where tracks are recorded and organized with the efficiency and flexibility of modern technology. From there, I send the tracks through my range of outboard processors, allowing them to be shaped and enhanced by the analog equipment that gives them that coveted vintage touch. Each element is carefully crafted before being bounced down to the final project, which can be delivered as either a quick mix or a fully polished, mastered track, depending on your needs. With this hybrid approach, I’m able to offer artists the best of both worlds: the convenience and versatility of digital recording, paired with the richness and warmth of analog processing. The result is a finished product that is both technically pristine and sonically distinctive.

Q: Tell us about your studio setup.

A: My studio is a space designed to combine the best of both digital and analog worlds, offering a unique blend of precision and warmth. Equipped with a carefully curated collection of rare and sought-after outboard equipment, the studio ensures that every project is infused with the distinct, organic character that only high-end analog equipment can provide. From compressors to EQs, every piece of gear is chosen for its ability to add depth, warmth, and clarity to your sound.

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

A: I love many artists, but the top three for me have got to be Thom York, Graham Coxon, and Emerson Hart

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

A: The primary type of work I do for clients is Recording, Mixing, and Mastering