Remote Mixing and Mastering

Q: Analog or digital and why?

A: For me personally, I could not imagine doing anything without either of them.

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

A: I will approach your creative vision without judgement or ego and try my best to get it where you want it to go.

Q: What do you like most about your job?

A: Hearing the different material and what people have to say and express. Though nothing beats providing the end result of my work and seeing an ecstatic person who just had their creative work made more powerful for them.

Q: What questions do you ask prospective clients?

A: What are you looking for in your current expression? Are there practical steps I can take to ensure I am going into the right direction? How can I best serve you?

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

A: Know what you are looking for and be decisive. It is immensely difficult for one to figure out in what direction something should go and any hint in that direction is worth millions to somebody like me... although ironically that is also exactly what my job entails... you knowing what you want and ideally also how to properly communicate those wants makes it 10 times easier though!

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

A: I would probably take a Monomachine with me, these things speak to me in way no other synth does, instant idea generation. In addition to that, probably a very simply, analog workflow: Tape machine, some tube eq, a reverb or effects unit.. I am a happy man!

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

A: I started working on my own tracks at the age of around 14. I transitioned slowly more towards the engineering side of things as with my own music, I started to get more interested in the physicalities, textures and overall presence of sound in general. Considering I am only 20 at the moment, I still have a very long way to go!

Q: How would you describe your style?

A: Ideally I am so versatile that I do not leave a specific fingerprint, but I suppose that there will always be some sort of an imprint. That is something I want to eliminate though.

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

A: Most likely a group like Autechre. I would love to know how some things came to be through there processes, as it genuinely amazes me how they manage to reinvent themselves so many times over, while still having a very distinct voice.

Q: Can you share one music production tip?

A: Never ever rely on "proven concepts". Although I may say something else after having gained more experience.

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

A: Although I generally don't impose any restrictions as to what I am open to work on, I usually end up working on music that is fairly heavy in texture, subtle interactions in sound and has an overall bold sonic expression.

Q: What's your strongest skill?

A: I think one of my biggest strength is a combination of two things, which is A: a fairly unique perspective on sound, texture and composition, one that is really rooted within the physicalities of the piece of music and B: the unobtrusive, unassuming and respectful handling of other peoples creative output, which leads me to make decisions with a lack of pride that could potentially harm the final result. The process should be light, easy and not imposing, which I think is an environment I can provide.

Q: What do you bring to a song?

A: Hopefully exactly what I needs to empower the creative vision behind it. That could be anything, really, maybe something so subtle that an outsider could argue it would not even make a difference if it was there or not, but lets the person behind the work sleep at night!

Q: What's your typical work process?

A: When a project gets sent to me the most important stage of the entire process begins, which is listening. I listen to the tracks and try to identify the intentions and potential aspirations that are not thriving in its current state and what could possibly be done to get to where I want to go with the project. Usually I would write these down and slowly work my way towards my first approach. I like to be incredibly gentle with what I impose onto the work of others and I want every decision to be meaningful, it is very rare that I make decisions impulsively, which may also be due to my lack of experience.

Q: Tell us about your studio setup.

A: My studio setup is very small, by old recording studio standards it most likely is not even a studio at all, although it houses all the necessary tools and equipment I personally enjoy working with. Modern equipment is so versatile, I feel like I could almost achieve anything on anything (digital, analog, you name it), though it is nice to have certain pieces which simply perform just how you need them to and that do not get in your way at all.

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

A: I love Nigel Godrich's blend of creativity and pragmatic mixing. I am also a great admirer of Bruce Swedien, who always let the music talk and never got in the way of anything, just serving the brilliant artists of the time.

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

A: I mostly do the more or less typical mixing and mastering tasks, I don't really do anything other than that, I however have explored working on genres other than my usuals, hip hop or funk to name two.