Producer, Mixing & Mastering.

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

A: I started messing on synths and keyboards at around 11 years old. I taught myself to play keyboards and then got into MIDI and what it could do back in 1983-84. This was a turning point for me. I messed around with tape recorders and porta-studios, which set a bomb off in my head. I was in a band called Evolution for many years. This was my ticket to success in the music business. It opened up many doors to work with other artists and master my studio skills. This would eventually lead to mixing and mastering for many artists, and friends.

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

A: I just completed mixing the debut album for the band Lavender from London. It is an acoustic lead album but with an inner city twist that Lavender bring from living in London. Adam and Oskar did a fantastic job putting this album together. Great songs and style in what they do, and what they wanted to create for this album.

Q: What are you working on at the moment?

A: I am currently starting an album project for the band Everything. They have been working on a new album this past year. Craig and the guys have got something really special that I am super happy to be involved in.

Q: Analog or digital and why?

A: Both for me. They each have their place in music production. Super clean digital sounding music is boring to my ears. I like texture and soul in the music I like and create. This adds character and style to a track. Analog is key for this to me.

Q: What questions do you ask prospective clients?

A: What DAW do you use. Do you use any unusual plugins that are not weak known. Do you have any reference tracks you are trying to emulate in the sound of the mix?

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

A: If you want something different about your music and mixes, I like to find something that makes it more 3D in sound and experience. Sound design is a tool I love to use that makes songs interesting, and jump out of the speakers. I feel it is a much more enveloping listen for the audience, which I strive to create within a mix.

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

A: Moog Sub37, Roland TR8S, HydraSynth, Roland Jupiter 6 and Macbook Pro. They are all very important bits of gear for me, that I have extensively used in my work for 30 years. Some newer, but just ground breaking tools for the studio.

Q: How would you describe your style?

A: I like details and texture in my recordings. Style is not really a thing for me, as I like to try lots of things, and sometimes fuse genres in music. I like to feel no conformist in a way. Creativity shouldn't be restricted or pigeon hold. That only kills the vibe of song creation.

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

A: Thom Yorke. I love Radiohead. They have been such an innovative band over the years. Thom has always been a trail blazer and a creative beacon for me. I worked on a remix of his Eraser track alongside Sasha and Charlie May for Sasha's Involver 2 album. Them loved what we had done with the track. It was a lot of sound design and intricate details that kept the track interesting and expressive. Getting the chance to work with him directly would be a true joy for me.

Q: Can you share one music production tip?

A: Do not be afraid of background noise and glitches in your recordings. Sometimes, these ca really add to the vibe of the recording. The energy of the place you record in is captured, and should be allowed to share its place in the recording. Some times a little hum and dirt makes a song.

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

A: Electronic music îs my most worked on music, as well as experimental stuff. My most recent work has been all live instruments for the past 2 albums for Ash Walker, and Lavender. Both quite different in approach to the mixes. Ash's work is very dub and dusty sounding, with lots of horns, guitar, live drums, and Rhodes. Lavender was very acoustic guitar lead with lots of vocal layers and harmonies, but with a very detailed close and subtle sound to most of the album. These guys really had a vision to what they wanted from the album, and I think we really did achieve that.

Q: What's your strongest skill?

A: I love to sound design and turn things on their head. This has been a large part of what I have done working alongside DJ Sasha. We are always trying to do something different, and trying to find every sound a unique signature that stands out on a recording. This is vital to giving each song an identity, and to help it stand out from the crowd.

Q: What do you bring to a song?

A: Producing can be a subtle thing, or a very involved roll for a song. Some artists have a very distinctive vibe they are searching for or have already got in place. This can change from song to song. This roll is a very two way street, to find the right balance of what a producer will bring to the project. For mixing, I feel the client always has a vision in their head of what the track should sound like. Big and loud, or intimate and detailed. These are all things we need to discuss and find a happy balance of what they are searching for. A good reference track always helps.

Q: What's your typical work process?

A: I typically like to get the full session from a client first. Be it Protools, Logic, Cubase, Ableton. I ask for all tracks to be frozen. This way I can see if there is a plugin I do not have, but can grab, or flatten the track to work on. Then I can build the mix as I want, to keep things organized.

Q: Tell us about your studio setup.

A: I have a large collection of new and vintage synths and drum machines that I have owned for many many years. I also have a lot of outboard gear that I have collected, including many guitar pedals. Mac's are my computer of choice. I use many different DAWS, and crazy software for sound design. MetaSynth being one such tool. I mix in the box, and have done for many years now. Eventide, SSL, Soundtoys, Fabfilter, Softube, UA, Plugin Alliance, I have them all. It is a bit of an obsession at this point. Lol. Not many plugins I don't have these days.

Q: What questions do you ask prospective clients?

A: What DAW do you use. Do you use any unusual plugins that are not weak known. Do you have any reference tracks you are trying to emulate in the sound of the mix?

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

A: If you want something different about your music and mixes, I like to find something that makes it more 3D in sound and experience. Sound design is a tool I love to use that makes songs interesting, and jump out of the speakers. I feel it is a much more enveloping listen for the audience, which I strive to create within a mix.

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

A: Moog Sub37, Roland TR8S, HydraSynth, Roland Jupiter 6 and Macbook Pro. They are all very important bits of gear for me, that I have extensively used in my work for 30 years. Some newer, but just ground breaking tools for the studio.

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

A: I started messing on synths and keyboards at around 11 years old. I thought myself to play keyboards and then got into MIDI and what it could do back in 1983-84. This was a turning point for me. I messed around with tape recorders and porta-studios, which set a bomb off in my head. I was in a band called Evolution for many years. This was my ticket to success in the music business. It opened up many doors to work with other artists and master my studio skills. This would eventually leading to mixing and mastering for other artists, and friends.

Q: How would you describe your style?

A: I like details and texture in my recordings. Style is not really a thing for me, as I like to try lots of things, and sometimes fuse genres in music. I like to feel no conformist in a way. Creativity shouldn't be restricted or pigeon hold. That only kills the vibe of song creation.

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

A: Thom Yorke. I love Radiohead. They have been such an innovative band over the years. Thom has always been a trail blazer and a creative beacon for me. I worked on a remix of his Eraser track alongside Sasha and Charlie May for Sasha's Involver 2 album. Them loved what we had done with the track. It was a lot of sound design and intricate details that kept the track interesting and expressive. Getting the chance to work with him directly would be a true joy for me.

Q: Can you share one music production tip?

A: Do not be afraid of background noise and glitches in your recordings. Sometimes, these ca really add to the vibe of the recording. The energy of the place you record in is captured, and should be allowed to share its place in the recording. Some times a little hum and dirt makes a song.

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

A: Electronic music îs my most worked on music, as well as experimental stuff. My most recent work has been all live instruments for the past 2 albums for Ash Walker, and Lavender. Both quite different in approach to the mixes. Ash's work is very dub and dusty sounding, with lots of horns, guitar, live drums, and Rhodes. Lavender was very acoustic guitar lead with lots of vocal layers and harmonies, but with a very detailed close and subtle sound to most of the album. These guys really had a vision to what they wanted from the album, and I think we really did achieve that.

Q: What's your strongest skill?

A: I love to sound design and turn things on their head. This has been a large part of what I have done working alongside DJ Sasha. We are always trying to do something different, and trying to find every sound a unique signature that stands out on a recording. This is vital to giving each song an identity, and to help it stand out from the crowd.

Q: What do you bring to a song?

A: Producing can be a subtle thing, or a very involved roll for a song. Some artists have a very distinctive vibe they are searching for or have already got in place. This can change from song to song. This roll is a very two way street, to find the right balance of what a producer will bring to the project. For mixing, I feel the client always has a vision in their head of what the track should sound like. Big and loud, or intimate and detailed. These are all things we need to discuss and find a happy balance of what they are searching for. A good reference track always helps.

Q: What's your typical work process?

A: I typically like to get the full session from a client first. Be it Protools, Logic, Cubase, Ableton. I ask for all tracks to be frozen. This way I can see if there is a plugin I do not have, but can grab, or flatten the track to work on. Then I can build the mix as I want, to keep things organized.

Q: Tell us about your studio setup.

A: I have a large collection of new and vintage synths and drum machines that I have owned for many many years. I also have a lot of outboard gear that I have collected, including many guitar pedals. Mac's are my computer of choice. I use many different DAWS, and crazy software for sound design. MetaSynth being one such tool. I mix in the box, and have done for many years now. Eventide, SSL, Soundtoys, Fabfilter, Softube, UA, Plugin Alliance, I have them all. It is a bit of an obsession at this point. Lol. Not many plugins I don't have these days.