I turn raw, ambitious recordings into polished, release-ready records with clarity, impact and character - without losing what made the song exciting in the first place.
I’m a Melbourne-based mixing engineer and sound designer focused on turning raw recordings into polished, release-ready records with clarity, impact and character.
With more than a decade in professional audio, my work spans studio mixing, live music and large-scale musical theatre. Most recently, I mixed the Australian live cast album of *Beetlejuice*, working with complex multitrack recordings, large vocal arrangements, live band and orchestral elements, extensive editing and detailed automation.
I’m particularly strong at taking recordings that feel unfinished, cluttered or demo-like and shaping them into cohesive, professional mixes without losing the personality of the performance.
I work across pop, rock, singer-songwriter, acoustic, folk, orchestral and theatrical music, and can assist with mixing, vocal editing and tuning, instrument editing, production refinement and alternate mix deliverables.
My approach is collaborative and song-focused: every decision should serve the music.
Working on an EP or album? Send me your rough mix and tell me what you feel is missing. I’m happy to discuss a test mix so you can hear what I can bring to the project.
Send me a note through the contact button above.
Interview with Anthony Craythorn
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I’m especially proud of mixing the Australian Beetlejuice live cast album. I worked with large, complex multitrack recordings captured across multiple performances, combining extensive editing, vocal work, live band and orchestral material into polished, cohesive mixes while preserving the energy of the live performances.
Q: What are you working on at the moment?
A: I am currently working on the cast album for Tivoli Lovely. a 21-Track Australian musical theatre album written by Eddie Perfect.
Q: Analog or digital and why?
A: Digital. Modern tools give me speed, recall, precision and creative flexibility, and ultimately the result matters far more than the format used to achieve it.
Q: What's your 'promise' to your clients?
A: I’ll treat the song with care, communicate clearly and make every mix decision in service of the music rather than my own ego.
Q: What do you like most about your job?
A: Taking something that still feels unfinished and reaching the moment where it suddenly locks in a feels cohesive.
Q: What questions do customers most commonly ask you? What's your answer?
A: “Can you make this sound bigger and more professional?” Usually, yes. But the solution depends on whether the limitation is the mix, editing, arrangement or the source recordings themselves.
Q: What's the biggest misconception about what you do?
A: That mixing is mainly about plugins. Most of the work is judgement: balance, perspective, emotion, arrangement and thousands of small decisions.
Q: What questions do you ask prospective clients?
A: What are you trying to achieve, what references best represent the sound you want, what do you currently dislike about the rough mix, and what stage are the recordings at?
Q: What advice do you have for a customer looking to hire a provider like you?
A: Hire someone whose taste and communication you trust, not just someone with the biggest credit list. A great mixer should understand what you want the record to feel like.
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: Solar Panel, Battery, Laptop, Headphones, Beach Chair.
Q: What was your career path? How long have you been doing this?
A: I’ve worked professionally in audio for more than a decade, beginning in live sound and musical theatre before increasingly moving into studio mixing, record production and sound design.
Q: How would you describe your style?
A: Clean, detailed and impactful, but never overly processed. I want the mix to feel polished without losing its humanity.
Q: Can you share one music production tip?
A: Fix balance and arrangement problems before reaching for more processing. Often the best mix move is simply making the right element louder, quieter or absent.
Q: What type of music do you usually work on?
A: Pop, rock, singer-songwriter, acoustic, orchestral and theatrical music, with a particular strength in vocal-heavy and complex arrangements.
Q: What's your strongest skill?
A: Taking complicated or imperfect recordings and turning them into cohesive, finished-sounding records.
Q: What do you bring to a song?
A: Clarity, impact and polish while protecting the personality and emotion that made the recording worth making.
Q: What's your typical work process?
A: I start by understanding the artist’s references and goals, organise and edit the session, build the mix from the core emotional elements, then refine balance, tone, space and automation before revisions and final delivery.
Q: Tell us about your studio setup.
A: I work from a dedicated Melbourne mixing studio built around a high-quality RME monitoring chain, Kali IN-5 calibrated monitors, professional acoustic treatment and a primarily in-the-box workflow using Pro Tools, Avid S1, RX and Melodyne.
Q: Describe the most common type of work you do for your clients.
A: I primarily mix and polish multitrack recordings, taking raw sessions through editing, vocal treatment, balance, automation and final mix delivery.
- Mixing EngineerAverage price - $300 per song
- Mastering EngineerAverage price - $80 per song
- Live SoundAverage price - $600 per concert
