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

A: One project I’m particularly proud of was collaborating with a bilingual indie artist on their debut EP, *Crossing Voices*. My role was both mixer and vocal coach—blending their English and Spanish lyrics into a cohesive sound while helping refine their delivery. The artist struggled with balancing the two languages sonically: the Spanish verses felt too soft against the punchy English choruses, and their vocal tone shifted awkwardly between the two. I spent time mapping the emotional throughline—using warmer EQ on the Spanish sections to highlight their intimate, storytelling quality, while sharpening the English parts for energy. For their vocals, I coached subtle phrasing tweaks (like leaning into the rhythmic lilt of Spanish syllables vs. the crispness of English) to make the transitions feel natural. What made it special? The EP gained traction on indie playlists, and the artist told me fans often said, “It feels like you’re singing directly to *me*, in both languages.” Knowing I helped bridge that cultural and sonic gap—turning their personal story into something universally relatable—makes this project stand out. It wasn’t just about mixing; it was about honoring their identity through sound.

Q: What are you working on at the moment?

A: At present, I have transitioned from my previous position as a DJ for a TikTok creator. After a period of supporting their account, due to a shift in the project's direction, we mutually agreed to conclude our partnership. Consequently, I have moved on to concentrate on new opportunities. Currently, I am immersing myself once again in the process of mixing tracks by indie artists. Additionally, I am engaging in voice - over projects that resonate with my passion for cross - cultural storytelling. By capitalizing on my language proficiencies, I am collaborating with clients from diverse regions. Re - focusing on these fundamental aspects has been invigorating, and I am enthusiastic about the potential outcomes of these new collaborative endeavors.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: On SoundBetter, there are several outstanding professionals worth recommending to clients. Here are some of them: - **Trey Vittetoe**: A New - York - based producer, engineer, and mentor. He has worked with Grammy winners, major labels, and global brands. He specializes in pop, urban, and EDM, and has produced music for well - known artists such as Selena Gomez and Miley Cyrus. He is a Billboard chart - topping producer, with over 2,000,000 units sold for the single "Rule Breaker" of the boy group Nine Percent, and has rich experience in the music industry. - **Jimmy Deer**: He has collaborated with Grammy - winning artists like Seal, Wiz Khalifa, etc., and has achieved Billboard No.1 results. His works have received millions of streams and have been placed in more than 300 major - label, film, and TV projects. He is good at helping artists cultivate their unique styles, and is a very creative and experienced music professional. - **Bryce Hickman**: Based in Los Angeles, he is a graduate of Icon Collective. He is a music producer and audio engineer, proficient in mixing and mastering various tracks, especially in EDM, pop, and hip - hop genres. In addition, he can also create music soundtracks for commercials, TV shows, and applications, and has strong comprehensive ability. - **Brandon**: According to the user reviews on SoundBetter, Brandon is a highly professional and approachable musician. He can exceed client expectations, and is very suitable for clients who have high - requirements for music production and hope to work with reliable professionals. - **Austin**: From the user reviews, it can be known that Austin is an excellent mixing engineer. He has mixed several albums for Warner/Chappell Production Music, and is good at various music genres. He once completed a 99 - track single for a user in advance, with high work efficiency and quality.

Q: Analog or digital and why?

A: It’s not an either/or for me—**it’s about using the right tool for the story the music or voice-over needs to tell**. Analog has a warmth and character that’s irreplaceable. There’s a richness in analog gear—like a vintage compressor or tube preamp—that adds a subtle “breath” to sound. For soulful vocals, bluesy guitar tracks, or voice-overs that need to feel intimate (think a cozy podcast or a heartfelt brand message), analog can make the listener feel like they’re in the room with the sound. It’s organic, imperfect in the best way, and adds a human touch that’s hard to replicate. But digital? It’s a game-changer for precision and flexibility. Digital plugins let me tweak details with surgical accuracy—whether it’s isolating a specific frequency in a mix to make a lyric pop, or layering effects to create a surreal, otherworldly vibe for electronic music or a sci-fi voice-over. It’s also faster for iterating—clients love that we can test 10 different reverb sounds in 5 minutes, which keeps the creative flow going. At the end of the day, I reach for analog when the goal is warmth and texture, and digital when we need precision or experimentation. The magic happens when you blend them—like running a digital vocal edit through an analog EQ to smooth out the edges. It’s all about serving the project, not loyalty to one format.

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

A: My promise is simple: I’ll treat your project like it’s my own. That means three things: - **Clarity** from start to finish—no jargon, just honest updates on timelines, feedback, and what’s needed to make your vision work. - **Care** in every detail, whether it’s tweaking a mix until the vocals feel *exactly* right or re-recording a voice-over line until the tone matches your brand’s heart. - **Commitment** to your unique sound. I won’t force a “one-size-fits-all” style—your project will sound like *you*, just polished, powerful, and ready to connect with your audience. If you’re not thrilled with the result, we’ll keep working until you are. Your satisfaction isn’t just a goal—it’s the point.

Q: What do you like most about your job?

A: What I love most is being part of the "aha" moment—when a rough idea, a raw vocal, or a scattered script clicks into something that *feels* true. For mixing: It’s watching a client light up when they hear their song finally sound like the version they’d been imagining in their head—when the bass locks in, the vocals sit just right, and every element serves the emotion they wanted to convey. It’s like solving a puzzle where the reward is their excitement. For voice-over: It’s nailing that perfect delivery—a line that shifts from awkward to authentic with a tiny tweak in tone or pacing—and seeing how it transforms the script. Clients often say, “That’s exactly what I meant but couldn’t put into words,” and that connection? It never gets old. At the end of the day, I get to turn ideas into something tangible that people feel. It’s collaborative, creative, and every project feels like a small victory—for them, and for me.

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

A: The most common questions I get, and my go-to answers: 1. **“How long will my project take?”** It depends on the scope—usually 2-3 days for a single mix or short voice-over script, but I’ll always confirm a timeline upfront. I prioritize quality over speed, but I’m flexible if you have a tight deadline (just let me know!). 2. **“Can you make my vocals sound like [artist]?”** I can draw inspiration from their style (like the warmth of Adele or the crispness of Harry Styles), but I’ll keep your unique tone intact. The goal is to make *your* voice shine—enhanced, not replaced. 3. **“What if I don’t like the first draft?”** No problem! I include 2-3 rounds of revisions in my process. Your feedback helps me nail it, so don’t hold back—specific notes (like “more reverb on the chorus” or “softer tone here”) make the tweaks faster. 4. **“Do you work with independent artists/budgets?”** Absolutely. I started working with indie projects, and I tailor packages to fit different budgets—whether it’s a stripped-back mix or a short voice-over clip. Quality shouldn’t be exclusive.

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

A: The biggest misconception is that what I do is just "tweaking knobs"—that mixing or voice-over work is purely technical, with a one-size-fits-all formula. But it’s far more about intuition and storytelling. For mixing: Clients sometimes think it’s just balancing volumes, but it’s about *interpreting* the song’s heart—knowing when to push the bass to make a crowd move, or soften the guitars to let a vulnerable lyric land. It’s translating emotion into sound, not just adjusting levels. For voice-over: People assume it’s just "reading a script loudly." But it’s about embodying the subtext—making a product pitch feel like a friend’s recommendation, or a public service announcement feel urgent without sounding scolding. Neither is just about tools; it’s about understanding what the project *needs* to connect with people.

Q: What questions do you ask prospective clients?

A: - For mixing: “Do you have reference tracks that capture the sound or mood you’re after? For example, ‘I want this to feel as punchy as Taylor Swift’s *Shake It Off*’ or ‘as warm as Ed Sheeran’s *Photograph*’.” - For voice-over: “Who’s the target audience, and what emotion do you want them to feel? Like, ‘playful and lively for a toy commercial’ or ‘steady and trustworthy for a financial service ad’.” - Across both: “What’s your timeline, and are there specific elements you want to highlight—say, a lead vocal that needs to cut through, a drum beat that drives energy, or a key line in the script that should feel memorable?” - And finally: “Is there anything you don’t like—sonically or stylistically—that I should avoid? Maybe you dislike overly echoey vocals, or you want to skip a too-formal tone in the voice-over.”

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

A: Be clear about your vision—but leave room for collaboration. Share reference tracks, mood boards, or even specific lines (for voice-over) to ground the work, but don’t hesitate to say, “I’m not sure what I want, but here’s the feeling I’m after.” Also, prioritize communication: A provider who asks follow-up questions (not just nods) is invested in getting it right. And don’t rush the process—good mixing or voice-over work takes tweaks, so build in time for feedback. At the end of the day, trust your gut: If their past work resonates with your style, and they listen as much as they talk, you’re off to a strong start.

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

A: If I were stranded on a desert island and could only take 5 pieces of gear, they’d be practical, versatile, and ready to capture or shape sound—no matter the context: 1. **A Rode NT1-A microphone**: It’s ultra-quiet, durable, and handles everything from voice-over to acoustic recordings (think island sounds or impromptu vocals) with clarity. 2. **A Universal Audio Volt 2 audio interface**: Compact, bus-powered (no need for outlets), and lets me record directly to a laptop—essential for capturing the mic’s signal. 3. **A pair of Sony MDR-7506 headphones**: Closed-back, rugged, and reliable for monitoring recordings or mixing rough ideas without external noise bleeding in. 4. **A 16-inch MacBook Pro (with Pro Tools)**: Portable enough to carry, powerful enough to edit, mix, and store projects—my “studio in a box.” 5. **A portable USB-C power bank**: The wildcard, but critical—keeps the laptop and interface running when there’s no electricity. With these, I could record, mix, and even craft simple voice-overs or acoustic tracks—proving you don’t need a full studio to make meaningful sound.

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

A: I started as a self-taught audio enthusiast, tinkering with home recordings in my teens—first mixing my own band’s demos, then branching into voice-over for local indie animations. That curiosity led me to formal training in audio engineering, where I honed mixing techniques under mentors who worked with indie and pop artists. After college, I freelanced for small studios, handling everything from band mixes to commercial voice-over sessions, which helped me refine both skills in real-world settings. Over time, I built a client base by focusing on clear communication (my language skills definitely helped here) and tailoring work to each project’s unique vibe. All in all, I’ve been deep in this work for 8 years now—growing from a hobbyist to a full-time mixer and voice-over artist, and loving every step of learning how sound can tell stories.

Q: How would you describe your style?

A: My style is a balance of precision and warmth—rooted in clarity, but never at the expense of emotion. As a mixer, I lean into making every element feel intentional: vocals sit naturally (never forced), instruments have space to breathe, and the mix serves the song’s core mood—whether that’s crisp and punchy for pop, or soft and immersive for folk. From the voice-over side, it translates to a knack for shaping performances that feel authentic—no over-the-top flourishes, just tone that matches the story. Clients often say my work feels “polished but human,” which I think sums it up: technical care that lets the music or voice’s true character shine through.

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

A: I’d love to work with Billie Eilish. Her music blends raw, intimate vocals with innovative production—mixing that demands both precision (to highlight her delicate delivery) and creativity (to elevate the textural layers). As a voice-over artist, her knack for conveying emotion through subtle tonal shifts would also make collaborating on a narrative project (like a short film voice-over) incredibly rewarding. Plus, her global appeal aligns with my experience bridging cultural and linguistic nuances.

Q: Can you share one music production tip?

A: Always “mix in context.” When adjusting a single element (like a vocal or guitar), soloing it might make you overcompensate—what sounds “bright enough” alone can clash when the full track plays. Instead, tweak levels, EQ, or effects while the entire mix runs. This ensures every part serves the song’s overall balance, not just its isolated sound. It’s how you keep clarity *and* cohesion.

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

A: I work across a wide range, but I specialize in pop, indie, and commercial voice-over projects—from crisp, radio-ready pop mixes to warm, narrative-driven voice work for ads or animations. The diversity keeps things dynamic, and my language skills let me adapt to global styles seamlessly.

Q: What's your strongest skill?

A: My strongest skill is leveraging my fluency in multiple languages to connect deeply with diverse clients—something that elevates both my mixing and voice-over work. As a mixer, working with clients from around the world means I don’t just *hear* their music—I *understand* the cultural nuances that shape it. Whether a client from Tokyo wants a mix that leans into J-pop’s crisp, layered energy, or a musician from Rio mentions a samba rhythm that needs to feel “alive” in the low end, I can parse their vision without lost translation. I catch subtle phrases like “make it warmer, like a sunset” or “sharper, more urgent” because I get the context behind their words, turning vague ideas into precise, tailored mixes. For voice-over, this skill is game-changing. I can guide non-native speakers through tone adjustments (“softer here, like you’re sharing a secret”) or nudge native speakers to hit cultural beats (“this line needs that casual, colloquial vibe specific to your region”). Clients often say it feels like working with someone who “gets their accent, their rhythm, their voice” —and that comfort translates directly into more authentic, impactful performances. At the end of the day, language isn’t just about words for me—it’s about bridging gaps. It lets me turn every client’s unique vision into a sound that feels true to them, no matter where they’re from.

Q: What do you bring to a song?

A: As a mixer and voice-over artist, what I bring to a song is a blend of technical precision and a deep understanding of how sound shapes emotion—whether it’s the musical layers or any vocal elements woven into the track. For the mixing side, I focus on making every part *serve the song’s story*. It’s not just about balancing levels; it’s about carving space so the vocals feel intimate when they need to, or making the drums punch harder to drive energy. I use EQ to clear out clutter (so that delicate piano line doesn’t get lost under guitars) and reverb/delay to craft a world around the music—maybe a warm, close room sound for a folk ballad, or a wide, airy space for an epic chorus. I listen for what the song *needs* to connect: if the lyrics are raw, I’ll keep the mix uncluttered to let that honesty shine; if it’s a bop, I’ll make sure the groove hits like a heartbeat you can’t ignore. And because I work with voice performance daily, I have a sharp ear for how vocals—sung or spoken—carry emotion. That translates to mixing: I know how to make a lead vocal cut through without sounding harsh, or how to tuck backing vocals in so they support, not overpower. If the track includes voice-over snippets (like in a concept album or a genre-blending piece), I’ll ensure they weave seamlessly with the music, balancing tone and texture so the narrative flows. Ultimately, I bring clarity and heart. I make sure the song sounds polished, professional, and intentional—so when someone listens, they don’t just hear instruments and voices, they feel the energy, the story, the soul of what the artist is trying to say.

Q: What's your typical work process?

A: For both mixing and voice-over work, my process is grounded in collaboration and attention to detail—here’s how I break it down, step by step: When mixing a track: First, I start by really *listening*—not just to the raw audio, but to you. I’ll ask about your vision: Are you going for a tight, punchy sound for radio, or something more spacious and atmospheric? Reference tracks you love help me lock in that vibe. Next, I organize the session—cleaning up any clunky edits, aligning timing where needed, and making sure every track (vocals, guitars, drums) is ready to shine. Then I build a rough balance, using faders to carve out space for each element so nothing fights for attention. From there, I shape the sound: EQ to clear up mud (like taming low-mids in guitars so vocals cut through), compression to smooth out uneven dynamics (keeping a lead vocal steady, for example), and adding just the right amount of reverb or delay to create depth—maybe a warm room sound for drums, or a subtle slapback on a backing vocal. I’ll then refine panning to widen the mix (think guitars spread left and right, vocals centered) and glue everything together with gentle bus processing. Once I’m happy, I send you a draft, listen closely to your notes, tweak until it feels *yours*, and deliver the final mix in whatever format you need—stems, a mastered version, whatever works. For voice-over projects: It starts with the script. I’ll read through it to get a feel for the tone—Is it playful? Authoritative? Heartfelt? I’ll ask about your audience and what emotion you want to hit hardest, then brainstorm ideas for pacing or inflection that’ll make the message stick.In the booth, I’ll set up the mic to match the vibe—warmer for a cozy audiobook, crisper for a commercial. If you’re the one performing, I’ll guide you through takes, suggesting small adjustments: “Try slowing that line down to feel more sincere” or “A bit brighter here to sound energetic.” If I’m voicing it, I’ll record multiple versions so you can pick the one that fits best. After recording, I clean up the audio—trimming extra breaths, smoothing out stumbles, and making sure it’s crystal clear. A little EQ and light compression ensure consistency, then I send you a draft. We’ll tweak until it’s perfect, and I’ll deliver the final file in your preferred format, ready to drop into your project. No matter the task, the goal is simple: make sure the end result sounds like you—only better.

Q: Tell us about your studio setup.

A: As a mixer and voice-over artist, my studio is designed to balance precision for audio engineering and warmth for vocal performance—here’s a breakdown: For mixing, the core is a treated room with acoustic panels and bass traps to eliminate unwanted reflections, ensuring accurate monitoring. I rely on a pair of Focal Clear Alpha studio monitors, paired with a SubPac S2 for tactile low-end feedback—critical for nailing punchy drums or smooth basslines. My audio interface is a Universal Audio Apollo x8p, which lets me tap into their analog emulation plugins (like the 1176 compressor or LA-2A) to add that analog grit while keeping the workflow digital and flexible. I also use a Slate Digital Raven MTi2 touchscreen console for quick, intuitive control over faders and plugins during mixing sessions. For voice-over work, the vocal booth is a small, soundproofed space with a Rode NT1-A microphone (known for its ultra-low noise floor) and a Neve 1073 preamp clone to add richness to voices. I keep a pair of closed-back headphones (Sony MDR-7506) in the booth so clients can hear direction clearly without bleed. Software-wise, I work in Pro Tools for both mixing and voice editing—its precision with vocal timing and plugin integration makes it irreplaceable. I complement it with a suite of plugins: iZotope RX for noise reduction (vital for clean voice-overs), Waves SSL 4000 for bus processing, and Valhalla Room for natural-sounding reverb that adds depth without muddiness. Everything’s optimized to handle both polished mixing projects (from full band tracks to electronic productions) and professional voice-over recordings (ads, audiobooks, animations)—so clients get consistent quality, whether they need a radio-ready mix or a character voice that pops.

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

A: As a mixer and voice - over artist on SoundBetter, I draw inspiration from a diverse range of pros. For mixing, Manny Marroquin’s work (shaping hits like Rihanna’s Umbrella) shows how to craft dynamic, radio - ready balances. His ability to make every element pop while keeping cohesion blows my mind. For voice - over, Nancy Cartwright (the voice of Bart Simpson) inspires me—her tonal versatility and knack for infusing distinct character into every line taught me how to guide clients to deliver emotive, memorable vocal performances. These talents push me to blend technical finesse in mixing with the art of storytelling in voice - over for my clients.

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

A: The most common work I do for clients is audio mixing. I take raw recorded tracks like vocals, instruments (guitars, drums, etc.), and blend them seamlessly. I adjust levels to ensure each element sits right in the sonic space, apply EQ to shape frequencies, add reverb and delay for depth, and use compression for consistent dynamics. Making the song balanced, cohesive, and ready for release – that's my daily mission to help clients' music shine.

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

A: One project I’m particularly proud of was collaborating with a bilingual indie artist on their debut EP, *Crossing Voices*. My role was both mixer and vocal coach—blending their English and Spanish lyrics into a cohesive sound while helping refine their delivery. The artist struggled with balancing the two languages sonically: the Spanish verses felt too soft against the punchy English choruses, and their vocal tone shifted awkwardly between the two. I spent time mapping the emotional throughline—using warmer EQ on the Spanish sections to highlight their intimate, storytelling quality, while sharpening the English parts for energy. For their vocals, I coached subtle phrasing tweaks (like leaning into the rhythmic lilt of Spanish syllables vs. the crispness of English) to make the transitions feel natural. What made it special? The EP gained traction on indie playlists, and the artist told me fans often said, “It feels like you’re singing directly to *me*, in both languages.” Knowing I helped bridge that cultural and sonic gap—turning their personal story into something universally relatable—makes this project stand out. It wasn’t just about mixing; it was about honoring their identity through sound.

Q: What are you working on at the moment?

A: At present, I have transitioned from my previous position as a DJ for a TikTok creator. After a period of supporting their account, due to a shift in the project's direction, we mutually agreed to conclude our partnership. Consequently, I have moved on to concentrate on new opportunities. Currently, I am immersing myself once again in the process of mixing tracks by indie artists. Additionally, I am engaging in voice - over projects that resonate with my passion for cross - cultural storytelling. By capitalizing on my language proficiencies, I am collaborating with clients from diverse regions. Re - focusing on these fundamental aspects has been invigorating, and I am enthusiastic about the potential outcomes of these new collaborative endeavors.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: On SoundBetter, there are several outstanding professionals worth recommending to clients. Here are some of them: - **Trey Vittetoe**: A New - York - based producer, engineer, and mentor. He has worked with Grammy winners, major labels, and global brands. He specializes in pop, urban, and EDM, and has produced music for well - known artists such as Selena Gomez and Miley Cyrus. He is a Billboard chart - topping producer, with over 2,000,000 units sold for the single "Rule Breaker" of the boy group Nine Percent, and has rich experience in the music industry. - **Jimmy Deer**: He has collaborated with Grammy - winning artists like Seal, Wiz Khalifa, etc., and has achieved Billboard No.1 results. His works have received millions of streams and have been placed in more than 300 major - label, film, and TV projects. He is good at helping artists cultivate their unique styles, and is a very creative and experienced music professional. - **Bryce Hickman**: Based in Los Angeles, he is a graduate of Icon Collective. He is a music producer and audio engineer, proficient in mixing and mastering various tracks, especially in EDM, pop, and hip - hop genres. In addition, he can also create music soundtracks for commercials, TV shows, and applications, and has strong comprehensive ability. - **Brandon**: According to the user reviews on SoundBetter, Brandon is a highly professional and approachable musician. He can exceed client expectations, and is very suitable for clients who have high - requirements for music production and hope to work with reliable professionals. - **Austin**: From the user reviews, it can be known that Austin is an excellent mixing engineer. He has mixed several albums for Warner/Chappell Production Music, and is good at various music genres. He once completed a 99 - track single for a user in advance, with high work efficiency and quality.

Q: Analog or digital and why?

A: It’s not an either/or for me—**it’s about using the right tool for the story the music or voice-over needs to tell**. Analog has a warmth and character that’s irreplaceable. There’s a richness in analog gear—like a vintage compressor or tube preamp—that adds a subtle “breath” to sound. For soulful vocals, bluesy guitar tracks, or voice-overs that need to feel intimate (think a cozy podcast or a heartfelt brand message), analog can make the listener feel like they’re in the room with the sound. It’s organic, imperfect in the best way, and adds a human touch that’s hard to replicate. But digital? It’s a game-changer for precision and flexibility. Digital plugins let me tweak details with surgical accuracy—whether it’s isolating a specific frequency in a mix to make a lyric pop, or layering effects to create a surreal, otherworldly vibe for electronic music or a sci-fi voice-over. It’s also faster for iterating—clients love that we can test 10 different reverb sounds in 5 minutes, which keeps the creative flow going. At the end of the day, I reach for analog when the goal is warmth and texture, and digital when we need precision or experimentation. The magic happens when you blend them—like running a digital vocal edit through an analog EQ to smooth out the edges. It’s all about serving the project, not loyalty to one format.

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

A: My promise is simple: I’ll treat your project like it’s my own. That means three things: - **Clarity** from start to finish—no jargon, just honest updates on timelines, feedback, and what’s needed to make your vision work. - **Care** in every detail, whether it’s tweaking a mix until the vocals feel *exactly* right or re-recording a voice-over line until the tone matches your brand’s heart. - **Commitment** to your unique sound. I won’t force a “one-size-fits-all” style—your project will sound like *you*, just polished, powerful, and ready to connect with your audience. If you’re not thrilled with the result, we’ll keep working until you are. Your satisfaction isn’t just a goal—it’s the point.

Q: What do you like most about your job?

A: What I love most is being part of the "aha" moment—when a rough idea, a raw vocal, or a scattered script clicks into something that *feels* true. For mixing: It’s watching a client light up when they hear their song finally sound like the version they’d been imagining in their head—when the bass locks in, the vocals sit just right, and every element serves the emotion they wanted to convey. It’s like solving a puzzle where the reward is their excitement. For voice-over: It’s nailing that perfect delivery—a line that shifts from awkward to authentic with a tiny tweak in tone or pacing—and seeing how it transforms the script. Clients often say, “That’s exactly what I meant but couldn’t put into words,” and that connection? It never gets old. At the end of the day, I get to turn ideas into something tangible that people feel. It’s collaborative, creative, and every project feels like a small victory—for them, and for me.

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

A: The most common questions I get, and my go-to answers: 1. **“How long will my project take?”** It depends on the scope—usually 2-3 days for a single mix or short voice-over script, but I’ll always confirm a timeline upfront. I prioritize quality over speed, but I’m flexible if you have a tight deadline (just let me know!). 2. **“Can you make my vocals sound like [artist]?”** I can draw inspiration from their style (like the warmth of Adele or the crispness of Harry Styles), but I’ll keep your unique tone intact. The goal is to make *your* voice shine—enhanced, not replaced. 3. **“What if I don’t like the first draft?”** No problem! I include 2-3 rounds of revisions in my process. Your feedback helps me nail it, so don’t hold back—specific notes (like “more reverb on the chorus” or “softer tone here”) make the tweaks faster. 4. **“Do you work with independent artists/budgets?”** Absolutely. I started working with indie projects, and I tailor packages to fit different budgets—whether it’s a stripped-back mix or a short voice-over clip. Quality shouldn’t be exclusive.

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

A: The biggest misconception is that what I do is just "tweaking knobs"—that mixing or voice-over work is purely technical, with a one-size-fits-all formula. But it’s far more about intuition and storytelling. For mixing: Clients sometimes think it’s just balancing volumes, but it’s about *interpreting* the song’s heart—knowing when to push the bass to make a crowd move, or soften the guitars to let a vulnerable lyric land. It’s translating emotion into sound, not just adjusting levels. For voice-over: People assume it’s just "reading a script loudly." But it’s about embodying the subtext—making a product pitch feel like a friend’s recommendation, or a public service announcement feel urgent without sounding scolding. Neither is just about tools; it’s about understanding what the project *needs* to connect with people.

Q: What questions do you ask prospective clients?

A: - For mixing: “Do you have reference tracks that capture the sound or mood you’re after? For example, ‘I want this to feel as punchy as Taylor Swift’s *Shake It Off*’ or ‘as warm as Ed Sheeran’s *Photograph*’.” - For voice-over: “Who’s the target audience, and what emotion do you want them to feel? Like, ‘playful and lively for a toy commercial’ or ‘steady and trustworthy for a financial service ad’.” - Across both: “What’s your timeline, and are there specific elements you want to highlight—say, a lead vocal that needs to cut through, a drum beat that drives energy, or a key line in the script that should feel memorable?” - And finally: “Is there anything you don’t like—sonically or stylistically—that I should avoid? Maybe you dislike overly echoey vocals, or you want to skip a too-formal tone in the voice-over.”

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

A: Be clear about your vision—but leave room for collaboration. Share reference tracks, mood boards, or even specific lines (for voice-over) to ground the work, but don’t hesitate to say, “I’m not sure what I want, but here’s the feeling I’m after.” Also, prioritize communication: A provider who asks follow-up questions (not just nods) is invested in getting it right. And don’t rush the process—good mixing or voice-over work takes tweaks, so build in time for feedback. At the end of the day, trust your gut: If their past work resonates with your style, and they listen as much as they talk, you’re off to a strong start.

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

A: If I were stranded on a desert island and could only take 5 pieces of gear, they’d be practical, versatile, and ready to capture or shape sound—no matter the context: 1. **A Rode NT1-A microphone**: It’s ultra-quiet, durable, and handles everything from voice-over to acoustic recordings (think island sounds or impromptu vocals) with clarity. 2. **A Universal Audio Volt 2 audio interface**: Compact, bus-powered (no need for outlets), and lets me record directly to a laptop—essential for capturing the mic’s signal. 3. **A pair of Sony MDR-7506 headphones**: Closed-back, rugged, and reliable for monitoring recordings or mixing rough ideas without external noise bleeding in. 4. **A 16-inch MacBook Pro (with Pro Tools)**: Portable enough to carry, powerful enough to edit, mix, and store projects—my “studio in a box.” 5. **A portable USB-C power bank**: The wildcard, but critical—keeps the laptop and interface running when there’s no electricity. With these, I could record, mix, and even craft simple voice-overs or acoustic tracks—proving you don’t need a full studio to make meaningful sound.

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

A: I started as a self-taught audio enthusiast, tinkering with home recordings in my teens—first mixing my own band’s demos, then branching into voice-over for local indie animations. That curiosity led me to formal training in audio engineering, where I honed mixing techniques under mentors who worked with indie and pop artists. After college, I freelanced for small studios, handling everything from band mixes to commercial voice-over sessions, which helped me refine both skills in real-world settings. Over time, I built a client base by focusing on clear communication (my language skills definitely helped here) and tailoring work to each project’s unique vibe. All in all, I’ve been deep in this work for 8 years now—growing from a hobbyist to a full-time mixer and voice-over artist, and loving every step of learning how sound can tell stories.

Q: How would you describe your style?

A: My style is a balance of precision and warmth—rooted in clarity, but never at the expense of emotion. As a mixer, I lean into making every element feel intentional: vocals sit naturally (never forced), instruments have space to breathe, and the mix serves the song’s core mood—whether that’s crisp and punchy for pop, or soft and immersive for folk. From the voice-over side, it translates to a knack for shaping performances that feel authentic—no over-the-top flourishes, just tone that matches the story. Clients often say my work feels “polished but human,” which I think sums it up: technical care that lets the music or voice’s true character shine through.

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

A: I’d love to work with Billie Eilish. Her music blends raw, intimate vocals with innovative production—mixing that demands both precision (to highlight her delicate delivery) and creativity (to elevate the textural layers). As a voice-over artist, her knack for conveying emotion through subtle tonal shifts would also make collaborating on a narrative project (like a short film voice-over) incredibly rewarding. Plus, her global appeal aligns with my experience bridging cultural and linguistic nuances.

Q: Can you share one music production tip?

A: Always “mix in context.” When adjusting a single element (like a vocal or guitar), soloing it might make you overcompensate—what sounds “bright enough” alone can clash when the full track plays. Instead, tweak levels, EQ, or effects while the entire mix runs. This ensures every part serves the song’s overall balance, not just its isolated sound. It’s how you keep clarity *and* cohesion.

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

A: I work across a wide range, but I specialize in pop, indie, and commercial voice-over projects—from crisp, radio-ready pop mixes to warm, narrative-driven voice work for ads or animations. The diversity keeps things dynamic, and my language skills let me adapt to global styles seamlessly.

Q: What's your strongest skill?

A: My strongest skill is leveraging my fluency in multiple languages to connect deeply with diverse clients—something that elevates both my mixing and voice-over work. As a mixer, working with clients from around the world means I don’t just *hear* their music—I *understand* the cultural nuances that shape it. Whether a client from Tokyo wants a mix that leans into J-pop’s crisp, layered energy, or a musician from Rio mentions a samba rhythm that needs to feel “alive” in the low end, I can parse their vision without lost translation. I catch subtle phrases like “make it warmer, like a sunset” or “sharper, more urgent” because I get the context behind their words, turning vague ideas into precise, tailored mixes. For voice-over, this skill is game-changing. I can guide non-native speakers through tone adjustments (“softer here, like you’re sharing a secret”) or nudge native speakers to hit cultural beats (“this line needs that casual, colloquial vibe specific to your region”). Clients often say it feels like working with someone who “gets their accent, their rhythm, their voice” —and that comfort translates directly into more authentic, impactful performances. At the end of the day, language isn’t just about words for me—it’s about bridging gaps. It lets me turn every client’s unique vision into a sound that feels true to them, no matter where they’re from.

Q: What do you bring to a song?

A: As a mixer and voice-over artist, what I bring to a song is a blend of technical precision and a deep understanding of how sound shapes emotion—whether it’s the musical layers or any vocal elements woven into the track. For the mixing side, I focus on making every part *serve the song’s story*. It’s not just about balancing levels; it’s about carving space so the vocals feel intimate when they need to, or making the drums punch harder to drive energy. I use EQ to clear out clutter (so that delicate piano line doesn’t get lost under guitars) and reverb/delay to craft a world around the music—maybe a warm, close room sound for a folk ballad, or a wide, airy space for an epic chorus. I listen for what the song *needs* to connect: if the lyrics are raw, I’ll keep the mix uncluttered to let that honesty shine; if it’s a bop, I’ll make sure the groove hits like a heartbeat you can’t ignore. And because I work with voice performance daily, I have a sharp ear for how vocals—sung or spoken—carry emotion. That translates to mixing: I know how to make a lead vocal cut through without sounding harsh, or how to tuck backing vocals in so they support, not overpower. If the track includes voice-over snippets (like in a concept album or a genre-blending piece), I’ll ensure they weave seamlessly with the music, balancing tone and texture so the narrative flows. Ultimately, I bring clarity and heart. I make sure the song sounds polished, professional, and intentional—so when someone listens, they don’t just hear instruments and voices, they feel the energy, the story, the soul of what the artist is trying to say.

Q: What's your typical work process?

A: For both mixing and voice-over work, my process is grounded in collaboration and attention to detail—here’s how I break it down, step by step: When mixing a track: First, I start by really *listening*—not just to the raw audio, but to you. I’ll ask about your vision: Are you going for a tight, punchy sound for radio, or something more spacious and atmospheric? Reference tracks you love help me lock in that vibe. Next, I organize the session—cleaning up any clunky edits, aligning timing where needed, and making sure every track (vocals, guitars, drums) is ready to shine. Then I build a rough balance, using faders to carve out space for each element so nothing fights for attention. From there, I shape the sound: EQ to clear up mud (like taming low-mids in guitars so vocals cut through), compression to smooth out uneven dynamics (keeping a lead vocal steady, for example), and adding just the right amount of reverb or delay to create depth—maybe a warm room sound for drums, or a subtle slapback on a backing vocal. I’ll then refine panning to widen the mix (think guitars spread left and right, vocals centered) and glue everything together with gentle bus processing. Once I’m happy, I send you a draft, listen closely to your notes, tweak until it feels *yours*, and deliver the final mix in whatever format you need—stems, a mastered version, whatever works. For voice-over projects: It starts with the script. I’ll read through it to get a feel for the tone—Is it playful? Authoritative? Heartfelt? I’ll ask about your audience and what emotion you want to hit hardest, then brainstorm ideas for pacing or inflection that’ll make the message stick.In the booth, I’ll set up the mic to match the vibe—warmer for a cozy audiobook, crisper for a commercial. If you’re the one performing, I’ll guide you through takes, suggesting small adjustments: “Try slowing that line down to feel more sincere” or “A bit brighter here to sound energetic.” If I’m voicing it, I’ll record multiple versions so you can pick the one that fits best. After recording, I clean up the audio—trimming extra breaths, smoothing out stumbles, and making sure it’s crystal clear. A little EQ and light compression ensure consistency, then I send you a draft. We’ll tweak until it’s perfect, and I’ll deliver the final file in your preferred format, ready to drop into your project. No matter the task, the goal is simple: make sure the end result sounds like you—only better.

Q: Tell us about your studio setup.

A: As a mixer and voice-over artist, my studio is designed to balance precision for audio engineering and warmth for vocal performance—here’s a breakdown: For mixing, the core is a treated room with acoustic panels and bass traps to eliminate unwanted reflections, ensuring accurate monitoring. I rely on a pair of Focal Clear Alpha studio monitors, paired with a SubPac S2 for tactile low-end feedback—critical for nailing punchy drums or smooth basslines. My audio interface is a Universal Audio Apollo x8p, which lets me tap into their analog emulation plugins (like the 1176 compressor or LA-2A) to add that analog grit while keeping the workflow digital and flexible. I also use a Slate Digital Raven MTi2 touchscreen console for quick, intuitive control over faders and plugins during mixing sessions. For voice-over work, the vocal booth is a small, soundproofed space with a Rode NT1-A microphone (known for its ultra-low noise floor) and a Neve 1073 preamp clone to add richness to voices. I keep a pair of closed-back headphones (Sony MDR-7506) in the booth so clients can hear direction clearly without bleed. Software-wise, I work in Pro Tools for both mixing and voice editing—its precision with vocal timing and plugin integration makes it irreplaceable. I complement it with a suite of plugins: iZotope RX for noise reduction (vital for clean voice-overs), Waves SSL 4000 for bus processing, and Valhalla Room for natural-sounding reverb that adds depth without muddiness. Everything’s optimized to handle both polished mixing projects (from full band tracks to electronic productions) and professional voice-over recordings (ads, audiobooks, animations)—so clients get consistent quality, whether they need a radio-ready mix or a character voice that pops.

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

A: As a mixer and voice - over artist on SoundBetter, I draw inspiration from a diverse range of pros. For mixing, Manny Marroquin’s work (shaping hits like Rihanna’s Umbrella) shows how to craft dynamic, radio - ready balances. His ability to make every element pop while keeping cohesion blows my mind. For voice - over, Nancy Cartwright (the voice of Bart Simpson) inspires me—her tonal versatility and knack for infusing distinct character into every line taught me how to guide clients to deliver emotive, memorable vocal performances. These talents push me to blend technical finesse in mixing with the art of storytelling in voice - over for my clients.

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

A: The most common work I do for clients is audio mixing. I take raw recorded tracks like vocals, instruments (guitars, drums, etc.), and blend them seamlessly. I adjust levels to ensure each element sits right in the sonic space, apply EQ to shape frequencies, add reverb and delay for depth, and use compression for consistent dynamics. Making the song balanced, cohesive, and ready for release – that's my daily mission to help clients' music shine.